Vintage-Style Humbuckers
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All ReWind Electric P A F pickups are machine wound, unpotted, use rough cast custom AlNiCo magnets, 42 AWG plain enamel wire, vintage correct braided shield pushback hookup leads, butyrate bobbins, maple spacers, period-correct alloy metals, the most authentic machined steel keeper bars, threaded baseplates and other appropriate materials. Many parts are proudly made in-huose at ReWind. All P A F pickups are 100% American made, down to the tape and solder.
All P A F and T-Top humbuckers include Vintage Pulls Series (VP) Covers, which are accurate 1959 P A F replica covers with no copper layer, pole screw hole dimples, and perfectly shaped faces and corners. Rather than simply reduce the treble like common covers, these provide the same enhanced resonant peak of vintage P A F covers, as well as the distinct look and shape of vintage covers. These covers are part of the designed sound of P A Fs and protect the fragile coils and internal parts. These are ReWind Electric exclusive, American-made, hand-processed covers.
“Aged” humbuckers will have an extremely realistic visual appearance like the photo below. They will look like pickups pulled from an actual vintage instrument, not rusted and stained, as if they were recovered from a shipwreck. This is because they are aged in a realistic way, using many layers of physical abrasion and natural compounds. No caustic chemicals are used to rush the process, which would leave an unnatural result. Custom aging is available at an additional cost. Please reach out if you would like pickups aged to match photos of an instrument or your existing hardware.
Sets sold in bridge/neck pairs. For single pickups or sets of 3 or more, please contact ReWind to be invoiced.
Scroll Down For Demos & Descriptions
1950s - 1970s Replica Humbuckers
Artist Sets
VH & VHII Single Humbuckers
TAF Humbuckers
TAF Wiring Harnesses
Descriptions, Specifications, and Demo Recordings
1957 P A F
More treble, greater bass detail, less midrange, and less compression than the 1960 P A F A2 set.
Copied during the research of the 1957 pre-decal P A F featured in “The Gibson "P.A.F." Humbucking Pickup: From Myth to Reality”, Mario Milan and James Finnerty’s book, published by Centerstream, this pickup set exactly captures the distinct voice of the very first P A Fs. Very clear and open, with a wide frequency response and extreme detail on the lower frets of the wound strings. Full of character and interesting complexities, while remaining clean and honest.
DCR: Details Here
Inductance @ 1kHz: 4.941 / 5.138 H
Capacitance @ 1kHz: 4.345 / 4.186 nF
Coil Offset: Near Zero
Magnets: Custom AlNiCo III
Demos:
1957 P A F A3 Marshall
1958 P A F
More treble and less midrange than the Creme Brûlée P A F set. Less treble than the 1960 P A F set , with a hollow voice different from both.
Copied from a beautiful sounding set of 1958 originals, which had distinctly different wire specs and coil designs for the slug and screw coils, these pickups blend the independent and complimentary voicings of the two coils into a collaborative duet of rich complexity. These coils, paired with a particular selection of steels and custom degaussed AlNiCo II magnets result in a hollow sound with a fluty and somewhat metallic vocal quality to the lower midrange frequencies.
DCR: Details Here
Inductance @ 1kHz: 5.306 / 5.531 H
Capacitance @ 1kHz: 4.059 / 3.895 nF
Coil Offset: Medium
Magnets: Degaussed Long Custom AlNiCo II
Demos:
1958 P A F A2 Fender Super Reverb 1
1958 P A F A2 Fender Super Reverb 2
1958 P A F A2 Fender Super Reverb 3
1958 P A F A2 Fender Super Reverb 4
1958 P A F A2 Fender Super Reverb 5
1958 P A F A2 Fender Super Reverb 6 With TS9
1958 P A F A2 Fender Deluxe Reverb
1959 Creme Brûlée P A F
The warmest and most vocal set of the standard ReWind Electric vintage humbucker lineup. More midrange and less treble than other sets, with an open and breathy extended top end clarity.
