User manual AEG-ELECTROLUX GIBSON 2005

[. . . ] FEATURES FACTS ADVANTAGES SALES TRAINING GUIDE WELCOME TO GIBSON USA'S SALES TRAINING GUIDE, A POCKET "FIELD GUIDE" TO GIBSON SOLIDBODY ELECTRIC GUITARS TABLE OF CONTENTS Highlights of Gibson history. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 WOOD The nature of wood. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Why Gibson dries wood. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Moisture Equilibrium chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 PICKUPS Output chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [. . . ] In the transition to heartwood, material called extractives begin to form in the cell wall. SOFTWOOD TREES ­ Pines, spruces, firs, hemlocks and cedars, characterized by needlelike or scale-like foliage (usually evergreen) and a main stem with lateral side branching. HARDWOOD TREES ­ Classified as angiosperms. In the U. S. , hardwood trees are deciduous, dropping their leaves in the fall. FIGURE ­ The distinctive or characteristic markings on longitudinal or side-grain surfaces can result from particular anatomical features or various abnormalities. The orientation of the surface in the cutting process also affects figuration. 4 WATER AND WOOD ­ Wood picks up and keeps water easily. Growing trees contain a great deal of water. One board-foot of freshly cut red oak has about 1. 1 quarts of water, but in a typical interior room, it will give off water until it contains only 0. 1 quart of water. SHRINKAGE AND SWELLING ­ Wood changes dimension when it looses water. From fresh-cut to dry condition, a piece of wood will lose about 10% of its volume. STRENGTH ­ Below 30% moisture content, wood becomes denser and compact as it dries and its fibers become stronger and stiffer. Wood at 12% has almost twice the bending and compression strength as green wood. WHY WE DRY WOOD · Control shrinkage and swelling · Reduce weight · Improve machinability · Reduce degrade · Reduce decay and insect attack · Improve glue adherence · Improve finishing properties · Improve strength 5 EQUILIBRIUM MOISTURE CONTENT TABLE 120° F 48. 8° C 30° F 1. 1° C 40° F 4. 4° C 50° F 10. 0° C 60° F 15. 5° C 70° F 21. 1° C 80° F 26. 6° C 90° F 32. 2° C 100° F 37. 7° C 110° F 43. 3° C "We dry wood to below 7% moisture content, " as some guitarmakers claim, is a meaningless statement. Wood should be dried to a level of "equilibrium" ­ where it neither gains nor loses moisture content ­ and that level depends on the temperature and humidity of the facility. GREEN ­ At Gibson USA, we maintain humidity at 45%. At a temperature of 70 degrees, wood reaches the equilibrium level at 8. 5% moisture content. YELLOW ­ "We dry below 7%. " If "below 7%" gets down to 6. 5%, then this guitarmaker needs to keep his plant at 35% humidity with a temperature of 100 degrees. RED ­ A guitar maker in a dry climate, with a humidity level of 25%, needs to dry wood even farther ­ below 6% ­ to reach equilibrium. 5% 10% 15% 20% 25% 30% 35% 40% 45% 50% 55% 60% 65% 70% 75% 80% 85% 90% 95% 98% RH 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 4 11. 3 12. 4 13. 5 14. 9 16. 5 18. 5 21 24. 3 26. 9 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 4 11. 3 12. 3 13. 5 14. 9 16. 5 18. 5 21 24. 3 26. 9 1. 4 2. 6 3. 7 4. 6 5. 5 6. 3 7. 1 7. 9 8. 7 9. 5 10. 3 11. 2 12. 3 13. 4 14. 8 16. 4 18. 4 20. 9 24. 3 26. 9 1. 3 1. 3 1. 3 1. 2 2. 5 2. 5 2. 4 2. 3 3. 6 3. 5 3. 5 3. 4 4. 6 4. 5 4. 4 4. 3 5. 4 5. 4 5. 3 5. 1 6. 2 6. 2 6. 1 5. 9 7 6. 9 6. 8 6. 7 7. 8 7. 7 7. 6 7. 4 8. 6 8. 5 8. 3 8. 1 9. 4 9. 