Gibson '57 Classic Reissue

As far as specs go, I guess it's considered low output, but to my ears, it's fairly powerful. At any rate, it sounds more powerful than the SD Alnico Pro it replaced. I'd characterize it as medium output. The 57 Classic is also an alnico II equipped pickup, and I guess that means it should sound warmer than other types of magnets, but I've heard it said that the pickup design has more to do with that than the magnets.

I got the zebra open coil version. I can't comment on the difference in sound versus the nickle covers, I just like the look of the zebra.

The 57 has been installed in the bridge position of my ESP LTD PB-500, replacing the aforementioned SD APII. I primarily wanted a little more grunt, a little less glassiness, and more easily attained pinch harmonics than the stock pickups could provide. I tried a Dimarzio Tone Zone at first, figuring that since I play metal, it would more easily suit my style. I was sorely disappointed. So, I decided that, though I'm playing music that is considered unworthy of the classic PAF tone, I opted for a Classic 57. I had remembered playing a Gibson LP '58 Reissue guitar with 57 pickups in it, and it stuck in my head how balanced and smooth they sounded. So I gave them a shot in this guitar and they're excellent.

While the typical Gibson LP sound is what these pickups are made for, I've found that they easily make the stretch in high gain territory. In fact, I think they sound better for the D-tuned metal I'm playing than pretty much any other pickup I've tried. This includes, the SD JB, Pearly Gates, Screamin Demon, Invader, Gibson Dirty Fingers, 500T, Burst Buckers, and Tony Iommi, EMG 81 and 707, a random Bill Lawrence PAF type pup, and last and probably least, the Dimarzio Tone Zone. I realize tone is relative, but for those of you who say that the 57 Classic isn't suited for metal, you're flat-out wrong.

Palm mutes sound excellent, harmonics are there in spades, it's got a fair but not overpowering amount of compression, provides excellent sustain, and solos in the higher registers are cutting in a good way.

I wish it sounded a little rounder on clean, and also that it cleaned up with the volume pot a little easier, but that's me nit-picking.

I wanted a smooth, even sound with good dynamics and a little extra bite, and that's exactly what this pickup delivers. I'm a believer in the Gibson hype now...for the pickups, not the guitars :)

I do have one technical complaint. I know that purists like the old-style cloth wire covers and the braided ground over that, but seriously, it makes it so much more of a hassle to install it! I wish Gibson made this pickup with plastic wire covers instead. It sounds silly, but if you install your own pickups, you'll know what I'm getting at.

Still, this pickup is excellent and well worth the extra hassle (and money) required to get it.

Passive alnico II pick-up with wax potting. I use the black uncovered version.

My Les Paul Classic Antique came with the 57' classic in the bridge and the 57' classic plus in the neck. I also have a EMG-81 loaded ibanez and EMG-81 loaded ESP for comparison purposes.

I love the EMG sound and it does serve it's purpose, but 57's get a lot more use. 57's have lower output, but far more character.

For all my guitars, I run through both a VOX AC-30 and Mesa Boogie Road King, with a series of effects.

It's the vintage PAF sound without any noise. These are well potted. The 57's are great for classic rock and hard rock, and anything that involves chords or power chord heavy. You can expect buttery cleans and also allows for smooth mid-range distortion with complex harmonics and very nice sustain. It is a lower output pick-up, but a good amp can compensate for that with no problem.

EMG's are better at 80's metal and virtuoso style playing. Personally, I find the EMG's to be easier and superior when trying to hit artificial and pinch harmonics and on fast shredding, but they do not have the nuance and character that 57' classics do. If you are into metal, get an EMG, but for most other styles, I really believe '57 classics are the way to go. Tone dominates speed in my opinion.

As guitarists, we spend a lot of time and money chasing tone. Pick-ups are a major part of your sound, and I don't think $100 or so is very expensive to enhance your sound dramatically, which this will do. If I lost this guitar, I would definitely buy it again with the same pick-ups. Of course if I get more guitars, it is all about versatility and I would try other pups too.

No one individual pick-up, amp, guitar, or effect can do all things in all styles the best. I think it is good to have a couple different guitars that cover all your bases, but I think any arsenal missing a 57' Classic pup is just not complete. They are hands down the best I played with respect to tone.

The black uncovered versions.

Installed in an Epi LP standard, in the neck and bridge. Currently replacing 490R/498T, but ive tried quite a few different pickup combos in this guitar. Reason for replacing? 490R/498T's were kind of "BLAH"

I know these are PAF like pickups, and are low to medium output by all standards. However, I get lots of growl from these pickups, even on a clean setting (this is good for me). Maybe it's because they are uncovered. At least to my ears (same guitar, same setup, same strings, same amp, same pickup height, same everything) they are higher output or dirtier sounding than the 490R/498T. However, they are also clearer sounding, and full, without being brittle or overly bright. I play blues, classic rock, and some modern rock. Nothing heavier than say, Stone Temple Pilots or Buckcherry. These pickups are excellent for this type of music.