Very thick, warm, and creamy sounding, while retaining the open and detailed top end of a great P A F. Strong midrange response. More compression than other ReWind sets due to the closely balanced coils and A2 magnets. Installed as labeled, the bridge has a more resonant midrange peak at a somewhat lower frequency than the somewhat brighter and cleaner neck. Flip this set around, installing the neck pickup in the bridge position, for a thick meaty rhythm voice on the neck pickup that really growls and a lead voice on the bridge pickup that cuts through a mix and sings with that sweet woody midrange voice of a great A2 magnet P A F. Any way these are installed, they always roll back to a beautiful bright detailed clean tone when used with a quality 50's style wiring harness with 500k pots and quality caps.
DCR: Details Here
Inductance @ 1kHz: 5.463 / 6.430 H
Capacitance @ 1kHz: 3.918 / 3.368 nF
Coil Offset: Minimal
Magnets: Long Custom AlNiCo II
Demos:
Creme Brûlée A2 Marshall
1959 PAF-1 A4
More midrange, less treble, and less compression than the ReWind Electric PAF-1 A5 Set.
Looking for Rossington? Knopfler's hang-tag-shadow Burst? First place winner of multiple P A F shootouts, the PAF-1 Set represents the bold and woody side of the P A F range. Tight and vocal sounding with an extremely harmonically rich and broad midrange with the breathy clarity in the very top end of the treble that ReWind has become well know for. Extremely responsive and touch sensitive with wide dynamics. These pickups are exact replicas of two different 1959 P A Fs, both being rather hot examples. Reverse engineered down to the finest detail. Every single turn of all four coils has been painstakingly captured and recreated on a highly precise CNC coil winder setup to lay the wire down with the exact same pattern as the original coils the entire way through. All coils are wound with unique custom wire in both copper and insulation thicknesses to truly capture the originals with no detail spared. Each steel part, and the magnets themselves, have been lab analyzed and recreated, sonically compared and revised to recapture not just the specs of the originals, but the true range of voicings and feel of the originals. Once the lab and reconstruction work was complete, a series of blind A/B listening tests were preformed against the previously recorded original P A Fs and fine sonic adjustments were made to truly voice-match the reproductions to the originals. Real vintage 1959 P A Fs were destroyed to make these and the result was well worth the loss.
DCR: Details Here
Inductance @ 1kHz: 6.087 / 5.562 H
Capacitance @ 1kHz: 3.576 / 3.886 nF
Coil Offset: Minimal Neck / Near Zero Bridge
Magnets: Long Custom AlNiCo IV
Demos:
PAF-1 A4 Marshall
1959 PAF-1 A5
More treble, more compression, and less midrange than the ReWind Electric PAF-1 A4 Set.
First place winner of the multiple P A F shootouts, the PAF-1 Set represents the fat, bold and woody side of the P A F range. Thick and vocal sounding with an extremely harmonically rich and broad midrange with the breathy clarity in the very top end of the treble that ReWind has become well know for. These pickups are exact replicas of two different 1959 P A Fs, both being rather hot examples. Reverse engineered down to the finest detail. Every single turn of all four coils has been painstakingly captured and recreated on a highly precise CNC coil winder setup to lay the wire down with the exact same pattern as the original coils the entire way through. All coils are wound with unique custom wire in both copper and insulation thicknesses to truly capture the originals with no detail spared. Each steel part, and the magnets themselves, have been lab analyzed and recreated, sonically compared and revised to recapture not just the specs of the originals, but the true range of voicings and feel of the originals. Once the lab and reconstruction work was complete, a series of blind A/B listening tests were preformed against the previously recorded original P A Fs and fine sonic adjustments were made to truly voice-match the reproductions to the originals. Real vintage 1959 P A Fs were destroyed to make these and the result was well worth the loss.
DCR: Details Here
Inductance @ 1kHz: 6.011 / 5.596 H
Capacitance @ 1kHz: 3.607 / 3.839 nF
Coil Offset: Minimal Neck / Near Zero Bridge
Magnets: Long Custom Unoriented AlNiCo V
Demos:
PAF-1 A5 Marshall
1960 A2 P A F
More midrange and less treble and output than the ReWind Electric 1960 A5 P A F Set.
