During a recent visit to Santa Barbara, CA, Mark Holcomb traveled to the Seymour Duncan tiny house and headquarters to film our fourth Seymour Duncan “Portrait Series” video. As part of the three-guitar assault that makes up Periphery, Mark Holcomb might be best known for his bombastic riffs, liquid leads, and the syncopated down-tuned rhythmic onslaught that has become the foundation of Periphery’s djent-pioneering sound.   

When he’s not executing brutally technical riffs, Mark is no stranger to the atmospheric and ambient side of guitar. The lush clean passages, accented by crystalline reverb and chiming delay tones that break up Periphery’s aggression are part of the formula that makes the band so special, and is part of what makes Mark such a unique and multi-dimensional guitarist and songwriter.  

Since forming in 2005, Periphery has released five studio albums and two EPs. They have also toured the world extensively, alongside acts like Dream Theater, Deftones, Animals as Leaders, Veil of Maya, The Dillinger Escape Plan, In Flames, Fear Factory, Between the Buried and Me, and others.

In addition to writing, recording, and producing their own music, Mark and Periphery own and operate their own label, 3DOT Recordings, through which they release their own music, as well as curate and nurture outside musical projects and bands.

Mark currently has two signature products with Seymour Duncan: his Alpha/Omega Humbucker Set, which is available for 6, 7, and 8-string guitars and can be found stock in his signature 6 and 7-string guitar models from PRS Guitars, and his Dark Sun Digital Delay + Reverb Pedal.  

Mark’s Signature Alpha/Omega Humbucker Set

The progressive metal virtuosos of Periphery are known for their technically complex rhythms and precise tones – tones which require high output passive humbucker pickups with just the right amount of output and articulation whether standing alone or working in a dense mix. The Alpha and Omega pickups were created to match that level of precision and versatility.

The Alpha/Omega set has been the heartbeat of my sound for the past several years. Since we developed and released the first 6-string set in the custom shop, I’ve had the same pickup set in every one of my 6, 7 and 8-string guitars, live and in the studio. It has remained one of the few components of my rig and setup that I haven’t even thought about tweaking.” –Mark Holcomb

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Mark’s Signature Dark Sun Digital Delay + Reverb Pedal 

Dark Sun combines a warm and clean digital delay algorithm with a lush Hall reverb. As well as the ability to route the two in just about any configuration you could want. And, you can shape the EQ of the effect, add saturation, or lush choral modulation, or use Dynamic Expression to control the mix of the effect with your playing. Mark wanted the ability to change the order of the effects on the fly and assign them to either the left or right channel – so we designed the routing control; a 4-position switch that can create dramatically different sounds depending on how it’s set. 

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Wading through all of your guitar pickup options can sometimes be a bit intimidating. So we put together this list of our top 5 best Strat pickups for blues, it’s the perfect place to start. But first, lets dive into a little history…

History of the Blues Guitar

When it comes to the ultimate blues electric guitar, the Fender Stratocaster has been at the top of the heap for decades. Its three single-coil pickups exude a scooped, bell-like character that has defined the iconic tones of Buddy Guy, Robert Cray, Philip Sayce, and many more. So, when discussing the culturally ubiquitous Strat, one must start with this ever-expanding list of its devoted players.

The Strat first hit the blues airwaves when used by Pee Wee Crayton to record his 1954 single, “The Telephone is Ringing.” Along with Crayton and Guy, Otis Rush, and Ike Turner also used the double-cutaway wonder to great effect.

However, it was the ’60s when the world first heard what those three single-coils could truly do. There is no better example, of course than the game-changing tones of Jimi Hendrix. Leaning heavily on his blues and R&B background, he slammed his Strats through a chain of effects. As well as a wall of devastatingly loud Marshall stacks. This created a new world of tone that Carlos Santana exclaimed, “Sounded like Mt. St. Helens!”

More and more blues players jumped on the Stratocaster bandwagon throughout the 1970s.

None were more iconic, however than Ireland’s Rory Gallagher and Slowhand himself, Eric Clapton. Slinging Fenders over their shoulders, they paved the way for the blues rock explosion that has thrived ever since.

Moving into the hair metal and synth-heavy ’80s, the Stratocaster’s bluesier side was resurrected the moment Stevie Ray Vaughan hit the airwaves. From the rotary-swamped sounds of “Cold Shot” to his famous, Tube Screamer-laden lead tones, Vaughan laid the groundwork for nearly every tone in modern blues.

