The "Tim Shaw PAF" I had on my 1985 Les Paul Are not Wax Potted but compared to a real PAF it sounds very bad. I changed them for PAF replicas scatterwound at http://www.valveart-tech.com/ It really changed the way it sounds in my 1969 sound city 50 +.
The "Tim Shaw PAFs" have negative Feeeeeedback when the the gain of the overdrive is to high.
(Scuse me for I don't speak English very well)
Let there be rock http://fjgaston.free.fr
Guitars : 1965 Gibson melody maker, 1969 gibson SG, 1985 Gibson Les Paul, 1957 FEnder Duo Sonic, 1963 Fender Musimaster, Fender strange stratocaster, Gretsch mod solidbody, "la blue" the strangest guitar ever made; Effect : Disto Blaster; Amp : 1973 Hiwatted Sound City 50 +, 1970 Sound city 120, 1958 Fender Champ, 1969 Carlsbro, 1970 Carlsbro, 1966 EKO, Home made amp.
If he is getting them tones out of that guitar with the standard pickups in, then it goes to show how much the players fingers contribute to the sound.
Do we want random tension? I try to keep my tension even, and randomize my wrap... although lately I'm trying to get my wrap as even as I can with hand guiding.
It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure. — Albert Einstein
Do we want random tension? I try to keep my tension even, and randomize my wrap... although lately I'm trying to get my wrap as even as I can with hand guiding.
yes - if your chasing Leos Fenders tail -- 1950 give or take a few years -- those would need random - IE Human held - correct???
Let's all Close shop and Go Fishing!, the heck with everything today!
Oh I guess so. That's not an area I'm interested in.
It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure. — Albert Einstein
And this right here folks is why I do not even consider winding pickups to be like the originals, we cant even decide what original was.......
I think some of the little details that are agonized over by people trying to recreate some of the old pickups weren't even part of the design, just part of the manufacturing, if that makes any sense.
Like Fender didn't use bolt-on necks for the tone, just because it was easy to make them that way, but it does affect the tone.
So things were changed when it made it more convenient of more cost effective. Look how many variations of Gibson humbuckers there are!
So yeah, you have to weed through these things and pick a particular tone.
And then do you make a vintage reissue and have it sound as it was new, or the way it sounds 50 years later?
That's why I wont even touch that whole market! it's too crowded anyway.
It would be possible to describe everything scientifically, but it would make no sense; it would be without meaning, as if you described a Beethoven symphony as a variation of wave pressure. — Albert Einstein
Yep, Im catering only to the new breed of players that dont know anything about antiquity, or care about it, all they want is the future.
Besides like you said its a crowded market, and there are plenty of stunning choices, why try to compete with that?
This new generation of players may get slammed for whatever reason, but they have just as much right to make foul smelling noise as anybody.
What pickups ARE they? What do you mean held together by wax? Esplain please? Pickup sounds great....
You really don't want to know - it is indeed Johnny's fingers that make the sound.
That's a backup guitar, he plays a Gibson L.P. Standard with modded burstbucker pros. Modded yesterday... in 10 minutes he had nailed a half dozen incredible tones from it.
Prior to that, he played am American 50th anniversary strat with a Bluemoon Bottleneck Company JW signature clean boost.
He says he'll see me in three years - he's got some guitar playing to do
Blows me away.
S.
PDF courtesy of Marcus and Rob from Guitar & Bass Magazine
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