Exact clones of an early 1960's AlNiCo II P A F set, the 1960 P A Fs truly capture the well known and classic sound of the last-of-the-run P A Fs at the end of Kalamazoo’s glory days. With custom wire sizes for each of the four coils, chemically identical steel alloys, eight hole keeper bars, and custom cast magnets to match chemical makeup, grain size, temperature cycling and resulting sound this set is truly a remarkable representation of the originals in every way. Bright overall, but full and balanced, with the very characteristic metallic chirp in the upper-mids and lower-treble that has defined the P A F voice on so many classic recordings. These custom brighter-sounding American AlNiCo II magnets, made exclusively for ReWind, have a prominent midrange with a slight midrange compression and a very sweet singing treble with excellent sustain on single notes, exactly like the vintage originals which were partially destroyed in the research process for these pickups. The 1960 P A Fs are extremely articulate with some of the best note separation ever heard in humbuckers and a voice that is likely the most widely associated with “vintage P A Fs.” These truly represent the sweeter, chirpy P A Fs of the early 1960’s both in construction and in voice. A better representation is not likely to be found.
DCR: Details Here
Inductance @ 1kHz: 4.47 / 4.82 H
Capacitance @ 1kHz: 4.77 / 4.45 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo II
Demos:
1960 P A F A2 Marshall
1960 A5 P A F
More treble and output and less midrange than the ReWind Electric 1960 A2 P A F Set.
Exact clones of an early 1960's AlNiCo II P A F set, the 1960 P A Fs truly capture the well known and classic sound of the last-of-the-run P A Fs at the end of Kalamazoo’s glory days. With custom wire sizes for each of the four coils, chemically identical steel alloys, eight hole keeper bars, and custom cast magnets to match chemical makeup, grain size, temperature cycling and resulting sound this set is truly a remarkable representation of the originals in every way. Bright overall, but full and balanced, with the very characteristic metallic chirp in the upper-mids and lower-treble that has defined the P A F voice on so many classic recordings. These custom brighter-sounding American AlNiCo II magnets, made exclusively for ReWind, have a prominent midrange with a slight midrange compression and a very sweet singing treble with excellent sustain on single notes, exactly like the vintage originals which were partially destroyed in the research process for these pickups. The 1960 P A Fs are extremely articulate with some of the best note separation ever heard in humbuckers and a voice that is likely the most widely associated with “vintage P A Fs.” These truly represent the sweeter, chirpy P A Fs of the early 1960’s both in construction and in voice. A better representation is not likely to be found.
DCR: Details Here
Inductance @ 1kHz: 4.34 / 4.47 H
Capacitance @ 1kHz: 4.86 / 4.53 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo V
Demos:
1960 P A F A5 Marshall
1964 Patent Number Decal Humbuckers
Fuller and warmer with more mids than the T-Top sets. Brighter and tighter with more crispness than the P A F sets.
These fall in between the P A F sets and the T-Top sets, both historically in production and also in sound. Less of the spanky jangle of the T-Tops, but tighter and more focused sounding than the generally warmer and fuller sounding P A F humbuckers. These are extremely responsive to the guitar’s controls. They have a nice crisp pick attack and tight detailed bass. Bright and clean when you roll back the volume and thick and vocal when you roll up the volume and bring the tone control down. If you like the sound of Clapton’s 1964 Cherry Red ES-335 or his 1964 SG as used in Cream, these are the perfect choice.
DCR: Details Here
Inductance @ 1kHz: 4.6 / 5.3 H
Capacitance @ 1kHz: 4.47 / 3.92 nF
Coil Offset: Near Zero
Magnets: Extra Short Custom AlNiCo V
Demos:
1964 Patent Number Decal A5 Fender Super Reverb 1
1964 Patent Number Decal A5 Fender Super Reverb 2
1964 Patent Number Decal A5 Fender Super Reverb 3
1972 T-Top Humbuckers
More treble and clarity with less midrange and bass than the Hot T-Top Set.