Ive tried tons of pickups in this guitar. I should say, that i rewired this guitar completely. A new jack, new switch, all new wiring, CTS 500K audio taper pots, Sprague orange drop caps. It made a huge difference, as I would describe Epi stock wiring as an ugly jungle. Since the rewire, i've tried SD phatcats, the 490R/498T, and now the Classic 57's. I really like the Classic 57's the best. They have note clarity, and a good amount of balls. That equals the perfect pickup for me. Those people stating that they're crap either A. installed them incorrectly, B. Have a crap guitar, or crap amp, or both, or C. Just don't know what they're talking about.

Bottom line, if you have a decent guitar that is correctly set up, with a decent amp, these are an excellent upgrade. If you can't get good sounds out of these pickups, you probably can't get good sounds out of anything.

I bought two new '57 Classics with nickel finish shield/covers for $95 each.

They came with plenty of "push back" lead cable, and their own screws and springs, in their own little aquarium-like clear plastic display boxes.

'02 Les Paul Studio Gothic with stock set 490R/490T AlNiCo pickups.

The stock pickups are great Rock&Roll pickups and pretty verstile. They're hot, and a little dark sounding, but with good midrange wallop and great grind when used with distortion.

I wanted more clarity for both clean and dirty sounds, but not thin.

I tried some Burstbucker #1's in both positions, and while I liked the neck pickup, combined they were a bit thin and nasally on this guitar. The bridge lost some of the wallop and grind with the Busrtbucker #1's.

The '57 Classic is a P.A.F type, like the Burstbuckers, but fatter sounding.
Not particularly "hot" output, but certainly sufficient to drive a decent amp. Hotter than Burstbucker #1's, but just a bit less hot than the 490/498 set.

I got the greater clarity I was looking for, but still a good smooth fat PAF sound with good grind and top end when you want it.
Sort of moves the frequency response center up a bit higher, and widens it some for a bit higher fidelity. Lost some bass whack in the process, but it still gets the massive Les Paul sound like Clapton with Cream era. Less mud! I just adjusted the amps and got the bass back again too. Nothing to complain about.

I use it with a Fender Cyber-Deluxe; Tech 21 Trademark 60; and Kustom '36 Coupe amps. Also sometimes a little Kustom 12A Tube practice amp.

I play everything from jazz to Classic Rock & Blues, early R&B, and even some Country and Pop sounds inside everything else.

These '57 Classics are great pickups for everything I want from this maple capped Les Paul with these amps. A couple of my amps will even do quasi-Metal sounds with these.
Good jazz sound from the neck pickup, through good combined and bridge pickup only distortion sounds with great harmonic content and a crisp, sweet high end. Very Clapton or Duane Allman classic massive Les Paul blast available.

These pickups give me the best Rock&Roll Les Paul sound I've ever had, with no detractions.

Previously, I had an ES-175 with '57 Classics that I HATED, for Jazz sounds on that hollowbody. Thin and generic sounding. Burstbuckers are better for that, especially in an L-5.
But in this Studio Les Paul, the '57 Classics work superbly for jazz and a lot more.

More versatile than the Burstbuckers or 490/498 pickups. Wider range. A bit more sophisticated sounding than the 490/498's, fatter than the Burstbuckers. Right in the sweet spot for output AND tone.

They could be dirtied up some by removing the covers, but I'm not doing that. They're perfect as-is. Just right. Solid AND airey enough without nasally sounding or "fragile" top end. There's a glassiness to them that doesn't dominate the sound with shrillness or icepick-in-the-ear trebles. It's the classic PAF sound on a Les Paul, to my ears.

Can be rolled back with the guitar's pots without losing all character from the sound. I don't use bleeder caps. Just the stock wiring that came with the guitar. I've changed only the pickups.

I can't think of a PAF style pickup I've liked better and I've tried them all from Dimarzio, SD, and Rio Grande. Most makers wind them too hot. The Burstbucker #1's are brighter and work well on a hollowbody IMHO, but these are perfect for the amps and sounds I want, which go from clean to Blues "grit," to Classic and Hard Rock distorted massive punch, grind, and harmonically rich chimey soloing.

I use nickel wrap strings (GHS "Nickel Rockers," or Curt Magnan "Fusion" wrapped nickel), in 10's.

I've been playing guitar since 1960.

Potted humbucker with medium output - alnico II magnet, vintage enamel coated wire, nickel plated pole pieces, nickel slugs, maple spacers and vintage-style, two-conductor braided wiring

Installed in the neck position of a Guild X-150D (2-PU) archtop, maple lam constuction. A good replacement for the stock, bit-too-bright Guild humbucker. Wire leads on the bridge PU were switched to keep both neck&bridge PU's in-phase.

