All user reviews of 5/5 for the Gibson Classic 57

Mounted in the neck position in my Epiphone Les Paul 2000 with 50's wiring and condos in oiled paper, this reissue by Gibson PAF brings me exactly what I bought.
A warm and thick wonders to play BB or Albert King with a nice overdrive.
Also splendid clear sound with good bass that gives a lot of scope.
Used in conjunction with his brother Classic 57 Plus, more nasty, it can cover a wide variety of registers.
It should also be some time for balanced sound from two microphones each with a strong personality.
But when it's done is that of happiness.
I have no intention to part with it, but if I had to make the choice again I will sign without thinking.

These two (beautiful) microphones have replaced the original ones with an Epiphone LP. Who can not afford to offer Traditionnal Gibson, I opted for the transformation of the Asian cousin.
The goal here is not to say all the good I think of the little Epi (I also left a review on its own product page), but frankly, with this pair of Classic 57, we come squarely in another dimension, the big boys in some way ...

If I let myself tempted by the adventure Les Paul, it was primarily to open my horizon of blues-man accustomed to monogamy with his strat, but glancing toward adultery humbucker. So for me, double windings = passage Clapton / Guy Led Zep, possibly more in the hard 70, but not large saturations.

Well, bingo! I find with all these mics creamier than I expected from a Les Paul, a large reserve of power but always with elegance and harmonic endlessly. It's round, it's hot, and if you push the volume knob, rekindles the fire with a grain very 'Pagien. "Riffs AC / DC also go very well.'s Gary Moore And, I do not even speak (in fact if: amazing!)

The grave (57) is really perfect for me, because very typical blues. The chevlaet (57 more) is talking faster powder than his colleague of the handle. I do not think that only the small difference between their output levels (the basic argument for the creation of 57 "plus") explains that: height adjustment must also intervene.
I've done what Mr. Gibson called me and was on his own guitars (a couple 57/57 + so) but I'm not sure basically a couple 57/57 has sounded very differently (after saw the small difference in price compared to the total cost ...).

Clarification, I redid all the electronics including condos bumblebee put: to take into account as they affect the sound.

The prices might seem high, but this is the kind of micro which we do not discard (unless they have really stuck in musical direction sought). There are many mics cheaper, but if you are demanding and do not hesitate to change to achieve perfection. Save time (and money): take all these Gibson-de-away!

I set up a classic set Classic 57 & 57 + on a beautiful Epiphone BB KING who asked it.
General of the dominant character set is a classy sound: power and sweetness, an uppercut in "velvet glove".

1 /: The clean sounds are very hot:

In round is big and fat, very medium and always accurate.
In a deluxe reverb, or any Blackface is brilliant, powerful and slamming, is approached by Albert King.
The sustain is delicious, the bends blues go weightless.
This mic is also a marvel in its typed Jazz, one approaches the spirit blue note (Grant Green and others), it almost seems to play a jazzbox if we lower the tone ...

The microphone is never acute nasal, yet thick sound, the treble does not shine, it could be a problem on any stringed mahogany, sound may be too dark.
on a 335 type guitar, the sound is recovered rock 'n roll, classic 60 years', with the honk and roundness, it can be renter in it without ever having an unpleasant stridency treble.
Often, this micro-air reminds me of the type of sound funky Johnny Guitar Watson. (Superman lover ...)

2 / Crunches:

can be pushed far enough, the microphones without cashing Bonche.
We reached the levels of overdrive type southern rock / ZZ Top (Allman bro & lunyrd Skynyrd) without problem.
but rather as a player of Chicago blues & soul-jazz, I never push my tubescreamers drives (I rather boost). So I get light crunch that I more or less smooth volume knob, the deluxe does the rest.
We are in the sounds Freddy King, Albert King, Luther Allison, Joe Louis Walker.
Briefly, this tradition of bluesmen blacks who have chosen the "BIG SOUND PAF GIBSON tearing a fender blackface." Not very elegant, yet powerful & elegant with juice ...

this set will transform your large Epiphone guitar blues rock.
To fully enjoy if we play blues-rock: an all tube Fender amp, blackface or tweed + Ts like, is essential if you will not reach the levels of nuances that make all the difference. You will more certainly, but not the cream of the crop that is the smoothness of this set.

