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A diagram showing a wiring modification for a Les Paul or a similar electric guitar with two humbuckers. Wiring schemes using four push-pull pots for additional pickup combinations were made popular by Led Zeppelin guitarist Jimmy Page and later produced as a signature model by Gibson. The modification shown in this diagram is an evolution of ...
The traditional Stratocaster design guitar features three single coils. [4] The guitarist can control which pickup or combination of pickups are selected with a lever switch. The pickup positions are usually referred to as the bridge, middle and neck pickups based on their proximity to those parts of the instrument. The neck pickup typically ...
Coil taps are most commonly found on single coil pickups, and involve adding an extra hook-up wire during manufacture of the pickup so the guitarist can choose to have all the windings of the pickup included in the circuit, for a fatter, higher output sound with more midrange, or switch the output to 'Tap' into the windings at a point less than ...
[4] The pickup is connected with a 6.35 mm audio jack (instrument cable) to an amplifier, which amplifies the signal to a sufficient magnitude of power to drive a loudspeaker (most amplifiers are above 10 watts). A pickup can also be connected to recording equipment via a patch cable.
The capacitor in the #4 position gives a fuller tone than the otherwise very nasal out of phase tone. The capacitor serves to limit the low end response of the neck pickup, and also phase delays the signal from that pickup, resulting in a fuller tone, not too unlike the #2 and #4 switch positions on a Fender Stratocaster guitar.
Gibson Marauder bridge pickup 1976. Early Marauders had a three-way toggle switch on the treble side of the upper bout of the body (opposite the location on Les Pauls and ES-175s, similar to a Gibson Byrdland), to select either one or both pickups. In 1976, a rotary potentiometer was introduced which allowed a range of blends between the two ...
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Engineer and Gibson employee Seth Lover had developed a hum-canceling circuit for amplifier power supplies and suspected the same concept could be applied to guitar pickups. [1] Ted McCarty authorized the project and Lover spent much of 1954 working on this noise-cancelling or "hum-bucking" pickup design. [4] By early 1955, the design was ...
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