“Cruel Mistress” -hot Tele Pickup set

 Here’s a great demo from Brett Kingman.

There is nothing like the high end snarl of a good Tele bridge pickup. However, Tele Pickups are complicated. It’s a sound that needs to be just right – too much treble and it can sound grating and obnoxious, too little and it just isn’t a Tele. The treble needs warmth while still cutting through a mix like a zombie banjo.

With the “Cruel Mistress” -hot Tele wanted to make a pickup with a bit more power to drive an amp harder while keeping the Tele character. My biggest concern was not losing what a Tele is all about. In my repair work I come across quite a few replacement Tele pickups that just don’t sound like Teles. Bridge pickups need grit and the neck a chimey clarity and together they should be full and open and matched well enough to create almost a reverb sound with the switch in the middle position.

The “Cruel Mistress” -hot Tele uses AlnicoV magnets to help with the attack and AWG43 wire to help with the snarl.

The neck pickup on a Tele needs to be smooth and warm and have a great balance with the bridge pickup so that the middle position rings with an almost reverb-like tone. The difficulty with Telecaster neck pickups is there just isn’t much space under that cover. As a result it can be a hard pickup to get right and there were a lot of experiments and disappointments on the way. Eventually I came on a design that has enough bottom end to sound full but not so much to sound boomy. And the final pickup was a great match to the bridge.

I had help from the ears of a couple of my regular customers who were generous enough to let me load their guitars with prototypes. The whole process takes time and only after many road tests and versions did I fix on a design. As a result, each of my designs have been developed over many years of subtle changes and road tests. Having help like this means my pickups are trialed through many different amps and playing styles. The neck/bridge balance as well as dynamics/compression need to be tested in as many situations as possible to find a pickup that will work for most players.

So if you need some grit and aggression from your Tele this is the set for you.

Here are some sound samples recorded clean through a Fender Princeton Reverb-Amp with a swamp ash body, maple neck Tele with D’Addario 10-52’s.The overdrive is an Elecroharmonix Soul Food pedal. All of them with the same guitar, same amp, same settings, no reverb or eq added later.

Cruel Mistress Neck Clean

Cruel Mistress Bridge Clean

Cruel Mistress Middle Position Clean

Cruel Mistress Neck Pickup with Overdrive

Cruel Mistress Bridge Pickup with Overdrive

Cruel Mistress Middle Position with Overdrive

“Cruel Mistress” -hot Tele

Tele Pickups – Cruel Mistress Bridge

https://www.youtube.com/channel/UCcDggiRTQyFec5KAVHsC2xA

Integrity vintage humbucker set - Mr Glyns Pickups

 

“Integrity”-vintage humbucker

The “Integrity”-vintage humbucker is a low powered Alnico II humbucker in the style of the early PAF’s.

Every pickup manufacturer makes a “Vintage” humbucker based on the Gibson PAF, of course they do – old Gibsons sound so good.

So how come they all sound so different? Well, the simple answer is that PAF’s were all different. I’ve been a full time luthier since 1995, whenever I come across an old humbucker I test the ohms and the gause and have a good listen. They’re all different. My conclusion is that pickup manufacturers have taken the PAF they like and based their own version on that. Old PAF’s vary so much so modern ones do as well.

I like my own version to be clear sounding, have obvious string separation and definition and to keep clarity no matter how much gain. The mids must be strong and woody, this is not a “scooped” pickup. The clean sound needs to be chimey and clear with no mush; through a valve amp I want clarity. When I tickle it I want clean and vocal sounding when it clips. The bridge pickup needs to be well behaved with high gain and clear with enough cut through so the drummer knows you’re there. The neck smooth, clear and articulate. Warm but with none of the boom you get with a more powerful pickup.

I don’t want much do I.

My “Vintage” Humbucker has an Alnico II magnet and I’ve used plain enamel insulated magnet wire with asymmetric coils to open up the mids. The very first pickup I ever made back in 1995 was a PAF style and I’ve been tweaking the recipe ever since. Like all my pickups I’ve used a number of test pilot players in its development as well as gigging it myself. It wasn’t until around 2015 that I settled on this particular design. I did a gig with a set in a PRS SE series only last weekend – sounded great to me.

The full and honest sound of this pickup along with it’s timeless tone inspired the name “Integrity”.

Is pickup was originally called the “Blue Sky”.

Here are some sound samples recorded clean through a Fender Princeton Reverb-Amp. The overdrive sounds are using an Electroharmonix Soul Food. The guitar is a ’98 Les Paul Std with D’Addario 10-52’s. All of them with the same guitar, same amp, same settings, no reverb or eq added later.

