Gibson_Guitar_Owners_Manual电路图.pdf

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1、OWNERS MANUAL RadioFans.CN 收音机爱 好者资料库 0309-04-GUS10.04 RadioFans.CN 收音机爱 好者资料库 2004 Gibson Guitar Corp. RadioFans.CN 收音机爱 好者资料库 To the new Gibson owner: Congratulations on the purchase of your new Gibson electric guitar the worlds most famous electric guitar from the leader of fretted instruments. P

2、lease take a few minutes to acquaint yourself with the information in this booklet regarding materials, electronics, “how to,” care, maintenance and more about your guitar. And then begin enjoying a lifetime of music with your new Gibson. The Components of the Solidbody Electric Guitar 4 Gibson Inno

3、vations6 The History of Gibson Electric Guitars8 DESIGN AND CONSTRUCTION Body14 Neck and Headstock14 Pickups15 Controls17 Bridge19 Tailpiece21 CARE AND MAINTENANCE Finish22 Your Guitar on the Road23 Things to Avoid24 Strings25 Install your Strings Correctly26 String Gauge27 Brand of Strings27 Strap

4、Button Stopbar Tailpiece Tune-o-matic Bridge The Components of the Solidbody Electric Guitar Featuring a Les Paul Standard in Heritage Cherry Sunburst 12th Fret Marker/InlayNeckFretNutHeadstockFingerboard Tuning Keys Machine Heads Truss Rod Cover Single Cutaway Pickups BodyTone Controls Input Jack T

5、hree-way Toggle Switch Binding 4 Volume Controls Strap Button Stopbar Tailpiece Tune-o-matic Bridge The Components of the Solidbody Electric Guitar Featuring a V-Factor Faded in Worn Cherry 12th Fret Marker/InlayNeckFretNutHeadstockFingerboard Tuning Keys Machine Heads Truss Rod Cover Pickups Tone C

6、ontrol Input JackVolume Controls Pickguard Body Three-way Toggle Switch 5 Here are just a few of the Gibson innovations that have reshaped the guitar world: 1894 First archtop guitar 1922 First -hole archtop, the L-5 1936 First professional quality electric guitar, the ES-150 1947 P-90 single-coil p

7、ickup introduced 1948 First dual-pickup Gibson, the ES-300 1949 First three-pickup electric, the ES-5 1949 First hollowbody electric with pointed cutaway, the ES-175 1952 First Les Paul guitar 1954 Les Paul Custom and Les Paul Jr. introduced 1955 Les Paul Special introduced 1957 First humbucking pic

8、kup 1958 Flying V and Explorer introduced 6 1958 First semi-hollowbody guitar, the ES-335 1961 SG body style introduced in the Les Paul line 1963 Firebird guitars and Thunderbird basses introduced 1969 Les Paul Personal and Professional with low-impedance pickups introduced 1979 L.P. Artist with act

9、ive electronics introduced 1982 First solidbody acoustic, the Chet Atkins CE 1983 Les Paul Studio introduced 1990 Les Paul Classic introduced 1996 Les Paul SmartWood introduced 1998 Double-Cutaway Les Paul Standard introduced 2002 Gibson Digital Guitar introduced 7 A BRIEF HISTORY OF GIBSON ELECTRIC

10、 GUITARS Gibsons legendary acoustic engineer, Lloyd Loar, was experimenting with electric instruments in 1924, at the dawn of electronic amplification. However, Gibsons strug- gle to dominate the banjo market took precedence through the 1920s, and it wasnt until the mid-1930s that the company once a

11、gain turned its attention to electric guitars. In 1935 Gibsons Walt Fuller designed a pickup that was introduced on the E-150, an aluminum-body lap steel. Early in 1936, the pickup was put in a midline archtop model and named the ES-150 ES for Electric Spanish, 150 for the retail price of $150 for t

12、he guitar and amplifier set. The original ES-150 bar pickup with its hexagonal housing is now known as the “Charlie Christian” pickup, because it was installed on the ES-150s and ES-250s that Christian used to establish the new concept of electric jazz guitar. Gibson made several improvements in pic

13、kup design before World War II, although many players still consider the “Christian” pickup to be the best jazz pickup ever 8 made. Immediately after World War II, Gibson introduced the P-90 single-coil, with six adjustable polepieces and a black plastic cover, usually with “dog-ear” mounting extens

14、ions. The P-90 is still in production and still sets the industry standard for a sin- gle-coil pickup. The first postwar Gibson electrics followed the prewar concept of an electric guitar as a conventional acoustic archtop with a pickup installed on the top. Gibson added a second pickup to the ES-30

15、0 in 1948 and then became the first company to offer a three-pickup model with the introduction of the ES-5 in 1949. Although the advantages of a solidbody guitar had been known to Hawaiian steel gui- tarists for almost twenty years, it took the persuasive powers of Les Paul, the worlds most famous