The medium output and deeper, balanced tone makes this a perfect pickup for maple-lam archtops, which are inherently brighter sounding instruments. Being wax potted helps control feedback. I play jazz with this guitar, and only use the neck PU - but the middle position sounds fine for rockabilly - make sure both PU's are in-phase. I play through a decent, consumer-level tube amp - it sounds great.

Having played the Guild for about 5 yrs, I feel this pickup improves the tone, and makes it more comparable to Gibson's ES-175 - the main difference being around $1500 (less). My approach is gin-clear tone, moderate to low volume, zero breakup. I suspect some of the other, less expensive maple-lam hollow-bodies could benefit from installing this PU.

Nickel cover

1991 Les Paul. I replaced the crappy ceramics. Don't know if they were stock or not, bought it used, but they were horrible.

Output level is rather low for a humbucker, but that's exactly what I wanted. Output is not balanced between neck and bridge (but that's ok with me). Neck is lower than flush and the bridge is higher than I would normally have it and the neck is still louder, but again, it doesn't bother me. I get great sounds in all 3 positions.

The sound is springy and bouncy. I know that's not a good way to describe it. Think of the tones on Let There Be Rock, especially the rhythm. I love the raw sound, but it's not gritty, more smooth, yet still "nasty" sounding.

The exact sound I wanted. I think too many people rely on high output pickups and mistake that sound for good distorted tones. With a lower output pickup, I can turn the amp up louder and let it do its thing without an unnecessarily loud or "gritty" pickup getting in the way.

Passive Gibson Humbucker about 8.5 ohm nickel cover. Features that Gibson PAF tone, Single lead.

02 Gibson Les Paul Standard 50's neck, Neck pickup, Replaced a Burstbucker pro and Seymour Duncan '59 SH-1n, Bridge is a Classic Plus. I got the guitar new with Burstbucker Pros and couldn't get rid of them fast enough. They were not the PAF tones I grew up with nor was the Duncan SH-1n.

Output is medium to me, they are bright and especially rich in the mids. Running thru a Marshall JTM45 they are very familiar old school. I need to share my opinion of tone difference between the '57 Classic, Burstbucker Pro and the Duncan '59 (which they admit are a little scpooped in the mids. The Pro and the '59 are pretty but soft and unfocused. They sound nothing like the '57 to me. The Classic '57 is bold, tight and focused right into a true PAF tone. They are very mid strong and can be edgy and brash if you don't dial in your amp and effects for them. Once I adjust my gear for these pickups they have the undeniably best professional sound. Clean there is a huge range of tones on my les paul with the Classic and Classic Plus combination. Allman Brothers to Jimmy Page. I replaced the bridge pickup from a Classic to Classic Plus thinking I would get closer to the famous "'59 PAF tone". I'm not sure about the '59 tone but I do like the Plus better than the classic in the bridge. It seems to sound almost identical to the classic but the bass and treble are a little hotter (which leaves a very very slightly scooped mid, not like the Duncan '59 where the mids are totally elusive). The Plus in the bridge works a little better for distortion. With a Boss DS-1 in front of my JTM45 the sound is Ted Nugent to Scorpions and a lot of snappy blues licks. While the bass gets a little mushy (not muddy) it's still rich and when I play lead up around the 12th fret it all just screams. I can nail the "Rock you like a Hurricane" lead tones. I have an Ibanez with a Duncan JB in the bridge which I really like too but it's very different than the Classic. It's tight with good mids and bass but the upper mids and treble are not as rich as the Classic. Good for harder and heavier but still steril when compared to the Gibson. I may get another Les Paul and experiment with other pickups but this one is keeping the '57 Classic/Classic+ combination. It's damn near perfect!

I will always have a Les Paul with these pickups in it. I've got close to 40 years of music in my head and I here these Gibsons all over the place. I do love them. Alnico II's. Slash plays a Les Paul thru a Marshall. I think he has a pretty clean tone (Marshall Jubilee!!) and a decent distortion tone (Marshall/Les Paul combo) but he does NOT have the tone the Classic '57s have. He has the Duncans. Maybe it's the Vintage 30's (I like my Greenbacks) but I have never really liked his tone. But it's HIS tone, he has made his mark, and has come a hell of a long way as a player. Respect. BUT these Gibson '57 Classics are the real thing. They take me there.

Humbuckers Low - Medium Output

Epiphone Les Paul
57 Classics in Bridge and Neck Positions

Changed out of stock pickups which were okay, but muddy.