Neck Pickup Clean

Bridge Pickup Clean

Middle Position Clean

Neck Pickup with Overdrive

Bridge Pickup with Overdrive

Middle Position with Overdrive

The ‘Integrity’ used to be called the ‘Blue Sky’

Bellbird - vintage Strat pickup set

 

The Stratocaster has been around since 1954 and the legend continues. Reading the internet (!?) tells me there have been good and bad years or decades, guitars to avoid and ones worth hundreds of thousands of dollars. I’ve been repairing guitars since 1995 so I’ve played a lot of old Strats and analysed a lot of old pickups. Vintage pickups aren’t all great but the good ones are fantastic.

I’ve based my Vintage Strat set on the best of the old pickups I’ve had the pleasure of playing through . So I use AWG42 heavy formvar insulated wire – there’s something about the thickness of that insulation that just works with an old Strat pickup.

I’ve aimed for that old quacking chime that makes Strats wonderfully percussive but with a singing quality that’s so musical. Warm and clear with beautiful almost reverb-like clean tones – that’s what I want out of an old Strat. The neck needs to be fat, round and clear, the middle pickup needs to quack and the bridge a cut through twang without thinness. The all important ‘in between’ sounds in positions 2 and 4 must be balanced and characterful. Nothing says Strat more than these sounds.

The Bellbird set has been designed mainly for clean tones but they’re certainly not afraid to perform with a bit of gain. As part of a HSS set they’re great with one of my ‘Integrity’ humbuckers in the bridge position.

I agonised for months over names for my Strat pickup sets then during a camping trip to Tauwharanui Regional Park I heard my first Bellbird and realised that was the sound I had been looking for when I was designing this set. The comparison in tone between the Bellbird and the more common Tui seemed exactly what I had in my head when designing my Strat pickups. Bellbirds don’t just go tweet, there’s a depth and warmth in the tone. It’s so hard to describe sound and the difference between pickups but I think the difference between the Bellbird and the Tui sum up the difference between my vintage and hot Strat pickups. So I called them the Bellbird and the Tui.

These sound samples should show you what I mean:

Bellbird:

Tui:

Here are some sound samples recorded clean through a Fender Princeton Reverb-Amp. The overdrive sounds are using an Electroharmonix Soul Food. The guitar is an Alder body Strat with rosewood fretboard strung with D’Addario 10-52’s. All of them with the same guitar, same amp, same settings, no reverb or eq added later.

Bellbird Neck Pickup Clean

Bellbird Neck and Middle Pickups Clean

Bellbird Middle Pickup Clean

Bellbird Middle and Bridge Pickups Clean

Bellbird Bridge Pickup Clean

Bellbird Neck Pickup with Overdrive

Bellbird Neck and Middle with Overdrive

Bellbird Middle with Overdrive

Bellbird Middle an Bride Pickups with Overdrive

Bellbird Bridge Pickup with Overdrive

https://www.youtube.com/c/MrGlynsPickups/videos

Fender Lead I Pickup

 I’ve been repairing a few pickups recently and I thought I’d share this one with you. It’s a Fender Lead I Pickup that was sent to me by guitar repairer Jeff Baker from Oamaru.

The Fender Lead I was one of those obscure models that never really caught on and the pickup reflects that. It’s a little unusual and that’s what makes it interesting.

It even looks different with those square topped bobbins.

Not only is it unusual looking from the top but turn it over and it shows what it’s really all about. Those are 12 big adjustable poles screwed into substantial steel blocks and coupled to a powerful ceramic magnet.

This is clearly not a typical Fender pickup, this was designed to ROCK.

It came to me because it wasn’t working and typically one coil was showing ‘open circuit’ on the test meter. In these cases I can use the good coil as a reference to what the faulty coil should be. It had a dc resistance of 7.61 KOhms. Wiki told me the final dc resistance of the whole pickup is approx. 13KOhms so that gave me a pretty good indication of how I should wind it. That’s a powerful set of coils to go with that magnet.

A bit of maths, plenty of experience and some intuition and I had a plan for winding it. Detailed information just isn’t available for this kind of job.

I stripped the bobbin and wound the coil.

I potted it very lightly because these bobbins are made of butyrate that has a lower melting point than most modern ABS bobbins – I didn’t want it to deform with the heat, I wasn’t going to be able to get another bobbin.

Here you can see the chunky pole pieces, they’ll guide a fair bit of that ceramic magnet’s strength up to the strings.

If you have a faulty pickup or are interested in my range of handmade pickups have a look at the website

https://mrglynspickups.com/

https://www.youtube.com/c/MrGlynsPickups/videos

‘78 Musicman Stingray Bass pickup re-wind

 Mr Glyn's Pickups

The Musicman Stingray bass is for me one of the top 3 basses ever – the Precision, the Jazz and the Stingray cover pretty much everything between them. A big part of what makes the Stingray so good is the Musicman Stingray Bass pickup

It has such a distinctive sound. Once you’re tuned into it you can hear it on so many recordings.