It's been quite a while I was looking for a neck pickup "perfect". The PRS vintage bass came close (but also vintage trs trs prcis, sounds excellent in Clais and saturation), but it does not assemble well with other mics and non pRS the blues a little dirty, it's too clean. The Seymour SH2 Jazz is too clean, even worse, unable to crunch the symour 59 is not bad but not enough and Dfine prcis for me. The classic 57 is splendid:
warm, round, soft (alnico 2), flexible, fluid prcis trs, it has a dynamic standard. One has the impression that the lights in the guitar amp. He has that little extra in mediums that makes ds a lightweight tent that double stop or we attack a little harder, it crunch like no other microphone does. The grain is finer than a 59 Seymour, the sound seems alive. I put on a splendid copy of Les Paul Standard 80's Japanese (Burny) just waiting for a. It sounds beautiful in trs clear because there is a prsence, an indescribable harmony in crunch is the most beautiful sound to me to hear and t given in OD or saturated, has taken well to the guts!
This much, the guitar team and gives a clear trs hot but in the end because that can tire unclear. The magnet pickups give Alnico2 less powerful so you have more wire and exploded takes a hit, even if a crunch provides madness.
Attention, it has a volume when even powerful enough to handle and does not agree with all the other vintage mics. To grant a 59bridge with which the sound is plutt not bad, it must be physically and low loader station, the screws are often short ... IDAL is to have two or try another alnico 2 in Seymour, the APH1 ... because the two classic 57's overpriced. That said, the costs, we understand why ...

Let's go:
I did use a few days on my Epiphone SG Custom has three microphones (up 3 classic 57 quasiement me much is the price of the guitar, but NO REGRETS!)
It's simple, my guitar has been transformed ... The bass is simply amazing and pull the guts that some force on the attack (especially postion round, ptites rythimques blues / rock n roll send severe!).
In the bridge position, well, just great for solos, be it in max overdrive or clean it always comes out perfectly.
Personal I prefer (in the neck or bridge for solo whatever) in its clean or with a slight overdrive, it's expressed to me that the better!
Position 3 pickups together, to clean with a little reverb (and possibly a wha wha) extra for funky rhythms.
Definitely in terms of its vintage, it fits perfectly in my registry (blues / pop / rock), even in the slightly wanton with the help of a big muff!
Expensive? Certainly! quality but in return! Honestly try it now!
PS: If I c 9 is simply because nothing and no one is perfect

I mount these microphones 2 weeks ago on the Les Paul Custom Custom Shop. These 57 Classic 57 Classic and more come to replace my old 490R/498T. The silent problem that I found these pickups too modern, modern possdant dj amp "High Gain" (VHT Pitbull 100 Watts). Silent sound a bit messy, mushy and over-saturated.

With these pickups in neck and Classic 57 Classic 57 + at the bridge ... Ouuuu what happiness! Saw my guitar! It is much more singing than before, a little also prcise. It's really extraordinary. The sound suits me 100 times better.
Concrtement, I have slightly less bass (but the LP-based does not really dpourvue) a good dose of medium, less aggressive treble which combined to give powerful and aggressive VHT a set unstoppable, all s'quilibrant perfectly. The sound is a little less saturated than before, but much more singing, more prcis, much better, even for the big fat mtal families.

Neck pickup: beautiful, beautiful property acute round, lots of bass, bluesy wish!
Micro Bridge: Extraordinary claret in his clear, not shrill treble, a warm, round, and his is the saturated fte! Mtal no problem, do not talk about rock ... ACDC just me alone!
The runis 2: a sound between the two with the precision of the bridge and round the neck pickup which gives a sound ... Intermdiaire! lol

I do not really regret my purchase, it sounds the fire god. I always found the 490R/498T too this, too cel ... I do not compensate for the amplifier to realize that there was really nothing, silent micro grain in question or that I liked moderately. Now ... Fantastic. A true sound of Gibson families as I hear on my records prfrs.

A lightweight regret: no split possible! (Micros in 2-wire only)

The price? The quality of our answer ... I 140 and 150 euros (sleeping hood) it's expensive but worth the ... Widely.

I mount these on my epiphone humbuckers sheraton II, a classic 57 in handle and a classic 57 over the bridge.
I completely redo the electronics, home is not difficult (4 potnetiometre 500kohm CTS PIO .047 uF capacitor and the handle and a .022 uF at the bridge, ceramics absolutely avoided).
These humbuckers are exceptional, they are extremely rich in harmonics, they have an incredibly dynamic, and each string is clearly audible by the agreements ... a new sensation ...
A bit difficult to do saturate these humbuckers are made for crunch sounds good "vintage" but with a nice pedal (RAT, for example) they come out of saturation very dark in tone with the max (like "Sunshine of Your Love" from " Cream ") and very clear tone with the kids, incredible versatility of humbuckers that are intended to" Vintage ".

