TheTron
pickup set is based around the legendary Gretsch pickups Of the 50’s
and 60’s. To say TheTron has character is an understatement. TheTron is
full and rounded with a well balanced mid range but with that
distinctive ‘Clank’ that separates it from other pickups. The neck
pickup is clear and fat and the bridge stands out from the mix without
ever sounding harsh.
Over
the years I’ve repaired a fair few old Gretsch pickups and noticed the
best sounding ones are at the upper range for ohms. I’ve taken that
design and tweaked it until I got the fullness I was looking for but
without loosing clarity or clank.
Most of my pickups are made in
collaboration with a professional player, but not TheTron. I started
playing guitar at the age of 16 when I first heard Malcolm Young – a
Filtertron through an almost clean valve amp. I didn’t feel I needed
another set of ears for this one, I knew exactly what I wanted.
I
needed this pickup set to be crystal clear with a clean amplifier but to
come into its own when pushing an amp to clip. The neck pickup needed
to be clear, full and chiming in both a big archtop and in the neck
position of a Telecaster. The bridge pickup needed to have no shortage
of character, a clean almost jangly tone when played gently but with
enough go in it to push the front end of a valve amp to clip when you
dig in.
TheTron is the perfect pickup as a Gretsch upgrade, for
the modern player wanting something other than Gibson style humbuckers,
rockabilly players after that traditional tone, jazz players or, like
me, Malcolm Young fans. There’s so much you can to with The Tron.
For the modern player with one foot in the past.
And as for the name “TheTron”? – I think you have to be a Kiwi…
Mr
Glyns Cruel Mistress hot Telecaster Pickups are designed for the Tele
player who wants more than the traditional country twang. They have a
full bottom end, cut through mids and a top end that is strong but never
harsh. They’ll push you amp that bit harder without loosing that
Telecaster character.
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.
A big thanks to Brett Kingman in Aussie for his demo of Mr Glyns "Black Sand" humbucker size P90's. I love his relaxed approach while giving us a thorough listen to what these pickups can do.
The humbucker sized P90 is a great pickup – it sits tonally between a humbucker and and a strat type pickup. If your neck humbucker is a bit thick and woolly sounding for you, you want more clarity, or just want a different tone, then this one may be the answer. The physical size of this pickup is identical to that of a “normal” humbucker so it will pop straight in.
P90’s are different to other single coil pickups. They have a wide, flat coil similar to that of a Jazzmaster but the magnetic field is a very different shape. Fender single coil pickups have the coil wound around the magnet giving a focused, precise percussive sound. A P90 has 2 bar magnets underneath the coil; this broadens the magnetic window allowing the pickup to listen to a bit more string and thickens the sound. I chose Alnico V bar magnets for this model to help give some grit and power characteristic of a P90.
Of course, too much power and the pickup would sound too thick and bass heavy which is not its purpose. Too little power and it just won’t snarl.
Humbucker sized P90s are such a useful pickup. They sit tonally between a single coil and a humbucker (roughly speaking). and their physical size means they pop straight into any humbucker equipped guitar.
The development of my “Black Sand” pickup was a bit backwards. Usually I make a bridge pickup first and work from there but with this one the neck pickup came first. I had a customer ask for a neck pickup for an es335 to sound clearer than his existing Gibson humbucker. I sold a few neck pickups before thinking it would be a good idea to have a set. So I started work on the bridge pickup.
I wanted this bridge pickup to have clarity in the lower mids to stand out from humbuckers while having enough power to grit up nicely. I wanted it to be clean when tickled and to growl at you when you dig in. P90’s are all about dynamics. It had to match the existing neck pickup or work well as a stand alone in a HSS situation.
Of all the pickups in my range this one came together the quickest. There were only 4 or 5 prototypes and I was happy. Experience and intuition combined with a notebook where I’ve written down details of every experimental pickup I’ve made since 1995.
There were a load of prototypes in and out of a Les Paul, Tele Delux and PRS, through different amps and in the hands of different players. I never trust just my own ears with my pickups. I like to get opinions and suggestions from a few players before making any final decisions. I listen to what players say and I adjust prototypes accordingly, but at the end of the day the final decision is mine. I’m always aware of the phrase “a camel is a horse designed by committee”.
It took a while to get this one right. A pickup would sound great at workshop volume, them I’d play it in a band situation and it would be too boomy, too much like a humbucker. So I’d have a think and make another. In the end persistence paid off.
The pickups I finally settled on went into my Les Paul and off to a gig for the ultimate test, and that’s where they’re staying.
The neck “Black Sand” is a great match for either my “Integrity” or “Cloud Nine” bridge humbuckers or as a set with its equivalent “Black Sand” bridge humbucker sized P90.
I agonised over what to call this pickup set. I wanted a name that would reflect the apparent contradiction in P90’s. From the perspective of a humbucker player they are clear and chiming. From the viewpoint of a single coil player they are powerful and gritty. They’re one thing while looking like another. I wanted a oxymoron to reflect this contradiction, one that might include the unique magnetic structure that gives the P90 its character. So I went for a run along Muriwai beach to think. And there it was staring me in the face (literally). Muriwai has black volcanic sand due to its iron content and it’s magnetic. So I’ve called this set “Black Sand”.
I’m very happy with this pickup – hopefully you will be too.
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.
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.
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 OverdriveCloud Nine humbucker
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 TeleTele Pickups – Cruel Mistress Bridge