16、guitarist in the early 1950s, to convince Gibson to make a “Spanish style” solidbody. Gibson designed the new model with a carved top, not only to give it the look of a traditional archtop a style invented by Gibson but also to make it dif- ficult for other makers to copy. Les, who had been playing

17、a homemade solidbody gui- tar, nicknamed The Log, since 1941, specified a maple top cap to increase sustain, 9 coupled with a mahogany back to lighten the weight. Les also specified the famous “goldtop” finish. The Les Paul Model debuted in 1952. The bridge and tailpiece were upgraded when Gibson in

18、troduced the patented tune-o-matic bridge in 1954, and the original single- coil pickups were upgraded with the introduction of Gibsons patented humbuckers in 1957. Otherwise, the original Les Paul is essentially the same guitar today as it was when it was introduced. In 1954 the growing popularity

19、of the Les Paul Model prompted Gibson to expand the line. On the high end, the Les Paul Custom sported an ebony finish and low frets for fast action, and it immediately gained two nicknames: the Black Beauty and the Fretless Wonder. On the more affordable end, the Les Paul Jr. featured a flat “slab”

20、 top and a single pickup, and it became the best-selling Les Paul of the 1950s. One year after the Les Paul Jr., Gibson offered a two-pickup version of the slab-body model called the Les Paul Special. The Special was further distinguished by its yellow stained “TV” finish. 10 The double-coil humbuck

21、ing pickup, invented by Gibson engineer Seth Lover, debuted in 1957 on the Standard and Custom, introducing the sound that would shape rock and roll music in the 1960s. In 1958, Gibson introduced more important design innovations than in any other year in the companys history. Gibson president Ted M

22、cCarty combined the look of an -hole archtop with the performance of a solidbody and came up with a completely new type of guitar the semi-hollowbody ES-335. McCarty also designed two radical- ly modern solidbody shapes: the Flying V and Explorer. The body of the Les Paul Jr. received a pair of roun

23、ded horns to become Gibsons first double-cutaway solidbody. And the finish color on the Les Paul Model was changed to Cherry Sunburst, which let the grain of the maple top show through. The model name was changed to Les Paul Standard, and the sunburst Standards from 1958-60 would become some of the

24、most valuable collectibles in the guitar world. All of this happened in 1958. 11 The new Les Paul Jr. set in motion a complete redesign of the Les Paul line. In 1959 the Special went to the rounded-horn double-cutaway shape and was renamed the SG Special (SG for Solid Guitar). In 1960, all four mode

25、ls were revamped and given a new “SG” body shape, featuring a thinner, double-cutaway body with pointed horns. The Custom, Standard and Jr. retained the Les Paul designation through 1962, after which they became SG models. Gibsons design innovation continued into the 1960s when Ted McCarty hired leg

26、- endary automotive designer Ray Deitrich to design a Gibson. The result was the Firebird series, and the companion Thunderbird bass series of 1963. The Firebirds “reversed” conventional designs, with their elongated treble-side horn and treble-side tuners. They also introduced neck-through-body con

27、struction and smaller “mini-hum- bucking” pickups to the Gibson line. In response to the rising demand for 1950s-style Les Pauls, the carved-top models were reintroduced in 1968. A new model, the Les Paul Deluxe, featuring mini-hum- bucking pickups appeared in 1969. The Special was revived in the 19

28、70s and the Jr. 12 reappeared in the 1980s. The Flying V, Explorer and Firebird were also brought back into regular production, as musical styles began to catch up with these ahead-of-their- time designs. While the original four Les Paul models continued as the foundation of the line, Gibson offered

29、 new variations, such as the Studio, Classic and Double-Cut Standard, in order to give musicians all the features they wanted in a Les Paul guitar. In the 50-plus years of the Les Paul, Gibson has offered more than 100 different variations. In 2003 Gibson honored Les Paul for his achievements as a p

30、erformer, recording innovator and guitar designer by presenting him a special Artist for Eternity award. As Gibson celebrated the 50th anniversary of the Les Paul in 2002, the company rocked the guitar world once again by introducing the first digital electric guitar. It rep- resents the biggest adv

31、ance in electric guitar design since the instrument was invent- ed, and moreover, it serves notice that Gibson electric guitars will continue to epito- mize the highest levels of Quality, Prestige and Innovation. 13 DESIGN AND CONSTRUCTION Body. The solidbody guitar was invented to increase sustain,

32、 produce a brilliant tone and eliminate feedback caused by a vibrating top. These qualities are enhanced by wood with high density, such as maple. Les Paul would have preferred for his model to have had a solid maple body, but density translates to weight, and a solid maple Les Paul Model would have