Ever since its seismic shift created by Vaughan, blues has enjoyed a healthy existence. It’s been fueled by countless Strat slingers like Kenny Wayne Shepherd, Eric Gayles, Philip Sayce, and John Mayer.

It’s fascinating that each of the players mentioned above carved out their spot in blues history with similar versions of the same, simple single-coil pickups. Pull these pickups’ cover off, and you’ll find a familiar complement of coiled copper wire, magnetic pole pieces, and forbon-flatwork bobbins. Whether discussing the neck pickup’s tubular character, the aggressive attack of the bridge, or the reassuring ‘quack’ of the in-between tones, these materials boast an unmatched ability to translate every player’s unique personality and touch. It’s why, for the most part, Leo’s original design has stayed the same throughout the decades.

That doesn’t mean there haven’t been changes.

As early electric blues blossomed into the higher-gain blues rock we know today, players were struggling with the trebly highs presented in the guitar’s first pickups. Their prayers were answered in the mid-’60s when Fender’s lauded ‘grey bottom’ became the standard. To this day, players often note these pickups’ smoother treble response, and a slight bump in output. From the day Fender first made this pickup change, the quest for the perfect set was on.

Today, you’ll find countless tweaked versions of those original designs, which remain largely the same as the originals. However, when it comes to tone, they couldn’t be more different. Whether utilizing sweeter-sounding alnico magnets, ceramic magnets for their more aggressive voice, or manipulating the materials and winding, simple changes make a massive sonic impact. And that’s just with standard single-coil designs.

You’ll also find Strat pickups that range from battery-powered active designs to full-on humbuckers crammed into a single-coil footprint. Thanks to modern technology, the market is also seeing the best-sounding noiseless, true single-coil pickups ever available. Also, let’s not forget the insanely flexible voice offered by dropping a full-size humbucker in the bridge position. Though not their typical setup, there may not be a better one-size-fits guitar than an HSS Strat.

As someone who personally wound pickups for Jimi Hendrix, Seymour W. Duncan and his team have been at the cutting edge of Strat-pickup design longer than just about anyone but Leo himself. So it comes as no surprise that we offer a wide variety of models, perfect for blues players of all stripes.

Because wading through all of your options can sometimes be a bit intimidating, we put together this list of the best Strat pickups for Blues, creating the perfect place to start. Enjoy.

Here are the 5 best Strat pickups for Blues:

SSL-1 California 50s Stratocaster Pickups

If you’re looking for a modern pickup that nails every aspect of Fender’s original designs, the California ’50s set is where it’s at. We carefully craft these pickups with period-correct Formvar wire, bobbin material, and hand-ground Alnico V magnets, to deliver the treble detail, focused bass, and bounce of genuine ’50s tone.

Antiquity Texas Hot Stratocaster Pickups

For blues players that prefer their vintage-style pickups with some miles on them, we offer our highly rated Antiquity Texas Hots. You’ll find all of the classic chime and detail of vintage Strat pickups. It’s a slightly hotter bridge pickup and has our proprietary aging process. Giving it a sonic balance and smooth sweetness that is only otherwise available in the 60-year-old originals.

STK-S4 Classic Stack Plus Stratocaster Pickups

Plug in a vintage Strat, and you’re sure to be greeted with their frustrating, trademark 60-cycle hum. Many blues aficionados are more than happy to deal with the noise to nail their classic tones. However, thanks to our STK-S4 Classic Stack Plus pickups, you don’t have to. These pickups utilize a specially designed second coil to silence the buzz without changing the classic single-coil tone. All the old-school tone, none of the old-school hum.

Cool Rails Stratocaster Pickups

If you’re a died-in-the-wool Strat fiend but need a warmer, jazzier blues tone, look no further than our Cool Rails pickups. We were able to condense the clear-yet-full design of our incredibly popular Jazz humbucker into a single-coil size pickup. And because they’re available with a 4-conductor lead wire, Cool Rails be easily split or tapped to deliver a more authentic single-coil sound.

Little 59 Stratocaster Pickup Set

When it comes to versatility, our Little ’59 Set delivers. If you want a guitar that can swing from Jimmy Vaughn spank to Gary Moore sustain, this trio of single-coil sized humbuckers is the way to go. They nail the tone of our beloved ’59 humbucker. And their 4-conductor lead wire also lets you switch to clear-toned single-coil operation on the fly.