At the end of the 1960’s, Gibson changed some things about the materials and design of their humbuckers. The bobbins changed internal and external shape and material, the wire changed to a different poly insulated type that was more consistent and easier to work with, the way the bobbins and wound coils were mechanically assembled was specifically different from earlier designs, the keeper bars were being made differently, and the steel and magnet selection was set. The result is what most consider “T-Tops” but, specifically, these are the first generation of T-Tops more correctly referred to as “Patent Number Decal T-Tops.” The T-Top bobbins, themselves, would continue in use in other very different sounding designs all the way into the 80’s. The sound is very bright, compared to the previous humbuckers, with a crisp pick attack, a tight thumpy bass, and a scooped midrange. A very punchy, choppy feel with a sparkle and jangly strum to chords.
DCR: Details Here
Inductance @ 1kHz: X.X / X.X H
Capacitance @ 1kHz: X.XXX / X.XXX nF
Coil Offset: Medium
Magnets: Short Custom AlNiCo V
Demos:
1972 T-Top Marshall Plexi 1
1968 Hot T-Top Humbuckers
More midrange and a little less treble than the regular T-Top Set. More of a complex vocal midrange and a bit less sparkle and jangle on the top end.
This is a slightly overwound version of the T-Top set. Though the humbuckers had gotten far more consistent by the late 1960’s than they previous P A Fs of the 1950’s and early 1960’s, there were still some hotter T-Tops made with different coil patterns and turn counts. In the repair work at ReWind Electric, a specific coil pattern and wind, resulting in a hotter T-Top, has shown up repeatedly. These seem much less common than the regular T-Tops, but are definitely out there and still consistent within themselves. The Hot T-Top set has a richer and more complex midrange, with a focus on the vocal frequencies, with an upper resonant peak shifted a bit lower in frequency, giving slightly less treble but a steeper EQ peak where the pick attack frequencies are. This is the design used in the JPPost72 bridge and also what is recommended for Randy Rhodes, AC/DC in many cases, and when a regular T-Top might not be full enough but that overall T-Top sound is still desired.
DCR: Details Here
Inductance @ 1kHz: X.X / X.X H
Capacitance @ 1kHz: X.XXX / X.XXX nF
Coil Offset: Near Zero
Magnets: Short Custom AlNiCo V
Demos:
1968 T-Top Marshall Plexi 1
1968 T-Top Fender Twin Reverb 1
1968 T-Top Fender Twin Reverb 2
1968 T-Top Fender Twin Reverb 3
1968 T-Top Fender Twin Reverb 4
1968 T-Top Fender Twin Reverb 5
1968 T-Top Fender Twin Reverb 6
JPPre72
Warmer and higher output bridge pickup and less complex middle position, compared to the ReWind Electric JPPost72 Set. The neck pickup is the same in both JPPre72 and JPPost72 sets.
These classic rock tones have eluded musicians and pickup manufacturers alike for years. Don't fear the higher DCR of the neck pickup over that of the bridge. It's completely intentional and very authentic to the original set of P A Fs in this famous #1 Les Paul. When combined with appropriate pot and cap values, as well as 50’s wiring, a filtering effect takes place when the pots are rolled back, scooping out some bass and mids. This unique filtering allows sounds from a thick and mean humbucker sound to sweet, pretty, clean, bell-like and bright tones, even out of such hot pickups.
Specific individual pot values are strongly recommended for this pickup set to work as intended. They are within the range found in vintage Bursts, but not your normal 500k +/- 10% pots. The custom pot values recommended will help balance the pickups and allow the filtering to keep the neck bright and clear. ReWind Electric can provide exact value components in a custom matched wiring harnesses, at request.
Because pickup covers do alter the sound of vintage-style pickups, the “PAGE STYLE: Vintage Pulls Nickel Cover On Neck Only” option, or any of the covered pickup option, are also highly recommended for this set, to get the intended sound of the pickups. This is selected under the “Cover & Finish Options” menu.