33、 been exceedingly heavy. A compromise was reached, with lighter-weight mahogany used for the main part of the body and maple for the top cap. Most of the carved-top Les Pauls have the combination maple/mahogany body, while the “slab” or flat top models have a solid mahogany body. Flying Vs, Explorer

34、s and Firebirds have a solid mahogany body. Neck and Headstock. Mahogany is a time-proven material for guitar necks, and the necks of most Gibson USA models are constructed of a single piece of mahogany. The 14 Firebird or Thunderbird IV bass neck is made of nine-ply mahogany and walnut (or all maho

35、gany laminates), and it extends completely through the body. Fingerboards are of ebony or rosewood. Neck Specifications. Gibson designs its guitar necks to complement and enhance the unique characteristics of each model. Neck profiles can be “rounded 50s” or “slim 60s” (or a slight V-shape available

36、 only on the BluesHawk). Scale length (string length) is 24 3/4 on the Les Paul, X-Factor and SG models, 25 1/2 on the Chet Atkins, Americana and Hawk models and 34 on basses. Pickups.Humbucking (double-coil): Most Les Pauls have double-coil humbucking pickups, which were designed to do what their n

37、ame says: “buck” the hum caused by fluorescent lights, rheostats and other electrical interference. They accomplish this with two coils of wire, wound in opposite directions so that they cancel out interference. Also, they produce a powerful sound that is the foundation of rock and roll music. 15 Gi

38、bson produces humbuckers in a variety of subtle variations, achieved by the use of different magnets and different combinations of winding turns. In addition, some Les Pauls have humbuckers without the metal cover pieces, which results in a hotter signal. For individual model and pickup specs, pleas

39、e refer to Gibsons website, . P-90 (single-coil): Only a few Gibsons some Les Paul Jr.s, Les Paul Specials and Melody Makers have single-coil P-90 pickups. Some have the original “dog-eared” covers; those without the “dog ears” are nicknamed “soapbar” because the original cream-colored plastic cover

40、s on the 1952 Les Paul Model resembled bars of soap. When the P-90 was introduced in 1946, it was the most powerful pickup of its kind. And it still is. Among the many examples of the P-90 sound are Carlos Santanas Les Paul Special on Santanas classic recordings, Leslie Wests Les Paul Jr. with the g

41、roup Mountain, and The Whos Pete Townshend with an SG Special on Live at Leeds and at Woodstock. 16 Pickup adjustments. Although the pickups on each Les Paul are set to Gibson stan- dards at the factory, they can be adjusted. The height of the pickup can be adjusted by the two screws found at either

42、 end of the pickup, in the mounting ring. Individual string volume can be adjusted by turning the polepiece screws. Bringing the pickup or pole screw closer to the strings makes the signal stronger or “hotter.” Controls.The standard Gibson electronic configuration is two pickups, four knobs and a pi

43、ckup selector switch. The four knobs provide individual tone and volume control for each pickup. Models with only three knobs provide individual volume and master tone control. Single pickup models have only two knobs for volume and tone control and no pickup selector. Volume controls: The two knobs

44、 closest to the fingerboard control the volume of the pickups. The volume knob nearest the bridge controls the “front” or neck pickup; the knob nearest the edge of the guitar controls the “back” or bridge pickup. 17 Tone controls: The knob or knobs farthest away from the fingerboard control tone. Th

45、e tone knob nearest the bridge controls the “front” or neck pickup; the knob nearest the edge of the guitar controls the “back” or bridge pickup. The tone controls are the “treble roll off” or “cut” variety. The tonal quality of the instrument is darkened by the reduction of treble rather than the a

46、ddition of bass. The tone control turned all the way counterclockwise results in maximum reduction of tre- ble and produces the “darkest” sound. The tone control turned clockwise to its maxi- mum position allows the pickups full harmonic frequencies to pass through, produc- ing the guitars brightest

47、 sound. Pickup selector switch: The selector switch has three positions. The position toward the neck selects only the “front” or neck pickup. The position toward the bridge of the guitar selects only the “back” or bridge pickup. The middle position engages both pick- ups. The tone and volume contro

48、ls will only be active when the corresponding pickup is selected. On models with three pickups, the selector switch activates the front pick- 18 up (front position), the middle and back pickup together (middle position), and the back pickup (back position). The Tune-o-matic Bridge.The Tune-o-matic b

49、ridge allows for adjustment in overall bridge height and individual string length. Height is adjustable up and down by means of thumb nuts under the bridge at either end. Each string saddle is adjustable forward and back with a small standard screwdriver. Action adjustment (up and down) is set at the factory to the correct height for playing comfort and for buzz-free action. Raising the bridge will result in stiffer action; lowering the bridge will result in faster action but may also result in fret buzz. Climatic or humidity cha