As you can see, Strat-slinging blues players have endless pickup options for finding their voice. But don’t let the options scare you. It only means that we’re sure to offer your perfect set. Try our player-friendly online Guitar Pickup Selector that has audio examples of each model. We are committed to helping you find what you’re looking for. So if you’re ready to take your Strat-based blues tone to the next level, explore all of our Seymour Duncan Strat pickups here.

A pickup’s look is just as critical to the aesthetic of your guitar as its tone. For this reason, we offer a wide variety of guitar pickup covers. These covers include three unique new looks: Black Powdercoat, Raw Nickel Radiator Cover with Gold Foil, and Raw Nickel Border with Tortoise Shell.

The pickups we choose are the heart, soul, and personality of our guitars. And, while their impact on tone is undeniable, their power is often as visual as it is aural. From the white, black, and zebra colors of vintage humbuckers to the wide variety of guitar pickup covers, each injects its personality into the instrument and even your playing.

While the standard humbucking and single-coil looks are still going strong, guitarists are also embracing the kitschy beauty of pickups found on ‘60s-era guitars, like Harmonys and Teiscos. At the same time, players looking for an all-business look love the all-black attitude of active pickups like our Blackout series. But until now, achieving those sought-after looks meant accepting the tone of the pickups they came on.

That all changes with the release of our new line of guitar pickup covers: Black Powerdercoat, Raw Nickel Radiator Cover with Gold Foil, and Raw Nickel Border Tortoiseshell. Available on the ‘59, JB, Duncan Custom, Alnico II Pro, Saturday Night Special, Jazz, Duncan Distortion, and Pearly Gates humbuckers, it’s never been easier to give the tone you love the look it deserves.

Let’s take a look at these new guitar pickup cover offerings to find your perfect match.

Black Powdercoat Guitar Pickup Covers

A recent trend with high-output, active pickup players, is a desire to balance the pickups’ often menacing looks with a more traditional appearance. Our Seymour Duncan Jeff Loomis Blackouts are a perfect example. Now you can get that marriage of aggression and tradition in a wide variety of our passive humbucker models. But don’t think these black metal covers are only for metalheads. Everyone from jazz cats to black-tie-event cover bands will appreciate the elegant simplicity that these guitar pickup covers bring to your axe.

Raw Nickel Radiator Cover with Gold Foil

Vintage gold foil pickups are the undoubted heroes of the Black Keys-inspired roots-rock crowd. And thanks to Ry Cooder’s early adoption of them for some of the most legendary slide tones in history, their appeal is embraced far and wide. But if you’re someone who digs the gold foil vibe more than their tone, these Raw Nickel Radiator Cover and Gold Foil-covered options are for you.

Raw Nickel Border Cover with Tortoise Shell

Following in the pawnshop prize tradition is our Raw Nickel Border with Tortoise Shell-covered humbuckers. While not based on a particular pickup of yesteryear, you’ll find they add an instant old-school chic to any guitar you drop them in. And don’t worry, the sonically transparent faux tortoiseshell cover doesn’t impact your pure tone. So go ahead and blast the front of your amp with a Duncan Distortion or envelop yourself in the golden-era tones of our ‘59 pickups. You’ll always have a stage-ready look all your own.

While there are more pickup options available today than ever before, these three looks have remained elusive to those loyal to their favorite humbuckers. But with all three available on eight of our popular dual-coil designs, you can finally pair the exact look you want with the exact tone you crave.

Have you picked your look, but are still on the fence about the perfect pickup pairing? Here’s a quick rundown of the humbuckers currently available with these covers.

‘59: Neck and Bridge Pickup

The ’59 Model neck pickup is one of our most popular and versatile pickups. Designed in the spirit of the original P.A.F. humbuckers of the 1950s, they deliver sweet sustain, full-sounding chords, and clear attack. And thanks to a few refinements, they offer it all in a package that’s perfect for modern players.

Jazz: Neck Pickup

Though named the Jazz, we initially designed this humbucking pickup as the matching neck pickup for the high-output JB Model bridge humbucker. Its glassy treble response, full, tight bass, and scooped mids help each note to sing clearly under any shade of gain. Clean or filthy dirty, there’s nothing this neck humbucker can’t do.

