对我来说，这是一棵带有麦克风的树。这很简单，它可以做我需要做的一切。’莱斯利·韦斯特（Leslie West）对无货币的描述，单次挑剔的吉布森·莱斯·保罗（Gibson Les Les Paul Junior），他曾经找到了60年代的Hard-Rockers Mountain，他用来找到名望和财富，这说明了这一切。如果您是有才华的吉他手，则应该能够使用最简单的乐器来实现目标。
当然，并非每个人都会同意。三巨头（Telecaster），Stratocaster和Les Paul的事实分别有两个，三个和两个拾音器证明了这一点。芬德（Fender）最近的吉姆根（Jim Root）签名将电视带入了积极的皮卡领域，距离其功利主义国家和西方的开端很长一段路。也就是说，Tele公式的第一个变化是1950年的Esquire，是其最著名的单次攻击工作。但是更多的是……
让我们回溯到1931年的二十年，这一年Adolph Rickenbacker推出了一种基本的六弦乐器，带有小圆形固体。由于其形状，这被称为“煎锅”。作为由合作伙伴Paul Barth和George Beauchamp设计的第一款带有电磁拾音器的生产乐器，现在被认为是现代吉他的先驱。
当两名连续的专利审查员质疑该乐器是否是“手术人员”时，Adolph Rickenbacker派吉他手在华盛顿特区的专利局派出吉他手为他们演出，以证明这是。到1937年终于获得专利的时候，其他人已经赶上了。即便如此，在阿道夫（Adolph）在1953年出售公司之后才开始取得重大成功的里肯贝克（Rickenbacker）取得了令人印象深刻的成绩。
他们在1935年制造的B电吉他即使到现在为止看起来令人惊讶。它是使用先进的注射成型工艺制成的，但在发现面包岩（用于构造早期无线电组的塑料材料）随温度升高而膨胀时被放弃，从而导致调整问题。鲍勃·威尔斯（Bob Wills）的德克萨斯花花公子（Texas Playboys）的埃尔登·香宾（Eldon Shambin）是传奇人物，不允许在舞台上使用他的舞台，因为在他的老板的未透明话语中，“当我雇用吉他手时，我希望他看起来像吉他手，”
If the Gibson ES-150, introduced in 1935, isn’t the granddaddy of all electric guitars, then it certainly has the most grandchildren. It was endorsed by jazz player Charlie Christian, of Benny Goodman’s band, who found electrification transformed his playing. No longer was the guitar a part of the rhythm section, it could now punch out solos that, on record, were sometimes mistaken for a saxophone.
Gibson’s advertising patter was seductive. ‘You hold it, tune it and play it just as you would any guitar, and in appearance it is only slightly different. But strike the strings lightly and you have a tone that can be amplified to whatever volume you desire. Adjust the tone control and you change the tonal colour from a rich bass to a brilliant treble.’ All this, remember, with just one pickup.
当Rickenbacker的马蹄形拾音器包围了琴弦时，Gibson's是由沃尔特·富勒（Walter Fuller）设计的。这名男子归因于我们今天知道的拾音器，这是1933年加入吉布森的，不久之后，直杆拾音器是在吉布森夏威夷钢制吉他上引入的。
在ES-150上，该酒吧指挥了两块磁铁的力量，将吉他的拱形顶部螺栓固定在弦上。如果发现一串比其他弦响亮，吉布森（Gibson）通过简单地将其在突出的杆上切下凹口来对其进行纠正。尽管按照后来的标准，ES-150是一个开创性的概念，与新技术相匹配，成为战争之间的首要仪器。ES（用于电动西班牙语）150美元不在每位可能的吉他英雄的范围内，为77.50美元。购买放大器还需要另外75美元，再加上硬壳$ 13.50。
保罗·比格斯比（Paul Bigsby）的名字与颤音的尾巴相关联，它被认为是为乡村选择者梅尔·特拉维斯（Merle Travis）构建有史以来的首个现代固体电吉他。吉他具有Bigsby的“刀片”拾音器，还有带有弦乐设计的核桃小提琴尾巴。特拉维斯（Travis）争辩说，狮子座芬德（Leo Fender）在1948年借了他的Bigsby吉他一周，因此据说它影响了Strat和Telecaster的创建者，尽管Fender否认了这一点。
可以肯定的是，当Fender不久之后，用单次挑战，然后是Twin Pickup Esquire进入电动吉他市场时，事情就会变得震惊。Twin-Pickup版本将首先更名为广播公司，然后在1951年将电视广播员重命名，它将为大规模生产的电吉他树立标准，几十年来。The Esquire, now offered only with one pickup, stayed in the range for almost 20 years and it would later find favour with the likes of Jeff Beck (who used a ’54, bought from the Walker Brothers guitarist John Maus, with the Yardbirds) and Steve Cropper. The Esquire retained the three-way selector switch which, instead of offering pickup options, now functioned as a pre-set tone control or bypass switch, offering great versatility for a single pickup guitar.
