What Makes Gibson’s P.A.F. Pickups So Special?

A History of Humbuckers Before — and After — the P.A.F.

Few guitar components inspire as much obsession, debate, and outright mythology as the P.A.F. humbucker. Short for Patent Applied For, these late-1950s pickups from Gibson didn’t just change the sound of electric guitars — they reshaped popular music itself.

At Fat Bottom Guitars, we’re often asked why P.A.F.s sound the way they do, what came before them, and how later pickups differ. Let’s dig into the story.

Before the P.A.F.: The Single-Coil Era

Before humbuckers, Gibson relied on single-coil pickups, each with its own sonic character — and its own problems.

Charlie Christian Pickup (1930s–40s)

One of Gibson’s earliest electric pickups, famously associated with jazz pioneer Charlie Christian, this pickup delivered warm, articulate tones but was prone to electrical hum and interference.

P-90 (Introduced 1946)

The P-90 became Gibson’s workhorse pickup through the late ’40s and early ’50s.

Bold midrange
Aggressive attack
Raw, touch-sensitive response

But as stages got louder and amps more powerful, the 60-cycle hum of single coils became a real issue — especially in clubs with poor electrical grounding.

The Birth of the Humbucker: Solving the Noise Problem

In the mid-1950s, Gibson engineer Seth Lover set out to eliminate hum without sacrificing tone.

His solution?

Two coils, wound in opposite directions and wired out of phase, cancelling noise while preserving signal — hence the term “humbucking.”

In 1955, Lover filed a patent. By 1957, Gibson pickups were being marked with the now-legendary “Patent Applied For” sticker.

What Makes a P.A.F. Pickup Special?

The magic of vintage P.A.F.s isn’t down to one single ingredient — it’s the imperfections.

1. Inconsistent Winding

P.A.F.s were machine-wound but not stop-counted, meaning:

Coil winds varied from pickup to pickup
DC resistance typically ranged from ~7.2kΩ to over 8.5kΩ

This imbalance created subtle harmonic complexity and enhanced clarity.

2. Alnico Magnets

Early P.A.F.s used Alnico II, III, IV, and V magnets — often inconsistently.

Alnico II: softer attack, sweeter highs
Alnico V: tighter bass, more punch

Players still debate which is “best,” but variability is part of the charm.

3. Unpotted Construction

Original P.A.F.s were not wax potted, allowing:

More air and openness
Increased harmonic feedback at volume

This makes them lively and dynamic — but also slightly microphonic.

4. Low Output = More Dynamics

Compared to modern high-output pickups, P.A.F.s are relatively low output, which:

Preserves note definition
Responds better to picking dynamics
Lets the amp do more of the work

This is why P.A.F.s pair so beautifully with vintage valve amplifiers.

The Golden Era: 1957–1960

Original P.A.F.s appeared in some of the most iconic guitars ever made:

Late ’50s Les Paul Standards
ES-335s
ES-175s
SG prototypes

They helped define the tones of early blues-rock, jazz, and hard rock — from creamy sustain to articulate crunch.

After the P.A.F.: Patent Number & T-Top Humbuckers

Patent Number Pickups (Early–Mid 1960s)

Once the patent was granted in 1962, Gibson replaced the P.A.F. sticker with a patent number decal.

Early examples are often virtually identical to late P.A.F.s — same tooling, same materials — and are highly sought after.

T-Top Humbuckers (Late 1960s–1970s)

By the late ’60s, Gibson introduced T-Top humbuckers, identifiable by the raised “T” on the bobbins.

More consistent winding
Slightly brighter, tighter sound
Less harmonic randomness

Still excellent pickups — just more controlled and less “wild.”

Modern Gibson & P.A.F. Reissues

Today, Gibson and countless boutique makers chase the P.A.F. formula:

Gibson Custombuckers
Burstbuckers
Historic Reissue P.A.F. clones

Each aims to recreate that elusive balance of clarity, warmth, and unpredictability — but true vintage P.A.F.s remain a benchmark rather than a destination.

Why Players Still Chase P.A.F. Tone

P.A.F. pickups sit at a perfect crossroads:

Warm but clear
Powerful but articulate
Vintage but endlessly musical

They don’t dominate your tone — they translate it.

Whether you’re playing jazz chords, blues leads, or cranked British-style rock, a great P.A.F. humbucker responds to you — your hands, your guitar, your amp.