User manual AEG-ELECTROLUX GIBSON MEMPHIS

[. . . ] Gibson added a second pickup to the ES-300 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 exploited by Hawaiian steel guitarists for almost twenty years, it took the persuasive powers of Les Paul, the world's most famous 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 10 also to make it difficult for other makers to copy. Les, who had been playing a homemade solidbody guitar, nicknamed The Log, since 1941, specified a maple top cap to increase sustain, coupled with a mahogany back to lighten the weight. [. . . ] Among the many examples of the P-90 sound are Scotty Moore's ES-295 on Elvis Presley's first recordings and Tracy Chapman's ES-125T on "Give Me One Reason. " Pickup adjustments. Although the pickups on each guitar are set to Gibson standards at the factory, they can be adjusted. The height of the pickup can be adjusted by the two screws found 17 at either 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 pickup 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 closest to the fingerboard control volume. The volume knob nearest the bridge controls the "rhythm" or neck pickup; the knob nearest the edge of the guitar controls the "lead" or bridge pickup. Tone controls: The knob or knobs farthest away from the fingerboard control tone. The tone knob nearest the bridge controls the "rhythm" or neck pickup; the knob nearest the edge of the guitar controls the "lead" or bridge pickup. 18 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 addition of bass. The tone control turned all the way counterclockwise results in maximum reduction of treble and produces the "darkest" sound. Any change ­ in bridge height, string gauge or climate ­ can affect the intonation and cause a guitar to play out of tune in some fret positions. When this happens, the string length needs to be adjusted, and this is accomplished by moving the individual saddles forward (toward the neck) 20 or backward (toward the tailpiece). The screw heads are on the pickup side of the bridge, although there are many Gibsons that have the screw heads facing the tailpiece. To check intonation, compare the pitch of a string that is fretted at the 12th fret against the harmonic at the 12th fret (accomplished by touching the string lightly with the left hand, without pressing it all the way to the fret). If the fretted note is higher than the harmonic, the string should be lengthened by moving the saddle toward the tailpiece until the two notes are the same. If the fretted note is lower than the harmonic the string length should be increased. The tune-o-matic bridge was designed to adjust for string changes (gauge or type) and other physical changes but not for problems with intonation due to string wear. [. . . ] Your guitar is strung at the factory with "10's" ­ which means the high-E string is . 010 inches in diameter. The set is designed so that all six strings have the same amount of tension, ensuring that the action and the volume will be consistent across the entire fingerboard. Gibson offers "9's", "11's" and a variety of other string gauges and compositions, all of which are balanced for consistent tension. Gibson has been making its own strings since 1907, and Gibson has more experience than any other string maker when it comes to matching strings to Gibson guitars. [. . . ]