DCR: Details Here
Inductance @ 1kHz: 5.842 / 4.435 H
Capacitance @ 1kHz: 3.705 / 4.770 nF
Coil Offset: Minimal Neck / Medium Bridge
Magnets: Long Custom Alloy & Process AlNiCo
Demos:
JPPre72 Marshall Plexi
JPPost72
Brighter and punchier bridge pickup and much more complex middle position, compared to the ReWind Electric JPPre72 set. The neck pickup is the same in both JPPre72 and JPPost72 sets.
Part way through 1972, something significant changed in the biggest sound of rock n' roll. An overwound P A F in the neck and a great T-Top in the bridge of a 1959 Les Paul opened the ears of the world to a wide and complex range of sounds. The punchy and jangly T-Top bridge combined with a very famous and unique hot P A F neck created a wide range of sounds and an extremely harmonically complex middle position, often referred to as having a “bark” or “quack” or “honk” to it. These two pickups, both unique and special examples among their types, greatly defined the sound of 1970s arena rock. Combined with the appropriate electronics, guitar, rig and style, these pickups helped jimmy the door open and turned the page of music to the next chapter.
These classic rock tones have eluded musicians and pickup manufacturers alike for years. Don't fear the uncommon combination of a honky PAF neck and jangly bright T-top bridge. It's very authentic to the post-1972 set in the famous #1 Les Paul. When combined with appropriate pot and cap values and 50s wiring, a filtering effect takes place when the pots are rolled back, scooping out some bass and mids. This unique filtering allows sounds from a thick and mean humbucker sound to sweet, pretty, clean, bell-like and bright tones, even out of such pickups.
Specific individual pot values are strongly recommended for this pickup set to work as intended. They are within the range found in vintage Bursts, but not your normal 500k +/- 10% pots. The custom pot values recommended will help balance the pickups and allow the filtering to keep the neck bright and clear. ReWind Electric can provide exact value components in a custom matched wiring harnesses, at request.
Because pickup covers do alter the sound of vintage-style pickups, the “PAGE STYLE: Vintage Pulls Nickel Cover On Neck Only” option, or any of the covered pickup option, are also highly recommended for this set, to get the intended sound of the pickups. This is selected under the “Cover & Finish Options” menu.
DCR: Details Here
Inductance @ 1kHz: 5.842 / 4.426 H
Capacitance @ 1kHz: 3.705 / 4.790 nF
Coil Offset: Minimal Neck / Near-Zero Bridge
Magnets: Neck Long Custom Alloy & Process AlNiCo / Bridge Short Custom AlNiCo V
Demos:
JPPost72 Demo 1
Greeny Burst
The bridge pickup of this set is a fairly warm late 50's A2 P A F. It has a particular "honk" or "bark" to it, without being harsh or abrasive. The treble is soft but clear and clean with excellent note separation and detail without sounding sterile or brittle, at all. The most defining aspect of this bridge pickup is the very specific hollow vocal quality to the midrange. The degaussed custom A2 works in conjunction with the late-50's P A F-style coils to produce this complex and rich, yet hollow and open, vocal quality.
The neck pickup is quite unique. Much speculation surrounds the condition of the original pickup during Greeny's time with it. There are many theories about how this neck pickup gets its unique sound, especially in the middle position, and there are even several conflicting first-hand accounts by "professional examiners" who inspected the guitar and pickups. The absolute truth can never be known with any certainty, at this point, even with a complete dissection of the pickup, as the original pickup has been tampered with repeatedly since the days Greeny worked it into legendary recordings. The state of the pickup, at that time, will always remain a bit of a mystery. The speculation will never end, in this case.
What can be done, however, is to design and manufacture a pickup that authentically replicates the unique and famous sounds by trial and error of many various options and repeated blind A/B comparisons. Slowly, using this process, combined with well-documented information about P A Fs of this era, eventually the goal was realized in a pickup set that reproduces those distinct sounds authentically. This pickup set is also able to do so in most any decent Gibson-style guitar, played with skilled hands through an appropriate rig.