JB: Bridge Pickup

The JB Model humbucker is our most popular pickup of all time, and one of the most popular high-gain pickups in the world. Its low end is full and robust, while the highs are crisp and detailed. But it’s the JB’s upper-midrange bump that gives it its distinctive crunch and singing, vocal-like quality.

Duncan Custom: Bridge Pickup

Think of the Duncan Custom as a ‘P.A.F.-on-steroids. It has tight lows, a bump in the upper midrange which gives you more character and crunch, and an airy high end that cuts through. It’s also great for achieving crystal-clear clean tones. Drop it in a warmer-sounding guitar like Les Pauls and Paul Reed Smiths, and you’ll see why the Custom has so many loyal fans.

Duncan Distortion: Neck and Bridge Pickup

The Duncan Distortion is our original high-output humbucker. For over three decades, its massive ceramic magnet and hot coil windings have delivered full-bodied rock and metal tones to players around the world.

Pearly Gates: Neck and Bridge Pickup

The Pearly Gates humbuckers are based on the original pickups from Billy Gibbons’ 1959 Les Paul. Like the originals, these pickups have slightly more output than most P.A.F.s. That’s what helps give it extra drive. Unsurprisingly, pinch harmonics sing with these pickups. They have a growl all their own, and will help to bring any guitar to life.

Alnico 2 Pro: Neck and Bridge Pickup

The Alnico 2 Pro humbucker uses the soft treble attack and low string pull of an alnico 2 bar magnet. That, combined with a unique coil wind, creates a warm, sweet tone. The thick highs sing to match its warm lows. If you want a touch-sensitive pickup that translates your every nuance, the Alnico 2 Pro is the way to go.

Saturday Night Special: Neck and Bridge Pickup

Saturday Night Special humbuckers bridge the gap between vintage ‘50s and modern humbuckers. They are a little hotter and fatter in the bridge position and a little clearer and less “wooly” in the neck. They may be the perfect set for classic rockers looking to replicate those legendary late-70s arena tones.

Have questions about finding the right combination for your guitar? Head to our player-friendly, online Guitar Pickup Selector, and audio example. Or give us a call and let us help you turn your guitar into the musical machine of your dreams.

Adjusting guitar pickup height is one of the easiest ways to improve your tone. With a few easy twists of a screwdriver, you can obtain the best output, warmth, clarity, and balance that your pickups can deliver.

Keep reading to learn the benefits of proper adjustment, how to adjust a wide range of the most popular pickup types, and how to avoid some tone-wrecking pitfalls of incorrect adjustment.

Does Pickup Height Matter?

Pickup height should be set to a specific range to get the best performance from your guitar. An improperly adjusted pickup will have a massive negative impact on your guitar’s tone, performance, and tuning stability.

Whether you purchased a used guitar with an unknown past or are replacing pickups in one you bought new, you’ll need to adjust pickup height at some point. The pickups on new guitars, though often set to factory spec, aren’t dialed in to the way you play. And believe it or not, vibration and handling can cause pickups to move over time.

How Does Pickup Height Affect Sound?

Pickup height affects your sound in a few ways, but there are two major ones. Pickups that are set too high can pull your guitar out of tune because the magnets will push and pull the strings. If pickups are set too low, the magnetic field from the pickups won’t pick up the vibrations from the string and your resulting tone will sound quiet or thin.

Does Pickup Height Affect Sustain?

If your pickups are set too low or too high, it can negatively affect sustain. When pickups are extremely high, their magnetic field can affect string vibrations (and thus sustain) negatively by dampening them. If pickups are too far away from the strings, you’ll experience less output which is perceived as less sustain.

How Do I Know If My Pickups Are Too Low?

The first and most obvious sign your guitar pickups are too low is weaker output. Maybe you lowered a high-output humbucker to get a jazzier clean tone. But that lower output also translates to a thinner, weaker sound. A low pickup can also create an unacceptable tonal mismatch as you select between different pickup positions. You’d be better off replacing that punchy humbucker with a model better suited for your style and tone.

How Do I Know If My Pickups Are Too High?

When a guitar pickup’s magnets get too close to the strings, their magnetic field inhibits the natural vibration of the strings. Ever adjust your pickups and wonder where your sustain and definition went? This could be the culprit. Topped-out neck pickups have also been known to exert so much pull on the strings that it causes your guitar to fret out and buzz terribly.