This pickup is from 1978 (they started in 1976) and was sent to me from a customer in Christchurch. I thought I’d show you around inside it – these are really interesting pickups.

‘78 Musicman Stingray Bass pickup

The Musicman Stingray Bass pickup is by the look of it a big fat humbucker but there’s more to it.

The magnets are big alnicoV’s, 3/8” diameter and 5/8” deep so a lot of the power and grunt comes from them. The 2 coils are wound with awg 42 wire and are around 4KOhms each (they vary). The poles on each coil have opposite polarity and the coils are wired out of phase electrically so they act as a humbucker. The really interesting part is the coils are wired in parallel, not in series like most humbuckers.

The sound of 2 coils in parallel is the sound of a Jazz bass with both pickups on or a Strat on switch position 2 or 4. It’s a very distinctive, clear tone with a very clear midrange and chimney bass.

So the distinctive Stingray sound comprises of fairly low powered coils in parallel to give plenty of clarity but with exceptionally fat magnets to give bass and grunty mids.

I haven’t mentioned the active circuit the signal goes through yet but that’s another story.

‘78 Musicman Stingray Bass pickup

As you can see, under the cover it looks very similar to ‘Fender’ pickups.

‘78 Musicman Stingray Bass pickup

One coil was open circuit so I cut the windings out. There was tape wrapped around the magnets to protect the coil. I left that in. I love the way they staggered the pole pieces but kept the magnets the same size.

pickup re-wind

The original winding wire is insulated with red poly. Unfortunately I only had Poly insulation in the natural colour – that’s my coil on the right.

MusicMan Stingray Pickup

And there she is, all ready to go back in to the bass. https://mrglynspickups.com/

If anyone has a faulty pickup just give me a call 021912678 or email mrglynspickups@gmail.com

Take a look at my YouTube series “Mr Glyn Meets Your Maker” where I have chat with manufacturers of musical gear from around New Zealand

“Tui” hot Strat pickups getting a workout

 

Thanks to https://www.thejamunit.com/ for showing us what the “Tui” hot Strat pickups can do.

“Tui” hot Strat pickups

I’ve wound a lot of Strat pickups since I started in 1995. I started off re-winding cheap pickups and then moved on to repairing old dead Fender pickups. Every experiment was written down in a notebook with tone comments. Back when I started there wasn’t much information available so there was a lot of reverse engineering and a lot of trying things out. That learning time was invaluable to developing instinct for how to change the sound of a pickup. I’ve still got the note book and I’m still adding to it.

In, I think, 2014 a customer of mine approached me wanting a set of Strat pickups. He’s a great blues player and had recently moved from using a Les Paul to a Strat. He described the sound he was after and it seemed to me it was the same as I’d been after myself so I put some time in to designing a pickup set for him.

The “Tui”- hot Strat pickups needed to be most definitely a Strat sound – I hear plenty of Strat replacement pickups that are fine but just not Strat-ish. Secondly I wanted a bit more power, just a bit, enough to make a good old valve amp clip a bit easier than a “vintage” pickup would. And there needed to be dynamics – tickle it and it’s clean, dig in and it grits up. As I was making the original version of this set for a player used to humbuckers I wanted to reduce the ”ping” of the attack. I’ve added steel base plated as standard to this set. This changes the shape of the magnetic field, broadening the harmonic window. They add a wee bit of power, a wee bit of bass and reduce that pesky ping.

The neck pickup needed to have “that” Strat sound with fullness and clarity. It’s the ‘go to’ sound for most Strat players. The middle pickup needed to have some ‘quack’ to it with its own distinctive personality. The bridge pickup shouldn’t be too thin, it needs to have plenty of highs but not too much of that ‘ping’ or it’s almost useless. Then there are the other sounds – positions 2 and 4, mistakenly referred to as ‘out of phase’. They are really just 2 pickups in parallel. It’s hard to predict what those sounds will be, there was a lot of experimenting.

So I consulted my old note book and wound a lot of pickups and fitted them in a few test Strats. I’ve been lucky enough to have some great players as repair customers and so I was able to get quite a few opinions.

Eventually I was happy and I fitted a set for my ex Les Paul customer and he loved them straight away. A few months later he contacted me to say he was still loving them. I love it when players do that.

I’ve fitted resulting sets into a lot of instruments and it turns out that not only blues players like them, they seem to work for everyone. I shouldn’t be surprised, the Stratocaster is such a versatile guitar, of course they do.

https://mrglynspickups.com/