Low to Medium Output
Using Sonar and Amplitube Mainly

Tone is balanced perfectly. Good highs and mids and fat bottom. Most importantly each note is CLEAR. The clarity and depth of tone is outstanding. You may not get a particular 'sound' 'out of the box' - but all the greats make their own. What these pickups give you is a great starting point of just good, clear tone. Harmonics are strong. Both bridge and neck positions are great. Be sure to calibrate pickup height before you judge!!!

I play Rock, Classic Rock, Blues
Heck Yes it's a good match - Perfect Match for Les Pauls.

I would absolutely replace these pickups. The negative reviews for these pickups are hard to buy because none of the complaints refer to how these actually sound. Their issues sound like either incorrect installation or other issues in their gear chain. If there's any turn-off it's the mid to fat bottom end. But there are hardly any complaints about that!!! Definitely too bassy for screaming metalheads.

8.20 K

Gibson Gary Moore Les Paul

Neck and Bridge

tried everything (see later)

Yes

Noting sounded good

Quite strong... just right

Egnater TOL 50, 73' Park superlead 100

Quite open, bright, but fat at the same time

Classic rock, blues, country rock

Works well in all positions

That guitar came with Burstbucker 1 in both position. It sounded rather harsh in the treble area, ans the front pickup never quite had that "woman tone"...just too bright and "spikey". Then, I tried a Burstbucker 3 by the bridge... The same annoing high-mid spike...just louder. Then, I replaced the bridge pickup with a PRS HFS. mbetter, but didn't sound organic enough...Too modern and, when both pickups were selected, didn't sound right to me. Next were a pair of Duncan's Seth Lover. Almost right, but a bit tame, and the front pickup was a bit dark... So a spent more money and bought a 57 Classic to put in the front, and a 57 Classic + to put by the bridge. Still didn't sound like what a $2000 guitar should. But, and try to follow me on this, I then discoverd that the volume pots on this guitar were 300K... (weird, isn't it?)... I changed them to 500K...Lot better, but the 57+ had kind of a bloated midrange content...Lower in frequency than the Burstbucker, but still... So, I bought an other 57 Classic to replace it... Now it is just right... Not really less powerfull than the 57+, but more open, brighter, but still fat. Now it sound like the Les Pauls that we grew to love so much...

This pickup is a passive humbucker modeled after PAF's of the fifties.

I installed this into my 1975 Les Paul custom in the bridge position to replace a broken EMG some idiot put into the guitar before I bought it.The neck pickup is the stock 1975 Gibson (made in USA stamped)humbucker. I wanted this pickup to be close in output level to the stock front pickup and it is.It's an exact replica of the old PAFs and it fit perfectly with no messing around.

I'm playing it into my Marshall reissue SLP plexi head and into my 1968 Fender Deluxe Reverb, and into my 1969 Fender Super Reverb.
First of all, years ago I swore I'd never buy another Gibson replacement pickup after being so disappointed in the sound of the humbuckers they made in the 1980's and 90's but I took a chance on this one and was very happy to discover that it's a great pickup.
It's got tremendous harmonic content, great bright presence without any brittle thin high and, perfect amount of mids and bass, and tone, tone, tone. VERY close to old PAFs I've heard, very musical, not nasal and frequency notched like a lot of boutique pickups....it's a very nice, balanced, wide frequency spectrum that doesn't accentuate any particular part of the sound spectrum and therefore sounds very musical and sweet....a poorly made humbucker always spikes in a particular frequency and can sound either nasal or shrill....the Gibson 57 classic doesn't have any of those problems. You really hear the sound of the guitar, the sound of the strings, ....after all a pickup is just a microphone...this pickup/microphone accurately reproduces almost ALL of the pleasing harmonic content of the guitar accurately. I play blues, pop, heavy metal, rock-a-billy and surf music and this pickup can handle it all. It sounds amazing through my Deluxe Reverb especially. The stock 1975 Gibson neck pickup sounds very good but this 57 classic is a lot sweeter and more musical.I don't think it's a good choice for someone who wants a "modified stack" sound because it's not a high gain pickup. You'll get a lot more distortion out of a high-gain pickup than you will out of this pickup but if you play clean too, this pickup blows away most high gain pickups for tone. I use Dimarzios in my other guitars, (Fred, super distortion, and Steve Morse models) and they are good pickups for loud stuff but can't compare when I'm playing a clean song.
So....if you want to sound like Metallica, don't buy this pickup, but if you want to sound like old Clapton or Peter Green, buy this pickup.

I would definitely buy more of this pickup for my vintage guitars. I've been playing over 30 years. I'm glad to see that Gibson's pickups are vastly better than they used to be. If your style leans towards classic rock, this pickup is perfect for you. It avoids the major flaw of most boutique pickups....it doesn't accentuate one particular sound band...yeah, you might love your old Barden pickups but they sure sound middy to me....and I hate that. it's all about HARMONIC CONTENT.