But the most frustrating outcome of this mistake are dreaded Wolf Tones. This overloaded magnet/string interaction can cause unnatural overtones and can give the impression of your guitar being out of tune even if it’s not. Though other things can cause Wolf Tones, like a loose nut or crooked bridge saddle, dropping the pickup away from the string is the first step we recommend to remedy the situation.

The Basics of Adjusting Guitar Pickup Height

While there isn’t a magic number for guitar pickup height—every pickup and guitar manufacturer has their own pickup height specifications—we’ve found 3/32 of an inch (2.381mm) is a good place to start.

The process of getting your pickups to this ballpark setting is easy. With a few exceptions (more on that later), all you need is a screwdriver, pocket ruler, and a good playing environment.

We recommend starting with the low E string. First, depress the low E string at the last fret, closest to your pickups.

With the string depressed, use a machinist’s rule and measure the distance from the bottom of the string to the top of the corresponding pickup pole piece. Repeat for the high E string.

All you need to do now is raise or lower the pickup until it is at the manufacturer’s factory spec. Keep in mind that you’ll want to remeasure each side after you make adjustments.

Again, you only need a screwdriver to raise and lowermost guitar pickups, but there are a few different designs that require different methods. Here’s a list of the most popular guitar pickup types and how to adjust each one.

How To Adjust Humbucker Pickup Height

On the vast majority of humbuckers, you’ll find a screw located at either side of the pickup. In guitars with pickup rings, the humbucker is suspended from this ring via these screws. To raise the pickup, turn the screws clockwise. To lower it, go counterclockwise. Be careful lowering your ring-mounted humbuckers—if you lower them too much they’ll drop into the cavity of the guitar.

The process is similar for humbuckers that are mounted directly into the body, but you’ll want to turn the screws clockwise to lower the pickups and counterclockwise to raise them.

How To Adjust Stratocaster Pickup Height (Single Coils)

Strat pickups are adjusted a lot like humbuckers. Turning the mounting screws on either side of the pickup will raise and lower them to taste. Like with ring-mounted humbuckers, don’t lower a Stratocaster pickup too much or you risk dropping it into the pickup cavity.

How To Adjust Telecaster Pickup Height (Neck and Bridge Single Coils)

Standard Telecasters are not as simple as humbuckers and Stratocaster single coils, but it’s still a matter of turning a few screws. A Tele bridge pickup is suspended by three adjustment screws from a metal bridge plate. The two closest to the bridge balance the pickup from right to left, while the other screw is vital for keeping the surface of the pickup even with the strings.

Tele neck pickups come in two varieties. If the pickup is suspended from a pickguard, you’re in luck! Simply adjust it the way you would a Strat single-coil. But if yours is direct-mounted, you’ll have to remove the guitar’s pickguard to access its adjustment screws. Wait to put the pickguard back on until you know you’re happy with your Telecaster pickup height, or you’ll have to pull it right back off again.

How To Adjust Jazzmaster Pickup Height (Single Coils)

Adjusting Jazzmaster pickups isn’t as straightforward as the others in this list, but it can still be done with the tools you already have. Jazzmaster pickup screws are mainly for mounting, not adjusting. They rely on support—often a foam strip—placed underneath in the pickup cavity to push the pickups to the correct height. By adjusting the amount of foam in the cavity, you’re able to determine the height of the pickup.

How To Adjust Jaguar Pickup Height (Single Coils)

A Fender Jaguar’s pickups are traditionally adjusted very similarly to a Jazzmaster. However, many players have taken advantage of their unique mounting system and placed standard ink pen springs around the pickups’ mounting screws. This simple mod is a great way to get easier, more precise Jaguar pickup height adjustments.

How To Adjust P90 Pickup Height

P90s come in two common forms, soapbars and dog ears, each requiring different techniques to adjust.

The soapbar P90 models share many similarities to Jazzmaster pickups but have their mounting screws located down the middle of the pickup cover. Like Jazzmaster pickups, these screws hold the pickup in place. It’s the foam or springs installed under the pickup that offers what adjustment is available.

Dog ear P90s are one of the few electric guitar pickup designs that don’t offer a way to raise and lower the whole pickup. If you want to get adventurous, there are spacers available that sit between the pickup and the body of the guitar, allowing them to sit a bit higher. But it isn’t an exact science.

