Previously, the reason behind the different tones that different woods create has been explained. The different tones themselves were not fully explored, though. In this article I will give a global overview of the different tone woods, the sound they produce and in some cases their purpose. This is by no means a complete picture, only a global overview.
We all know the tried-and-true electric guitar tonewoods: Maple, Mahogany, Alder, Ash, Rosewood and Ebony. But what if your guitar only contains some of these woods, none of them, or no wood at all? How can you choose a pickup for construction materials which don’t follow the same wood combinations used for the past 70…
By Dave Eichenberger Walla Walla, Washington is a town with a funny name known for its wine industry and sweet onion production. However, this funny-sounding town also happens to be home to the Walla Walla Guitar Company.
Originally released only in Scandinavia in January of 2013, the Black Winter pickups were designed for extreme metal players, providing a sound that was suited to the sorts of metal coming out of this region of Europe. The public interest was so high that the Black Winters received a world-wide general release soon afterwards. Let’s…
There’s one thing I don’t want when I switch over to a neck pickup, and that’s mud. I want my bridge pickups to have a tight low end, and enough mids and treble to cut through the mix, without getting fizzy, and be able drive an amplifier hard enough to get some good chunky tones. My neck pickup on the other hand needs to have a cleaner sound to it, and retain some smoothness even under a lot of dirt.
With its full resistance resistance of 13.3K, 1/4″ Alnico 5 pole-pieces and an EQ curve of 5 (bass) – 4 (middle) – 6 (treble), the Quarter Pound a scorching hot single coil. The Quarter Pound is available with the option of an extra wire which allows you to tap the pickup to roughly half its output, making it sound a little more like a vintage single coil.
I want my bridge pickup to be able to cut through the mix. It needs to really crunch, have a percussive quality when playing muted parts, and have a fast response. The other thing is that I need the pickup to not be too hot, it needs to retain some organic qualities. I mostly aim for bridge pickups that are in the ball-park of medium to high output, where there is enough on tap to get some really heavy tones, but not so much that you lose that “woody” sound.
When it comes to neck humbuckers I’m a fan of fairly bright, cutting tones with no mud. A neck pickup needs to have a fairly clean sound, even when under a lot of distortion. I like for it to have a bit of attitude too. I have no time for ‘friendly’ sounding pickups. But they do need to clean up nicely and split well too.