Fender’s next single-pickup product, the Musicmaster, also enjoyed two decades in production, from 1956 to 1975. An entry-level effort, its body was an uncontoured slab of wood, while the neck, at 22.5″, was shorter than the standard Fenders to which the student could graduate when skills and savings had grown. (A 24″ scale version, introduced in 1964, was named the Musicmaster II.)
Ads extolled the virtue of an instrument ‘specially designed for old and young players with small fingers’. It also proved a hit with female players for that reason. The Musicmaster was also made available with a simple vibrato unit as the Bronco, while two-pickup versions were known as the Duo-Sonic and Mustang respectively.
从普莱斯（Price）上看，音乐主管（119.50美元）几乎是电视广播员（199.50美元）的一半，但Fender是AMP制造商的首先拥有的Masterplan。吉他与普林斯顿和冠军这样的“插入和弹奏”连击销售，将扬声器和放大器组合在一个便携式包装中。
正如您所期望的那样，吉布森（Gibson）不会陪伴并将学生市场留给他们最大的竞争对手。他们在1954年的Les Paul Junior推出的情况下抓住了一件动作，复制了原始的Les Paul的轮廓，以创建一个无关的桃花心木尸体。皮卡是P90单线圈，该尾部是该栏的版本，该版本于同年代替Les Pauls上的梯形单元，价格为99美元。
Les Paul TV类似于大三，但拥有与电视广播员类似的自然“ Limed”饰面。
到1958年，Les Paul Juniors和Twin-Pickup特色菜已经成为双冠乐器。顺便说一句，所有这些都具有“点” fret标记，代替了“全脂”莱斯·保罗（Les Paul）的突出镶嵌物，更简单的音量和音调旋钮。
吉布森（Gibson）的下一个“廉价人”（Melody Maker）于1959年投入生产，再次售价低于Magic 100美元的50美分。保留单切轮廓，但身体较薄（少年的44毫米35毫米）和一个较窄的床头柜，旋律制造商的单件拾音器安装了一个带有控件的单层拾音器，并在其刮擦板上输出千斤顶，以节省金钱。与Les Paul Junior相比，身体感觉不那么强大，更像SG，并且单个皮卡与P90相匹配。
它的介绍是在吉布森（Gibson）努力改变莱斯·保罗（Les Paul）标准的时候，但是，随着洛克（Rock’n’Roll Mania）现在持有埃尔维斯（Elvis）的持有，该公司的目标是涌向吉他课或在父母的车库中自学的年轻人。这一时期的速度吉布森斯（Gibsons）都是一个很高的标准，这是巴西玫瑰木指板，使它们不仅仅是“学生”吉他。
旋律制造商从来没有达到过大三的经典地位。the latter adopted an SG outline in the ’60s when all the Les Pauls were revamped and the model was discontinued altogether in 1971. That same year, the SG-100 was introduced as a cheap variant of the (usually dual-pickup) SG with pickguard-mounted controls for affordability, but didn’t last long.
The budget Gibsons then endured two decades out of the spotlight until the new wave’s utilitarian ethos led to players appreciating their affordability and durability anew. Pre-’76 exceptions proving the rule were, inevitably, Leslie West and his biggest UK fan, Mott the Hoople’s Mick Ralphs.