Luckily, P90s—as well as humbucking pickups—have a trick up their sleeves. While you can’t easily adjust the whole pickup’s height, you can adjust the individual pole pieces under each string. A good screwdriver is often all it takes to nail the pickup’s sweet spot while also fine-tuning your string-to-string balance to perfection. Think of it as a customizable version of the staggered pole pieces you’ll find on many vintage and vintage-style Fender single-coils.

Finding The Perfect Pickup Height For Your Guitar

Now that your pickups are adjusted to factory spec, we’ll bet it’s already playing and sounding better! It’s time to go a step further and dial in your personal preferences. Here’s how we recommend dialing in that sweet spot.

First, select the pickup setting where you will be spending most of your time. Play for a few minutes, paying careful attention to the balance between lows, highs, and how hard your pickup is hitting your amp.

Using the directions above, raise or lower both sides of your pickup equally to achieve the desired signal strength. Then, raise or lower each side of the pickup individually (or the individual poles, if adjusting P90s) until you hear the perfect blend of your higher and lower strings. This precise adjustment isn’t really an option for Jazzmaster pickups, so don’t sweat it if you can’t fine-tune each side.

Repeat the process on each of the guitar’s pickups. Always refer back to the output level of the first pickup you adjusted. This will help avoid drastic output changes when toggling between switch positions.

Trust Your Ears

While there may seem to be a lot to remember, the actual process of adjusting guitar pickups is a piece of cake. The hardest—and most vital—part is learning to trust your own ears and playing style. It’s also important to remember that you have to play by the rules of the pickup you have. You’ll never make an active Blackout humbucker sound like an Antiquity Strat set. But you will be surprised with how many tones are inside your pickups and how much better your guitar will perform.

If this is your first time adjusting your own pickup height, don’t worry. It may take a few tries to get it where you want. And, unlike soldering or a host of other mods, this one is easy to reverse. So don’t be afraid to dig right in. Finally, remember that tone is a combination of a universe of different mechanical and intangible elements, making each guitar unique. So give each pickup adjustment the time it deserves, and you’ll be well rewarded.

With 40 years of pickup design under our belt, we’re sharing a little history, what makes vintage so popular, and how our vintage-style, boutique guitar pickups have evolved over the years.

It’s fascinating that most traditional boutique guitar pickups, after six-plus decades, are still the same design as the originals. Yes, today’s market features some amazing new technology and active electronics. But, the vast majority of the humbuckers and single-coils out there still use magnets, wire, and a bobbin or two. From that perspective, it’s incredible how much ground we’ve all covered with such a simple structure.

Why people love that vintage sound

What’s more amazing is that the original designs are in higher deman than ever. People love that identifiable sound of vintage-style boutique guitar pickups. The proof is in thousands of websites, blogs, forum posts, and YouTube videos dedicated to the holy grail Strat, Les Paul, and Jazzmaster pickups of the ‘50s and ‘60s. Heck, we have pages about them ourselves!

No matter the style of vintage pickup, there are two characteristics that unite them all. They all provide clarity and the ability to let the player’s personality shine.

Where does that vintage ‘magic’ come from?

While it feels like magic when playing through a set of ‘50s or ‘60s pickups, it comes down to the fact that most older pickups have a much lower, ‘vintage-output.’ These pickups were engineered to give guitars a detailed tone without pushing the day’s amplifiers into unwanted overdrive. Add in the use and availability of different materials, the hand-made process that resulted in wider tolerances, and you have a very general recipe for creating that ‘magic.’ In fact, we still own and use many of the original winding machines. These original machines create guitar pickups that replicate the sought-after originals in near-perfect detail.

There is a definite thread that unites all these vintage pickups. But at the same time, each of them still goes about achieving their sonic characteristics very differently. Here’s a quick rundown on some of the most well-known pickups, their history, and what makes them so popular.

The most well-known pickups, their history, and what makes them so popular.

Telecaster Single-coil

The pickups found in Fender’s earliest production solid bodies are still some of the most popular in the world. Fender set six magnetic pole pieces into a single bobbin and wrapped it with copper wire. This created a pickup that set the standard in electric guitar tone.

But it’s the bridge pickup’s metal base plate that gives it their legendary twang. It was the epicenter of country, rock, blues, and jazz for decades to come.

