Posts Tagged ‘humbucker’

Day 23 Of My Electric Guitar Build

Day 23 Of My Electric Guitar Build

When it comes to making things, I like total control. If I’m making furniture, I want to fabricate all of the parts myself. When I make a telescope (I’ve made several over the years) I make the optics and focusers. For me, the goal is to show people that I did it all.

The problem with guitars is that it can be difficult to fabricate tuners, bridges and some of the electrical components. However, I can make my own pickups and that is what I have done for this latest build.

When I make a pickup, I usually follow one of three styles; Hot, Medium and Mild. The choice largely depends on the style of music that will be played on the finished guitar. For this guitar, I am going to wind a medium set of my Highline EGP humbuckers.

By carefully choosing the parts of a pickup, I can tailor the tone to my liking.

The hot humbuckers I make will push an amp into distortion right off the bat. However, they lack the higher frequencies and as a result, sound very warm. You can really hear the difference in the samples I’ve recorded here. Some people like the warm, highly distorted tone, but I fancy a bit more articulation.

That’s why I like the Mediums so much. I get distortion and treble. And that is what I want for this axe.

Making my own set of pickups usually takes a couple of hours between winding the coils, assembly and potting. There are a lot of steps involved, which I won’t go into here (trade secrets!), but the results are well worth the effort in that I can say, “I made them myself,” when someone asks what brand pickups I use.

Day 24 will be all about installing the pups I made. Then, it will be onto wiring ‘em up. Stay tuned!

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Day 7 of My Electric Guitar Build

Day 7 of My Electric Guitar Build

Cavity time! Today I routed the pickup and control cavities. Take a look:

I use 1/4" MDF board for my templates. This is the one I made for a humbucker rout.

I plan to direct mount the pickups. Therefore, I made the neck cavity deeper than the bridge since the strings angle down from the bridge to the neck.

Here I am tracing the control cavity outline so I can pre-drill out the shape before routing the edges.

This is the finished control cavity. Tomorrow, I'll rout a recessed edge for the cover to sit on.

Stay tuned!

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What’s Up With Vintage Pickups?

What’s Up With Vintage Pickups?

While doing the research and development for my upcoming line of pickups, I noticed almost all boutique pickup makers are trying to replicate vintage designs made in the late 1950s and early 1960s. So I dug a little deeper and discovered the really good makers are having the parts custom made to replicate not only the tone but the look as well. This got me to thinking about whether replication in terms of tone is even possible.

Making the parts is doable, though expensive. One can source the right composition for the bobbins, baseplates, pole pieces and so on, but when it comes to the coil wire, it’s a no go. It can’t be done. Wire made to day uses a more pure form of copper and a different method for annealing. Then there’s the insulation, which is a different composition and thickness. And since the coil wire plays the biggest role in determining tone, it’s not possible to replicate a 1960 Gibson PAF without the same wire. I checked into the possibility of having custom wire made to the old specs, but no one can do it precisely or in the small quantity I would need.

The other problem I have with chasing this so-called “vintage tone” is the fact that no one has ever defined what this tone is. There is no industry standard to shoot for. Since pickups from that era varied widely in their construction and resulting tone, very few sounded alike. Therefore, some were good and some were bad. The real problem is with the passage of time. Pickups from those days have attained an almost mythical status, which leads many to assume they all sounded good. With so many boutique pickup makers pushing vintage spec pickups, one has to wonder what spec they’re trying to replicate.

Another thought I have on cloning old school pickups is the market for them. I suspect most of the buyers with cash in hand are older generation players who value the tone made famous through the sixties and seventies. I have no problem with this, but what about today’s younger players who want power and tone? Most of them have no idea what vintage tone is.

I can listen to Duane Allman, Jimmy Page and Bill Gibbons and say, “that’s great tone,” but it isn’t necessarily what I want to play. One thing I do know is I want not only modern tone, but I also want wide ranging tone so I don’t feel boxed in when I jump from rhythm to lead.

In the recent past, active pickups have been the choice. While great for grinding drop D rhythm, they send to suffer in terms of tone. Many players complain of flat, narrow ranging tone. But, if you reign in the testosterone, you’ll realize both power, volume and broad ranging tone from passive pickups. If they’re made right.

And that, my good friends is the whole reason behind Highline Electric Guitar Pickups. Power AND tone.

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The Latest From My Workbench

The Latest From My Workbench

The Legato electric guitar I’ve been working on is nearly complete. Right now I have most of the assembly done, including the wiring. Hopefully, I’ll have it ready for sale along with my Tomahawk within the next week or so.

Other than my current build, I’ve been deep in product development and testing for my soon-to-be available line of humbucker pickups. So far, I’ve finished with the Hot, Medium and Mild variations, which I’m very pleased with. Next, I plan to record some samples of each design and will add them to a revised Pickups for Sale page that will go live when everything is ready.