Many of the cheaper Gibsons have been used over the years by slide players to great effect – as has the single pickup Dan Armstrong-designed Ampeg ‘see-through’ guitar of 1969. These were expensive to make and lasted little more than a year in production, though they have since become collectors’ items. Players included Keith Richards, Tom Petty and Leslie West, who was given the prototype. Keith played his on the Stones’ ’69 world tour, Bill Wyman toting a matching bass.
Epiphone, founded in 1903, sold out lock stock and barrel to Gibson in 1957 – but, while most famous for their ’60s semi-acoustics, their thin-line solid-bodies, most notably the Crestwood, were more than ‘poor man’s SGs’. Humble Pie man Steve Marriott was an enthusiastic devotee.
同时，回到吉布森（Gibson），他们的半声学范围从ES-150开始于1949年，ES-175继续进行。与Fender Broadcaster相比，传统的外观是该公司从一开始就设计原样的第一吉他，并且使用压力的枫木层压板将成为Gibson Semis的标准配置。
它仍在制作。The ES-175’s combination of single cutaway and P90 pickup was one Gibson would repeat in the LP Junior and elsewhere, but the simplicity of the original design, with just a volume and tone knob, twin f-holes and Gibson’s trademark back-angled headstock was attractive in itself. Other single-pickup variations on this theme have been the ES-330T thinline, with a single P90 halfway between neck and bridge, and the ES-125/225.
弗雷德·格雷茨（Fred Gretsch）制造的乐器在摇滚乐早期提供了吉布森·芬德（Gibson-Fender）双重垄断的最激进替代品。他的产品受到杜安·埃迪（Duane Eddy）和埃迪·科克伦（Eddie Cochran）等先驱者的青睐，而格雷茨（Gretsch）的吉他则比竞争对手更广泛。皮卡 - 名为FilterTron的humbucking单元 - 通常是众多的匹配。提供了一种“学生模型”，以较便宜的单挑搭扣田纳西州和周年纪念模型的形状，并于1958年提供，以及1961年的Gretsch 6119，并带有剥离的电子产品。纳什维尔大阿特金斯（Great Atkins）是格雷茨（Gretsch）对吉布森（Gibson）的电视名人莱斯·保罗（Les Paul）的回答，他确保吉他登上了他的LPS的封面（61年61年的Chet Atkins Workshop上有一个田纳西州）。
George Harrison briefly played a Gretsch Tennessean in the Beatles’ early ’60s career, but had earlier strummed the best-known ‘basic’ Rickenbacker, a 1962-vintage single-pickup 420. John Lennon had favoured a German-built Hofner Club 40 in those days before ‘name’ American instruments were either affordable or widely available. European designs offered a respectable build quality and playability for a fraction of the price of the ‘real thing’. Hofner guitars – also, of course, favoured in four-string form by Paul McCartney – were affordable but eminently playable. Shadow-to-be Hank Marvin had played a Hofner Congress ‘with a half-inch action’ until he could afford to buy his iconic Strat.
Also around in numbers was the Rosetti Lucky 7, the product of Dutch company Egmond and available in one-pickup form in the UK for 14 guineas.