The Tele neck pickup enjoys less acclaim. With its smaller size and lack of baseplate, it’s a much mellower sound. Rockers and chickin pickers don’t use it as often. But it is an excellent choice for Prince-like funk, clean arpeggiation, and full-sounding jazz tones.

Stratocaster Single-coil

The History

Since the Strat’s introduction, its trio of single-coil pickups has been required equipment for legions of guitarists throughout the world. After receiving input about what tweaks players wanted to see on Fender’s already famous Telecaster, Leo Fender went to work ‘improving’ his pickup designs. By removing the bride pickup’s metal base plate, adding a middle pickup, and placing the same pickup design in all three positions, a new world of tones emerged. The Strat now offered players a less aggressive voice, a famed bell-like quality to the highs, and a balanced voice across all the pickups.

Strat Single-Coils Today

Thanks to Strat pickups’ sonic versatility and pleasant voicing, not much has changed since the early days. But there have been two significant additions that have become cannon in Stratocaster design. One is updating the original 3-way switch to a 5-way design that makes getting the iconic in-between tones as easy as a flip of a switch. Fender also began winding the middle pickups in reverse with reverse-polarity. This eliminates 60-cycle hum when combined with either the neck or bridge pickup.

Those two additions, and Leo’s initial design, created a perfect storm of tone. Tone that just may be the most popular and most versatile combination of pickups ever. Maybe that’s why players as diverse at Buddy Holly, Bonnie Raitt, and Billy Corgan have all built vastly different, chart-topping careers on that common platform.

Gibson Humbucker

The only pickup design that enjoys the same notoriety and devotion as Fender’s single-coils is the original Patent Applied For (PAF) Gibson humbucker.

Humbucker History

Though Gibson already had their own single-coil design – the P90 – Gibson engineer Seth Lover set out to create a version of the pickup that removed annoying 60-cycle hum and buzz. He combined two bobbins, wound in the opposite direction of one another. Each side of the pickup would cancel the other’s noise. He noticed that it ‘bucked’ the hum. The humbucker, and its goofy name, was born.

This revolutionary concept also had the unexpected benefit of imbuing the pickups with a much fatter tone and midrange character. And because of their vintage output, those PAFs also retained a top-end chime and clarity. Session ace and YouTube rockstar, Pete Thorn, has referred to the PAF as “a Tele on steroids.” Jazz and burgeoning rock ‘n’ roll scene quickly embraced PAFs, and they have lived on ever since.

Modern Humbuckers Today

Today, most humbuckers have a bit more muscle for driving amps and pedals. That also removes a bit of that chime, causing some players to be surprised at the original’s clarity and versatility. We suggest you drop a set of vintage PAFs—or better yet, a set of Seymour Duncan Antiquities—into your dual humbucker guitar. You’ll find you can shift from spanky cleans to full-throttle rock with the greatest of ease.

Gibson P90

The P90 History

Originally, P90s were found in Gibson’s big-bodied jazz boxes, giving them an amplified voice that could compete in the volume wars. But it was the release of Gibson’s Les Paul in the mid-’50s that saw the P90 outfitted onto a solid body electric guitar. Within a few years, Gibson replaced the Les Paul’s P90s with their cutting-edge humbucker designs. But, not before their unique combination of top-end detail and midrange bark had collected quite a few devotees.

That tone is created by the P90’s wider, flatter winding and form factor. Imagine the warm lows of a humbucker married with the bell-like qualities of a Strat. Then add in a helping of upper-mid bite, and you have a good idea of the P90 ‘thing.’

P90’s Impact Today

While not as prevalent as the humbucker, the history of modern music is riddled with classic P90 tones. Mountain’s Leslie West and Black Sabbath’s Tony Iommi both invented the pulverizing sounds of early metal with them. Jazz luminary Charlie Christian famously played an early version of the pickup (now known as the Charlie Christian pickup). And Green Day’s Billie Joe Armstrong has used them as the core of his punk rock power for years.

Jazzmaster Single-coil

Jazzmaster Single-Coil History

Let’s start this one off by stating that Jazzmaster single-coils are not the same as P90s. Though they share some similarities, the Jazzmaster’s pickups come from the Strat’s lineage, not Gibson’s.

Fender designed the Jazzmaster as an upscale alternative to the Stratocaster. It was to offer jazz players a solid body option for higher-volume applications, introduce a bit more warmth, and still retain Fender’s trademark clarity.