Winding up a set of Hots

Winding up a set of Hots

A full bobbin is a beautiful thing

A full bobbin is a beautiful thing

Stay tuned for more exciting updates as the happen.

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Gearing Up For Humbucker Production

Gearing Up For Humbucker Production
A Winders Workbench.

A Winders Workbench.

So far I have three spools of coil wire, all of my alnico magnets and the hookup wire. By Friday I should have all of the rest of the remaining parts and when I do, I will go live with my order page. Can’t wait!

The plan is to start with 3 different varieties of humbuckers which can purchased individually or in sets. As time passes, I’ll add some options like different colored bobbins and nickel steel covers. Then, as I start to sell more pickups, I’ll add single coils of every variety. It’s a crowded market, but my goal is to stand out by offering hand wound quality for a machine wound price. We’ll see how it goes. Stay tuned!

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My Pickup Test Results

My Pickup Test Results

In my last posting I described a series of tests I planned to do using different strength magnets in a humbucker. To say the least, the results were very informative. Here is what I did:

The pickup I used was one of my own handmade buckers. I wound both bobbins with 43 AWG wire to just over 6,000 turns on each. This produced a total DC resistance of 9.8k Ohms. Next, I charged up three Alnico 5 magnets to a full charge of around 830 gauss. Then, I degaussed two of the magnets with one down to 650 gauss and the other to 550 gauss.

The test consisted on inserting the 830g mag into the pickup, installing the pickup into my mule guitar and playing through a small practice amp. After the first test, I swapped out the 830g mag for the 650g and repeated the test. Then, I did the same with the 550g mag.

What surprised me was how the tone didn’t change at all from one mag to the next. As a sanity check, I took the 550g mag and further degaussed it down to 400g. That did the trick.

In the first three tests, the tone stayed warm with just a hint of top end brightness. But at 400g, the tone lost the top end and sounded almost muffled.

So what does this prove? For me at least, it shows that I can degauss an A5 down to 550g without loosing tone. Why is this important? Lower gauss means less string pull and that means more sustain. If I go too low, I’ll increase sustain, but I’ll pay a penalty in lost tone.

The test also indicates what will happen if the DC resistance is increased by adding more coil wire. The Alnico 5, even at full gauss strength, will start to loose top end as the resistance increases. That’s why high powered pickups often use ceramic magnets. They help to preserve the top end better than an alnico 5 is able to do. However, if the pickup pushes past 15k, even a ceramic starts to loose treble. That’s why I think some pickup makers are starting to experiment with neodymium magnets.

Unfortunately, neodymium mags have their own problems. Because of their massive pulling strength, guitar strings have a tendency to stick to the pickup’s pole pieces, especially if a tremolo is used for dive bombs.

For now, I’ll probably stick to a lower number of turns on the bobbins and go with various alnico grades since to do so will mean a wider range of tone in my pickups.

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Highline Electric Guitar Pickups

Highline Electric Guitar Pickups

When I first started building electric guitars, I wanted total control over every aspect of the outcome. In fact, I had ideas for my own bridge and tuner designs as well. Unfortunately, I lack the tools necessary to fabricate such components. Pickups, on the other hand, are a bit more doable.

Over the past couple of years, I have been studying and practicing the dark art of pickup making. The results have been successful and now I’d like to make them available to anyone in need of hand wound “boutique” pickups.

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My plan is to start by offer humbuckers in three varieties; Hot, Medium and Mild. Each will be made using coil wire that has been selected to achieve the correct output and tone. I will also be using a variety of alnico magnets, which I will charge myself in order to fine tune the tone and sustain.

So what makes my pickups different? I’m not trying to sell an overpriced, overpromised product. What I mean is, I’m not claiming to replicate a tone that, in my opinion, can’t be replicated by anyone. For example, when someone claims they sell a pickup that yields a true PAF tone, they’re exaggerating. Why do I say this? Because there is no such thing as PAF tone, I don’t care what people say. If you take 5 different PAF stickered pickups and play them one at a time in the same guitar, they will all sound different. Some sound good and others sound terrible.

When Gibson made these pickups, they constantly tweaked the design by changing magnets, wire, bobbins, baseplates and so on. Plus, the winding patterns changed depending on who was running the winding machines. As a result, there is no standard “vintage PAF tone.” In fact, I could hand you a rock and say it has PAF tone and you couldn’t argue because it’s a subjective opinion.

My goal is to make a high quality product using modern, better made and more reliable materials. I also have some ideas for some less than traditional designs as well.

I’ve ordered all of the materials and hope to be ready to start selling by mid April. I’ll post and tweet when ready to pull the trigger. Stay tuned!

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The Dirty Secrets Of Electric Guitar Building… Part 12

The Dirty Secrets Of Electric Guitar Building… Part 12

Without a doubt, pickups are the single most controversial component on an electric guitar. Ask five players what they like and you’ll get five different opinions. And in some cases–depending on who the five players are–the discussion can get rather heated to say the least.