60年代属于Strat，Tele和Les Paul - 但随着十年的结束，Eric Clapton向世界展示了只有一次皮卡就可以做的事情。他在1968年的奶油奶油最后一场艾伯特·霍尔（Albert Hall）日期的整个第一场演出中使用的吉布森火鸟（Gibson Firebird），一只火鸟1（唯一的硬尾变种）比与两个或三个迷你猎人的同行相比，不太需要。（他在第二场演出中使用了ES-335；告别奶油电影混合了两者的歌曲。）乔·博纳马萨（Joe Bonamassa）目前在效仿大师的'64 Firebird上tot。
70年代和80年代，英国吉他制造商以扎实的单次挑战供应。Shergold的流星是70年代中期Hayman Comet的后代，而Gordon Smith则使用Les Paul TV作为GS-1的模板。与“原始”不同，他们的拾音器可以以单线圈和humbuck的模式运行，从挡泥板的尖端到较重的吉布森，声音的声音不等。结果是一种以可承受的价格手工制作的精美手工吉他，对巴兹考克·皮特·雪莱（Buzzcock Pete Shelley）感到青睐，而约翰·奥特威（John Otway）则挥舞着一只。
Back in the States, the confusingly named Hamer Prototype of 1981, endorsed by superstar Police guitarist Andy Summers, boasted a giant triple-coiled humbucker at the bridge, nicknamed the Motherbucker. This was in fact two pickups sandwiched together, a DiMarzio PAF nearest the bridge and a single-coil from the same maker. A three-way switch selected bridge humbucker, single-coil or both simultaneously. Paul Hamer claimed it was possible ‘to get anything from a sharp Stratocaster tone to a richer Les Paul sound,’ while Summers was credited with design input.
The ’80s saw the Japanese, when not engaged in copying classic designs, stirring the single-pickup pot. The Westone Paduak I boasted an early attempt at active circuitry, while later in the decade Washburn’s Japanese-made G40V had a triple-coil unit with push-button selectors. Fender Japan’s Heartfield subsidiary offered the RR8D, with built-in distortion.
80年代最有影响力的硬摇滚吉他手埃迪·范·海伦（Eddie Van Halen）在过去的十年后期用单挑出吉他闯入。他寻求比同名乐队为他的同名乐队提供动力的声音的声音，这使他从价值130美元的零件中造了吉他。在桥上有一个笨拙的拾音器，只有一个旋钮，一个音量控制，吉他 - 吉他（用红色和白色的纵横交错图案装饰，装饰有施温的自行车涂料）本身就是简单的。扬神父是一名萨克斯管演奏者，此后，埃迪（Eddie）建议他试图创造一种喇叭般的音调。
在范·海伦（Van Halen）的唤醒中，将来自查尔维尔（Charvel），杰克逊（Jackson），伊巴内兹（Ibanez）和克莱默（Kramer）等人。这些尖头的单件挑战物品现在相当不合时宜，因此，在二手市场上可能具有良好的价值。
当前世纪已经看到了市场的其他新条目。莱斯利·韦斯特（Leslie West）与迪恩（Dean）合作制作了一把签名吉他，以改善他的传统吉布森（Gibson）。即使是PRS，吉他制造商的星星也向东方制作的单件攻击SE1的LP大三学生致敬。
吉布森（Gibson）在2007年将旋律制造商的名字复活，其中四个电气（莱斯·保罗（Les Paul），探险家，SG和飞行V）试图打击芬德（Fender）的“每一个口袋里的Stratocaster”政策。在床头上拥有“吉布森”的美国制造吉他的想法仍然令人震惊，尽管该系列与原始旋律制造商的关系似乎是他们的基本构造价值和单个拾音器，而不是形状或属性。缺乏音电位计使体积控制和拾取手的变化至关重要。
A final tip of the hat is owed to those who take matters into their own hands. Blink-182 frontman Tom DeLonge ‘butchered’ his Strat in the ’90s, ending up with one humbucking Seymour Duncan SH-8 Invader pickup controlled by one knob. This was duplicated in a Mexican-made production model available for five years from 1999 before he moved to Gibson for the DeLonge Signature ES-333 which similarly combined a humbucker, a volume control and a hardtail.
But perhaps the ultimate single-pickup axe is Seasick Steve’s Three-String Trance Wonder – a guitar that resembles a Fender Coronado. Its three strings are tuned to G, G and B, and he bought it for $75 in Como, Mississippi from a man named Sherman Cooper, who had it nailed to the wall as a decoration. The pickup? An old Harmony… taped to it.
那么，单件吉他是给您的吗？If you need to vary your volume or tone within your band’s set by swapping pickups, or you use a blended sound like the Strat’s out-of-phase tones, then maybe not… but a single pickup has a uniquely purposeful look, and if it’s placed in the sweet spot then it can give a sound of unbeatable character. Are you ready to strip down and get real?