The coils are not wound backwards, nor are they wired in reverse, but the coils of this neck pickup are unique from all other ReWind humbucker coils. The magnetic polarity is opposite of standard, but that is just the very beginning and only one of several distinctly unique design elements of the neck pickup of this set. These unique differences in the coil and design of the neck pickup are the reason why this pickup set faithfully reproduces the extremely unique sounds of Greeny's neck and middle positions and other P A F-style pickup sets that simply flip the magnet or reverse phase electrically by reverse winding or wiring result in a thin and weak middle position that is uninteresting and not as complex or natural as the original Greeny sound.
DCR: Details Here
Inductance @ 1kHz: 4.792 / 5.316 H
Capacitance @ 1kHz: 4.442 / 4.085 nF
Coil Offset: Custom Offset Neck / Near Zero Bridge
Magnets: Degaussed Long Custom AlNiCo II
Demos:
Greeny Burst Fender Super Reverb 1
Greeny Burst Fender Super Reverb 2
Greeny Burst Fender Super Reverb 3
Greeny Burst Fender Super Reverb 4
Greeny Burst Fender Super Reverb 5 Straight In - NO WAH Pedal
Bloomfield
Warmer and fuller sounding than the 1957 P A F set. Brighter and with less midrange than the Creme Brûlée set.
The perfectly beautiful sound of Bloomfield's Burst. Extremely clear and detailed notes on the lower frets of the wound strings, with every note in complex chords ringing out distinctly. A wide frequency response and dynamic range that is both sweet and clean, at the same time. Open, breathy, and full, all at once. The combination of fullness and clarity that is common in vintage gear and rare in anything modern.
Also perfect for the clear and detailed sound of the darkburst Les Paul that Kossoff played in Free. For the more midrangy and nasal sound of Koss’s finish-stripped natural top Les Paul, the Creme Brûlées are a perfect match.
DCR: Details Here
Inductance @ 1kHz: 5.7 / 4.8 H
Capacitance @ 1kHz: 3.65 / 3.51 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo III
Demos:
Bloomfield Marshall
VH / Super Distinction
Much crisper, with more treble, much tighter dynamics, and more output than VHII
The "Super Distinction" humbucker is inspired by a particularly excellent example of a popular 1970s ceramic magnet pickup design. Though the original ceramic magnet hex pole pickups of the 1970s didn’t vary nearly as much as 1950s and 1960s Gibson pickups, they did still have some significant variation in materials and design, from one to the next, resulting in different sounds from one to the next. The bobbins on the originals are also extremely prone to shrink, resulting in more variance in the old ones today, as well as reduced reliability. These variations in originals have been charted through collecting and repairing them over many years. A truly exceptional example from a large collection of vintage pickups and data was selected for reproduction. With focus on enhanced clarity, note separation and midrange character, and a crisp and detailed top end, these pickups are something truly special. Much more detailed and less compressed than other modern versions.
Some of the greatest humbucker & Plexi sounds were recorded in 1977 at Sunset Sounds and these pickups are made specifically to take you there. Played through a similar rig, and with a similar style and technique, these pickups will launch you right into the sounds of the first VH album, as well as Ace, Scholz, or Di Meola.
DCR: About 13k Ohms Details Here
Inductance @ 1kHz: 6.45 H
Capacitance @ 1kHz: 3.1 nF
Coil Offset: Near Zero
Magnets: Custom Thick Ceramic D
Demos:
VH Pete Thorn Demo
VHII
Much warmer, with more midrange, softer dynamics, and less output than the ReWind Electric VH / Super Distinction
The VHII pickups are appropriate for the second album and later VH material. These pickups start off as a Creme Brulee set, a 1959 long A2 magnet P A F model, but the bridge coils are replaced entirely using hotter coils, a coil pattern, and wire selection which was used in early aftermarket pickups and repairs from Santa Barbra.
While working on many early original Santa Barbra aftermarket pickups, and re-repairing some vintage Gibson pickups that were previously repaired by employees at that shop in the mid-to-late 1970s, a common coil pattern and turn count range that really nails that VHII sound kept appearing. Combining this coil pattern on the bobbins of a Creme Brulee bridge P A F creates a perfect reproduction of the long A2 magnet P A F with rewound hot coils which gives a very distinct and famous sound.
