All user reviews for the Gibson Classic 57 Plus

Same as the opinion below ...

I ordered on Thomann version zebra, after mounting my Les Paul had the same sound a jigsaw ... The 500T I retired, which is, however, a ceramic, sounds much less steep, go figure ...

Moreover, the level of C57 + exit seemed really high for a typical micro "vintagepluspechu" ... The worst part is that after a while I typed cuts his ...

Anyway, I already know that the term quality is unknown at Gibson for several years but I did not think it affected the microphones ...

They will think to contact them to discuss the Korean factory specifications ...

In short, I refer to Thomann for refund, new experience for me, hoping that they will support the port ...

Yeah, I could not exchange it against another microphone, C57 + flipped? I thought about it but honestly I'm freaking out a little ... A simple C57? I'm afraid I have a slight lack of potato ...

Result: I did not put the 500T's on my Les Paul for 2 years so I end up with a mono-Paulesquire The neck pickup. Class ...

To summarize I do not know if I'll take a mic Gibson pickups and shops it makes me sweat because I know quedalle and that is mostly pure snobbery, paid a high price ...

If someone can enlighten me in passing ...

Thank you!

Micro Alnico II by Gibson, the difference with the Classic 57 is that the normal model "Plus" has more winding, we find this microphone on a lot of bridge Les Paul Traditional, it has a very vintage and made very rock / bluesy side there is the limitation in the drive, or it will seek to push its limits .... it is very musical and smooth at the same time and at the same time it knows to show resentment .... it releases a lot of bass and top middle, it is a micro wax potted it has a side that can be suppressed too deaf to see some good but .... otherwise also tested for 57 + Classic uncovered (without metal cover) I find the model uncovered much drier and returned it ... except for the big muscular guy drive it will make High Gain draft, better take something like 500T or Duncan SH5 (ceramic) and for fans of micro Gibson Burstbucker there is 2 or 3 (spits more) ... without forgetting the Duncan Seth Lover and Antiquity who are really
PS: micro fetish Lenny Kravitz found throughout his Gibson (Flying V, Les Paul, SG ....) So for the fans ...

The Gibson Classic 57+ has just the right abount of output to push your wood and allow articulation. My favorite combonation is 57+ bridge and 57 neck. I have this set up in a LP Standard 2001---best guitar made in years but that is another review. The 57 will easily push my JCM800, Soldano Avenger, CAE OD100 or Bogner Shiva anniversary into overdrive. At the same time fully strummed chords maintain note articulation. The pickup is well rounded not too dark or too bright. The pluss in the bridge gives the player a tad more power. These pickups allow the guitar to sound unique to the guitars make and model. You can't go wrong with the classic 57. I also have the regular 57 set in a Gibson 335 and SG 61 reissue. The pups work well in both gutiars. I would indeed make the same choice in fact I may put them in the bridge positon of a strat one day.

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!

How long have you use it?
I use it since May 12, 2005, I mounted one hour (to see on my site).
- What is so special that you like most and least?
When I bought it, I wondered how my SG was still sound better, was it possible? Yeah! 498T with my standard, I put my serious knob to 0 for a least a lower, less clutter: the 57 classic plus, it's a rebalancing in mid-high, a feeling of having a truly micro solo bridge, feelings of much finer pick: a wonder!
Have you tried many other models before buying it?
I did not have the 498T in my SG standard, and I wanted to go to the vintage sound
How would you rate the quality / price?
I paid € 139 VPC, of ​​course I'm happy, but it is really expensive!
With experience, you do again this choice? ...
Yes, a hundred times yes .. even if it's expensive!

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 for humbuckers who want 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 ...

I have one of these pickups stock in the bridge position of my Gibson Les Paul Traditional Plus, and from day one I've been pleasantly surprised by how good it is. I assumed that when I bought the guitar that I would need to eventually swap out the pickups to ones that were higher output. My primary plan when I bought the guitar itself was to use it for classic and hard rock tones, and I figured that I would need pickups with a little more kick. I had tried Les Pauls with Burstbucker Pro pickups and really liked those for hard rock, so I figured the '57 Classic/Classic Plus set would simply be too low output for what I wanted to do, probably more suited to blues or jazz. However, from day one of actually owning and using the guitar with these pickups, I've been suitably impressed. They are both lower output when compared to say, a Duncan JB or a Suhr Doug Aldrich, but that doesn't mean that they can't rock.

The Plus in particular has impressed me quite a bit with its general versatility. At its core, I would liken it to a P.A.F pickup, but on steroids. It's a clean enough pickup to work really well for tones where gain is not a player in the sound (IE: country or certain blues tones). The Classic Plus is great for country esque tones that sound surprising for a full (IE: non coil split) humbucker. The drive tones though are definitely my favourite. It can do classic tones with a mid gain sound very well, and considering its output level, that is what you would think would be its niche. However in addition to this there is a really nice top end punch that is perfect for seventies/eighties hard rock tones. It's the type of pickup where you run it harder and use your pick attack and gain from the amp or a pedal to get your saturation as opposed to coming from the pickup itself.

My only problem with the pickup is that it's 2 conductor wired. I want a Jimmy Page coil splitting/phase setup for the guitar at some point, and with these pickups I am unable to do this. That may mean I do finally swap them up, but as it stands right now I've had this bridge pickup in the guitar for 13 months and for now, it is staying.