I try to keep an open mind regarding pickups. Since I always wind my own, I tend to try different methods in order to achieve varied tones. I know what I like, but that doesn’t matter if I’m building for some one else. However, when it comes to building your own guitar, there are a few dirty secrets you need to be aware of.

First, there’s the issue of pickup placement. How do builders decide where to locate each pickup? Some luthiers like to finish the guitar first so they can play it acoustically in order to determine optimum placement based on the maximum amplitude of string vibration. Others–myself included–try to best utilize the given space between the bridge and the fretboard’s heel. In other words, I locate the bridge pickup as close to the bridge as possible and the neck pickup right up against the fretboard’s heel. This approach maximizes the difference in tone between the two pickups.

If you try to place the pickups as close to the string’s maximum amplitude of vibration, the effort becomes futile. Why? Because the maximum amplitude of vibration–also known as the sweet spot–changes depending on where you pick and fret the strings while actually playing a song. In my opinion, the goal should be to maximize the difference in tone between the bridge and neck pickups rather than trying to pinpoint an ever shifting sweet spot.

Another approach would be to fill the space between the bridge and the heel of the fretboard with as many pickups as you can stuff in there. But, this method only works if the pickups are radically different from each other in design and tone. For example, you could use a high powered, ceramic or neo mag pickup in the bridge position, a medium powered alnico V mag pickup in the middle and a low power alnico II mag pickup in the neck position. Of course I’m talking about humbuckers here since millions of Stratocasters have shown that multiple single coils work very well this way. Regardless of the style pickups you select, keep in mind that should the pickups be too similar in design, the result will be almost monotone as you switch or blend them.

Next is the issue of installation. Single coil pickups are usually installed by routing the pockets into the front of the guitar and covering them up with a pickguard. This approach is a no-brainer since you can do a sloppy routing job and cover it up nicely. The problem is, if the pockets are crude and or oversized, there may be a detrimental impact on tone. So make those pockets smooth and just slightly larger than the pickup itself. The closer the wood is to the pickup, the greater the body’s contribution to the guitar’s tone.

With regards to humbuckers, make sure the pockets will be small enough to hold the pickup while still being covered by the pickup ring. There’s almost no room for error here so check your template by placing the ring on top of it. Carefully examine all sides of the ring to make sure it covers template’s pocket shape. If it doesn’t, you’ll need to either make a smaller template–though large enough to hold the pickup–or source a larger ring. Also, remember to account for the ring when positioning the neck pickup against the fretboard’s heel. If you rout the pocket too close to the fretboard’s heel, you may not have enough room for the ring.

The last issue is wiring. Before you even start building your guitar, have a wiring schematic at your side. Waiting until the last minute could be a real problem. The last thing you’ll want to deal with at this stage is a control cavity that’s too small for your plans or a wiring scenario that won’t do what you need it to do.

If you’re installing humbuckers, make sure you identify them by adding a piece of tape to the one of wire leads. I usually do this to the bridge pickup. If you’re installing more than two, tape two of the leads and mark them with a “B” for bridge and an “M” for middle. If you forget to do this, you might be able to gently tug the leads where they enter the control cavity and see which pickup moves in its ring. However, I don’t recommend doing this as it could damage your pickup. For single coils, this isn’t necessary since they are usually installed to the back of the pickguard.

That about covers the dirty secrets of pickup installation. If you have any questions or comments send them my way and I’ll try my best to answer them asap. In the next installment of this series, I’ll go a little deeper into wiring scenarios. Stay tuned!

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As The Winder Turns…

As The Winder Turns…

Right now, good friend of mine in Houston, Texas is in the process of tooling up for an eventual foray into the market of affordable, custom, made-to-your-specifications electric guitars. Designs are done and templates are being made so all he needs is a little extra time to do the work.

Part of building and selling guitars involves sourcing the parts and perhaps the most important components are the pickups. With that in mind, he’s asked me to wind up some custom humbuckers and single coils, which will be installed on the guitars he plans to sell. The deal is, if he buys me a better winder, I make ten sets of pups for him free of charge.

This creates a potential opportunity for me to sell custom, hand-wound pickups. I would offer three different models of humbuckers, single coils and P90s. Each type would be available in three different levels of power output; low, medium or high. By matching the right magnet to the level of output would result in tailor-made tone. For example, the low power design would feature the clearest and widest range of tone, which would be perfect for the studio. The medium power would have slightly less tonal range, but would be great for the stage. And last, but not least, the high power would be for harder rock/any style of metal where tonal range takes a backseat to driving an amp instantly into distortion.

Of course, this is all just pie-in-the-sky thinking right now. There are a lot of custom winders out there already, but what they charge for pups seems a little out of line especially in this economy. Unfortunately, many builders have to cut corners on pickup selection in order to keep their projects within a preset budget. That’s a shame since the pickups can make or break a guitar’s tone.

Feel free to chime in and let me know your thoughts about doing this.

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