When played through an appropriately accurate rig, and with the right style, of course, the VHII will light up the sky and absolutely nails the sounds that make beautiful girls dance the night away.
DCR: About 9k Ohms Details Here
Inductance @ 1kHz: 6.53 H
Capacitance @ 1kHz: 3.46
Coil Offset: Minimal
Magnets: Long Custom AlNiCo II
Demos:
VHII Pete Thorn Demo
VHII Friedman Guitar at NAMM 2024 Andertons Demo
VHII Friedman Guitar at NAMM 2024 Thomann's Demo 1
VHII Friedman Guitar at NAMM 2024 Thomann's Demo 2
TAF Humbuckers
Phinally, here! Get the sound of Trey Anastasio's ReWind Electric pickups for your own instrument.
In the summer of 2021, James Finnerty worked with Trey Anastasio and his tech Justin Stabler to custom design some PAF-style pickups and electronics for voicing Trey's amazingly unique style and equally unique Languedoc guitars. These ReWind Electric pickups that James designed have remained in the guitars ever since, with almost no variation among the several different Languadocs in rotation. These pickups are not replicas of any one set of P A Fs, like many models on this page. Rather, they are an amalgamation of design features and materials taken from several different P A Fs, with some particular embellishment in coils, based on applied knowledge from study and repair of vintage P A Fs, specifically crafted to compliment the unique voice of the Languedoc guitars. Now, the sound of those custom design pickups are available to everyone. Of course, the pickups are only a small slice of Mr. Anastasio's wonderful guitar tones so you'll need the right instrument, rig, technique, and a lifetime of practice if you want to get close. Having a great tech like Justin and a touring support crew of 19 semi trucks wouldn't hurt, either!
Because the Languedoc guitars are so different acoustically from other common instruments, and have a different mounting and height adjustment system, the TAF Humbuckers are offered in two different formats - if these are going into a Languadoc, the standard model is the one you want. If these are going into any other guitar, there is an alternate modified version with standard drop-in PAF-style mounting feet that will help bring more common guitar models, which tend to be much brighter acoustically and not as strong in the mids, closer to the voicing of the original instruments via some extra midrange and softer treble in the pickups, themselves. Select the appropriate option via the drop down menu above, when ordering.
The same 50s-style wiring harness that Trey is using with these pickups is also available for Languedoc guitars (available under the TAF humbuckers for purchase at the top of this page). I cannot guarantee that this will fit in other Languedoc-style guitars. These guitars have very tight-fitting cavities and potentiometer mounting holes, with bracing in the location of the controls, and are each somewhat unique, being fine hand made instruments. There is also a wiring harness kit available, which consists of two of the custom high-reading CTS pots, a short 3-way toggle, tone capacitor, jack, and appropriate braided shield wiring, insulation, ground buss, etc. A professional luthier installation is highly recommended in all cases.
James Discusses These Guitars & Pickups: James Finnerty on Mark Hopkin's Show
DCR: Details Here
Inductance @ 1kHz: P.PP / H.HH H
Capacitance @ 1kHz: I.III / S.SSS nF
Coil Offset: Custom HHH
Magnets: Long Blend AlNiCo
Demos:
More Demo Material:
Just listen to any Trey / Phish show after about July of 2021, particularly the 2023 material for the final version of the wiring
Products are built to order with the options selected. Orders cannot be canceled or returned, even if unused. However, if you are unsatisfied with the sound of your pickups, please contact ReWind to discuss potential modificaitons.