I love the possibility to make notes cruncher and not others simply by changing the attack with the plectrum!
in the happiness of fingerpicking is dynamic.
should be forgotten completely accurate and modern distortion (metal or otherwise) ... with the humbuckers is Jazz, Blues, Rock, Hard Rock ...

I had great difficulty in selecting humbuckers especially since it is unfortunately necessary to purchase and mount them on his guitar and tried to power ...
So why not buy on those who are most utilities and most awarded for generations ... and then I cracked ... 85euro 95euro on easels in the neck .. ale ... but it's incredibly worth the trouble !!!!!
I will not have to scratch with humbuckers without the classic 57 and I would do all this choice for my next guitar in a heartbeat ...

Basic stuff: The Indie Paul (guitar English) which is already a great guitar home. However, finding the sound a little too loud in the treble, I was looking for something more vintage, more granular, more consistent ...
I am facing the 57 Gibson. Assembly could not be more simple. Classic race in 57 and 57 classic plus in bridge.
And then .... Waaaaaahhhhhh !!!!!!! It straightens whiskers seriously! The guitar has found a new life. The sound is "sweet" with a "homogeneous fat", not at all aggressive. I would say, almost languorous ... If we really attack, ca straightens even as they damn well send microphones! The sustain is endless!
I who am a fan of Led Zep, I approach the Vintage really typical.
In his clear, the harmonics are a breeze, and the notes stand out perfectly.
With a setting crunch, the blues are gorgeous. While homogeneity.
I had not tried other mics ahead because there must be said that trying microphones is a little hassle because it need a mount on the guitar. So I just trusted to read different opinions here and there.
In the end, no regrets! These pickups are the bomb!
Only criticism (there must be a) the price! February 57 classic, it cost qd same skin c.. but what does that worth it!
A remake?? And rather than 10 times! Skip next to the microphone is a big mistake ...
Warning: for metalhead guitarists or more extreme, these pickups are not for you as too homogeneous.

The PAF is a classic pickup. It was the first humbucking pickup and was invented by Seth Lover in the mid 50s. The PAF stands for Patent Applied For. Gibson could not wait for the patent to be approved before selling the pickup because they knew anyone could go look at the patent and steal their design so right after they applied for the patent they started selling them with that name. This was good because it took a few years for the patent to get approved and by then they were some of the most popular pickups in the market. There are plenty of pickups that say they are PAF relicas. Every passive pickup maker makes one pretty much. The Gibson ones are the closest modern mass produced pickups today that are close to the original PAF. Seymour Duncan makes some special aged PAF style pickups but these are pretty much custom jobs. The 57 Classic is probably the best pickup that Gibsons come with nowadays.. The 57's have just the right amount of sag in the tone so you can really work the dynamics like you would with a set of real vintage pickups. In the neck position is super smooth and when you throw in some tone knob you can get that sour tone like you have a parked wah on. In the bridge position it has a little more bite and spank to it. With some gain you can get good classic rock tones from the bridge pickup. These pickups can handle more gain than a set of PAF's could. Because of their modern design they retain their composure longer than a set of old pickups could. If you have a humbucker guitar and want a really classic sound from it. You can go directly to the source and get some real life PAF's from Gibson in the form of the Classic 57.

Happy owner of an old Ibanez Les Paul (PF300) of 1978, I wanted to boost the sound a bit by changing the PAF pickups Ibanez Super 70 that the teams at the start (and are also excellent but missing microphones can be a bit of definition).
Following information taken from right to left, not being an expert, I thought I had to type in the Gibson because it was the sound I wanted. Then: 490 + R or 498T Classic 57 and Classic 57 +? I chose the latter couple, a little more expensive and seemed to be top for rock, blues and hard rock. In passing, I note that my luthier had discouraged new Gibson pickups (the burstbuckers 1, 2 or 3 that are too biting seems too modern, in short, not very vintage ...)
Having struggled to find a pair 57/57 + (57 in handle and 57 + in bridge) in golden covers, I have finally received (230 euros a pair anyway!) And had them up by my luthier who also remade the connections (about 130 euros per transaction)
And since it's only happiness I will ever be that choice without hesitation! Definition of his perfect, precise, warm bass to fall, sounding treble-haired, huge sustain and full of harmonics, in short, the beginner (2 years of guitar) that I had no trouble to recognize that I spent in the top of the top ... Only the total pleasure to play on my guitar now, and the violin for those old Ibanez is excellent, I now have the equivalent of a Gibson Les Paul more than 1500 euros. Do not hesitate on these pickups, even if you are a bit expensive, you will not regret it!
I put 9 out of 10 not for performance but for the difficulty in obtaining pickups gibson golden in this world and for the price, a bit expensive ...