"Cloud Nine" humbucker demo

Thanks to Jonathan Ho for his "Cloud Nine" humbucker demo. Here's his channel - well worth a look: https://www.youtube.com/user/GATvsGAT... https://mrglynspickups.com/ “Cloud Nine”-hot humbucker The “Cloud Nine”-hot humbucker is a versatile ROCK pickup with plenty of mids, plenty of power but with enough clarity to help you stand out in the mix. A great pickup set for the Blues/Rock player but also well suited to heavier sounds , think Randy Rhodes or EVH. It with push the front end of an amp but will also clean up especially with a treble bleed. Here’s the Cloud Nine story: I am at heart a man of ROCK. Since the advent of the DiMarzio Super Distortion players have been able to get some power out of their pickups, enough to really push an amp. The neck pickup needed to be clear and present but with enough power for some of those sweet lead lines. I wanted the bridge pickup to have power to scream with the best of them while retaining enough clarity to have definition. When I play a 7th chord I want to hear it as a 7th and not sound mushy like a John Deere tractor at full throttle. It’s a real danger with hot pickups that they lose character and tone. I needed a crunchy rhythm with strong mids and an over the top lead sound. I want to get squawking pinched harmonics whenever I please. Not only that but I need it it to clean up nicely and react well to a treble bleed circuit. A humbucker for every situation, for players not afraid of a bit of gain. Not much to ask, eh! I got through a lot of wire and magnets experimenting over the years to get this set right. I suppose I worked on it for about 5 years, different magnets, winds, wire thickness, insulation, winds per layer – there are a lot of factors. Whenever I felt I was close I used them at a gig to hear how they sat in the band. Pickups can sound quite different next to a drummer or in a mix. I tweaked and adjusted…Eventually I was happy with the design and I was lucky enough to have legendary Kiwi band ‘Head Like A Hole’ help out with road testing. I knew if they came back from tour happy then I was on to a winner. They did. When you get it right it feels so good, a sensitive pickup rich in harmonics is so much fun so I called it the “Cloud Nine” which how I felt at the end of it all. This is the pickup set I gig with myself in my covers band now. I have them in an Epiphone Sheraton with treble bleeds on the volume pots. With this set up it works for everything from The Smiths to Metallica and all points in between. I don’t feel the need to swap guitar – these pickups work for everything.

"Sassy" P90 set

 The Mr Glyn’s “Sassy” P90 is a pickup set influenced by the Gibson P90’s of the late 50’s. The “Sassy” have a distinctive woody aggressive tone, full of character. The highs are smooth yet punchy, there’s a chiming bottom end and a very obvious mid range that pushes through the mix. If you tickle the strings they’re clean and clear but dig in and there’s no shortage of power to drive the front end of your amp.

I’ve grown to love P90’s over the years, it’s the sound of those early Gibson Les Paul Juniors. It’s a pickup that needs no extras, just straight into a good amp. They’re happy to power pedals but there’s a fullness and balance that seems to need nothing else.

I wanted the “Sassy” P90 set to live up to its name and have the dynamic range that I love about P90’s. The wide flat coil of a P90 gives a richer, less percussive tone than other single coil pickups and this is where the full tone comes from. I’ve sat both neck and bridge pickups on top of a pair of Alnico V magnets to give the power this pickup needs and help add that bit of grit when played hard.

I’ve made the neck pickup smooth and fat but with clarity and chime enough for jazz. The bridge pickup has the dynamics, pushy mids and aggressive highs when pushed but cleans up when you ask it to.

This is a pickup set that would be happy in almost any situation, blues, rock, punk, reggae… If it’s a full bodied, dynamic P90 you’re after look no further.

The Sassy is available in Dogear and Soapbar.

I’ve named this set the “Sassy” P90 set to reflect these pickup’s attitude, they’re bold, spicy, disrespectful and a bit cheeky.

“Cloud Nine”-hot humbucker

 

“Cloud Nine”-hot humbucker

The “Cloud Nine”-hot humbucker is a versatile ROCK pickup with plenty of mids, plenty of power but with enough clarity to help you stand out in the mix.

I am at heart a man of ROCK.

Since the advent of the DiMarzio Super Distortion players have been able to get some power out of their pickups, enough to really push an amp.

The neck pickup needed to be clear and present but with enough power for some of those sweet lead lines. I wanted the bridge pickup to have power to scream with the best of them while retaining enough clarity to have definition. When I play a 7th chord I want to hear it as a 7th and not sound mushy like a John Deere tractor at full throttle. It’s a real danger with hot pickups that they lose character and tone. I needed a crunchy rhythm with strong mids and an over the top lead sound. I want to get squawking pinched harmonics whenever I please. Not only that but I need it it to clean up nicely and react well to a treble bleed circuit. A humbucker for every situation, for players not afraid of a bit of gain.

Not much to ask, eh!

I got through a lot of wire and magnets experimenting over the years to get this set right. I suppose I worked on it for about 5 years, different magnets, winds, wire thickness, insulation, winds per layer – there are a lot of factors. Whenever I felt I was close I used them at a gig to hear how they sat in the band. Pickups can sound quite different next to a drummer or in a mix. I tweaked and adjusted…

Eventually I was happy with the design and I was lucky enough to have legendary Kiwi band ‘Head Like A Hole’ help out with road testing. I knew if they came back from tour happy then I was on to a winner. They did.

When you get it right it feels so good, a sensitive pickup rich in harmonics is so much fun so I called it the “Cloud Nine” which how I felt at the end of it all.

This is the pickup set I gig with myself in my covers band now. I have them in an Epiphone Sheraton with treble bleeds on the volume pots. With this set up it works for everything from The Smiths to Metallica and all points in between. I don’t feel the need to swap guitar – these pickups work for everything.

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

Cloud Nine humbucker

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

“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