Inductance @ 1kHz: 4.941 / 5.138 H
Capacitance @ 1kHz: 4.345 / 4.186 nF
Coil Offset: Near Zero
Magnets: Custom AlNiCo III
1957 P A F A3 Marshall
Inductance @ 1kHz: 5.306 / 5.531 H
Capacitance @ 1kHz: 4.059 / 3.895 nF
Coil Offset: Medium
Magnets: Degaussed Long Custom AlNiCo II
1958 P A F A2 Fender Super Reverb 1
Inductance @ 1kHz: 5.463 / 6.430 H
Capacitance @ 1kHz: 3.918 / 3.368 nF
Coil Offset: Minimal
Magnets: Long Custom AlNiCo II
Creme Brûlée A2 Marshall
Inductance @ 1kHz: 6.087 / 5.562 H
Capacitance @ 1kHz: 3.576 / 3.886 nF
Coil Offset: Minimal Neck / Near Zero Bridge
Magnets: Long Custom AlNiCo IV
PAF-1 A4 Marshall
Inductance @ 1kHz: 6.011 / 5.596 H
Capacitance @ 1kHz: 3.607 / 3.839 nF
Coil Offset: Minimal Neck / Near Zero Bridge
Magnets: Long Custom Unoriented AlNiCo V
PAF-1 A5 Marshall
Inductance @ 1kHz: 4.47 / 4.82 H
Capacitance @ 1kHz: 4.77 / 4.45 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo II
1960 P A F A2 Marshall
Inductance @ 1kHz: 4.34 / 4.47 H
Capacitance @ 1kHz: 4.86 / 4.53 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo V
1960 P A F A5 Marshall
Inductance @ 1kHz: 4.6 / 5.3 H
Capacitance @ 1kHz: 4.47 / 3.92 nF
Coil Offset: Near Zero
Magnets: Extra Short Custom AlNiCo V
1964 Patent Number Decal A5 Fender Super Reverb 1
Inductance @ 1kHz: X.X / X.X H
Capacitance @ 1kHz: X.XXX / X.XXX nF
Coil Offset: Medium
Magnets: Short Custom AlNiCo V
1972 T-Top Marshall Plexi 1
Inductance @ 1kHz: X.X / X.X H
Capacitance @ 1kHz: X.XXX / X.XXX nF
Coil Offset: Near Zero
Magnets: Short Custom AlNiCo V
1968 T-Top Marshall Plexi 1
Inductance @ 1kHz: 5.842 / 4.435 H
Capacitance @ 1kHz: 3.705 / 4.770 nF
Coil Offset: Minimal Neck / Medium Bridge
Magnets: Long Custom Alloy & Process AlNiCo
JPPre72 Marshall Plexi
Inductance @ 1kHz: 5.842 / 4.426 H
Capacitance @ 1kHz: 3.705 / 4.790 nF
Coil Offset: Minimal Neck / Near-Zero Bridge
Magnets: Neck Long Custom Alloy & Process AlNiCo / Bridge Short Custom AlNiCo V
JPPost72 Demo 1
Inductance @ 1kHz: 4.792 / 5.316 H
Capacitance @ 1kHz: 4.442 / 4.085 nF
Coil Offset: Custom Offset Neck / Near Zero Bridge
Magnets: Degaussed Long Custom AlNiCo II
Greeny Burst Fender Super Reverb 1
Inductance @ 1kHz: 5.7 / 4.8 H
Capacitance @ 1kHz: 3.65 / 3.51 nF
Coil Offset: Minimal
Magnets: Custom AlNiCo III
Bloomfield Marshall
Inductance @ 1kHz: 6.45 H
Capacitance @ 1kHz: 3.1 nF
Coil Offset: Near Zero
Magnets: Custom Thick Ceramic D
VH Pete Thorn Demo
Inductance @ 1kHz: 6.53 H
Capacitance @ 1kHz: 3.46
Coil Offset: Minimal
Magnets: Long Custom AlNiCo II
VHII Pete Thorn Demo
VHII Friedman Guitar at NAMM 2024 Andertons Demo
VHII Friedman Guitar at NAMM 2024 Thomann's Demo 1
VHII Friedman Guitar at NAMM 2024 Thomann's Demo 2
Inductance @ 1kHz: P.PP / H.HH H
Capacitance @ 1kHz: I.III / S.SSS nF
Coil Offset: Custom HHH
Magnets: Long Blend AlNiCo
Just listen to any Trey / Phish show after about July of 2021, particularly the 2023 material for the final version of the wiring