2 9. 1 8. 9 10. 2 10. 1 9. 9 9. 7 11. 1 11 10. 8 10. 5 12. 1 12 11. 7 11. 5 13. 3 13. 1 12. 9 12. 6 14. 6 14. 4 14. 2 13. 9 16. 2 16 15. 7 15. 4 18. 2 17. 9 17. 7 17. 3 20. 7 20. 5 20. 2 19. 8 24. 1 23. 9 23. 6 23. 3 26. 8 26. 6 26. 3 26 ( R H = R E L AT I V E H U M I D I T Y % ) 1. 2 2. 3 3. 3 4. 2 5 5. 8 6. 5 7. 2 7. 9 8. 7 9. 5 10. 3 11. 2 12. 3 13. 6 15. 1 17 19. 5 22. 9 25. 6 1. 1 2. 2 3. 2 4 4. 9 5. 6 6. 3 7 7. 7 8. 4 9. 2 10 11 12 13. 2 14. 7 16. 6 19. 1 22. 4 25. 2 1. 1 2. 1 3 3. 9 4. 7 5. 4 6. 1 6. 8 7. 5 8. 2 8. 9 9. 7 10. 6 11. 7 12. 9 14. 4 16. 2 18. 6 22 24. 7 6 GIBSON PICKUPS Gibson pickups have not only set the standard for the guitar industry since 1935, they have dramatically influenced the evolution of popular music from the warm jazz tones of Charlie Christian to the pioneering rock sound of Scotty Moore with Elvis to the crunching modern rock of Jimmy Page. PICKUPS 490R 498T MAGNET Alnico II Alnico V DESCRIPTION warm, full sound, boosts upper mid-range (hotter), enhances midrange and highs Standard Gibson pickup configuration, perfect for rock. [. . . ] Under each fact, designated by AD, is the advantage to the player. FEATURE # Fact AD Advantage PICKUPS makers # Gibson invented the double-coil humbucking pickup AD Still setting the standard followed by other # Many choices of magnets and coil-winding configurations AD Smooth to edgy tone, and everything in between # 2-wire or 4-wire capability) AD Vintage wiring or modern (with coil-split # Tight fit between polepieces and handmachined baseplate AD No lost vibrations, minimizes feedback 9 24. 75" SCALE # Less string tension required to tune up AD Smooth, slinky feel AD Beefier tone # Allows for heavier-gauge strings # Frets spaced slightly closer together AD Easier to do the Chuck Berry rhythm part (on E chord) TUNE-O-MATIC BRIDGE INVENTED BY LEGENDARY GIBSON PRESIDENT TED MCCARTY IN 1954 # Adjustable saddles AD Fine-tune intonation for each individual string, for any string gauge or action height # Overall height-adjustable AD Easy adjustment to raise or lower action AD No individual string adjustment necessary to conform to fingerboard radius # Industry standard AD Copied by other makers, never equaled STOPBAR TAILPIECE INVENTED BY GIBSON IN 1953 # Seperate from bridge-allowing height adjustment AD Adjust downward to increase string pressure on saddles = less slippage, more sustain AD Adjust upward for less string pressure = "slinky" or "spongy" feel when bending strings 10 SET NECK (EXCEPT "NECK-THRU" FIREBIRD MODELS) # Glued neck joint ­ not bolted or screwed ­ for maximum contact between neck and body AD Neck and body function as single unit = better tone, better sustain # No air space in neck cavity AD No loose or misaligned neck = no "shimmy" or tuning problems ANGLED HEADSTOCK tuners = better sustain # Strings cross nut at an angle of up to 17 degrees, increasing string pressure AD No loss of vibration of strings between nut and AD Strings stay in nut slots (no buzz) AD No need for "string trees" or "string guides" to compensate for bad headstock design 11 BINDING VERY LABOR INTENSIVE, BUT MAKES A GUITAR LOOK BETTER. AND. . . # Protects edges damage AD Fewer dings in areas most susceptible to # Neck binding installed over fret ends (most makers install frets after binding, exposing fret ends) AD Smooth neck, no cut hands LACQUER FINISH NITROCELLULOSE LACQUER (MULTIPLE COATS ON MOST MODELS) INSTEAD OF POLYURETHANE USED BY MOST GUITAR MANUFACTURERS, USED BY GIBSON ON ALL MODELS SINCE 1894 # Repairable AD Scratches and dings can be touched up. [. . . ]