While the guitars didn’t take off with the jazz cats, their full-range tone – and oft-overwhelming electronics package – did become a massive hit with ‘60s rockers. They also spearheaded the reverb-drenched surf rock genre that is still going strong to this day.

Jazzmaster Single-Coil’s Today

And then came the ‘90s Sabbath-influenced, fuzzed-out riffs, and back to basics aesthetics. Thanks to the Jazzmaster pickups’s mix of muscle and definition, players like J. Mascis of Dinosaur Jr. and Sonic Youth’s Thurston Moore were able to breathe new life into the offset guitar craze. Grunge, alternative, and indie rock scenes have held these pickups in high regard ever since, keeping them at the top of popular music with synth-like leads, explosive grind, and rhythmic jangle.

Jaguar Single-coil

Also extremely popular with both the old-school rock ‘n’ roll and alternative crowds is the Fender Jaguar. The Jaguar’s pickups bridge the gap between the Jazzmaster and the shorter-scale Mustangs and Duo Sonics. Thanks in large part to their ‘claw’ surround, these pickups have a voice that lives between organic and metallic. Vintage Jaguar pickups are known for their great attack and note separation.

Jaguars also boast a shorter scale length that contributes mightily to the tone of the instrument. So, if you want the clean arpeggios and precise clarity of these pickups, it’s important to pair them with the right guitar. That said, there are plenty of Jag pickups available at different output levels for everything from authentic vintage tones to something with more grit.

Mini-Humbucker

Much like how the Jazzmaster blends Fender’s famous top-end with a bit more punch, Epiphone’s (later Gibson) mini-humbuckers boast full-sized humbuckers’ quiet performance and fatter midrange with added jangle. Their smaller size contributes to a lower output, which gives them this brighter sound. A good way to think about it is, if you want a single-coil with some humbucker traits, get a P90. But if you want a humbucker with a bit more single-coil clarity and chime, you can’t go wrong with a mini-humbucker.

Gibson got their hands on Epiphone’s design when they purchased the company in 1957. And it was with Gibsons-in-hand that Johnny Winter’s Firebird-driven blues rock tones and the ‘70s Les Paul Deluxe models brought the mini-humbucker to prominence.

Duo-Sonic and Mustang Single-coils

Fender Duo-Sonics and Mustangs were both originally intended as student guitars. Each was released with a beginner-friendly ‎22.5″ scale length, bumping out to a 24″ option later. This gave the guitars a slightly fuller sound. So, they needed to have a thinner-sounding pickup to balance their voices.

These guitars and their unique pickups created a long list of devotees. And understandably, they are incredibly close to Seymour’s heart as well.

“I saw my first Mustang on a ’60s TV show called Shindig. There was a guitarist by the name of Jerry Cole who played solos for many guest artists,” he said. “Soon after that, I had my band members drive me to 8th Street Music in Philadelphia to buy my first Mustang.”

Concerning the guitars’ unique tone, Seymour says, “The pickups are not very loud but have great fidelity. I have even talked to Eric Johnson about these pickups, and they’re one of his favorites.”

The Seymour Duncan Antiquity Line: vintage-style boutique guitar pickups.

Seymour invented our Antiquity line of boutique guitar pickups to pay tribute to the enduring popularity of each of these pickup’s early models. The line’s story goes back to the 1990s, a particularly unique time in guitar history. ‘Shred’ guitars were on a bit of a decline, and the vintage guitar market was huge. Guitarists were beginning to relic their own instruments. Yet they couldn’t get their hands on the actual vintage guitars they were coveting. So, Seymour created the Antiquities to give those guitarists the aged look, tone, and response of those gold-standard pickups.

Handmade. Period correct. Every time.

Because Seymour is very detail-oriented, our Antiquities had to be exactly like the originals, down to the finest details. So, Seymour pulled on his 40-plus-year archive of data on pickup design with insight on every nuance down to the smallest detail. If player feedback and the thousands of guitarists around the world who rely on their Antiquities are any indications, Seymour nailed it.

What he didn’t anticipate was how popular these vintage-style boutique guitar pickups would become. And particularly with guitarists playing newer guitars. Guitar builders and players started asking for our Antiquity pickups with a new, pristine look, rather than an aged cosmetic.

Introducing the Seymour Duncan Retrospec’d series.

Now you get all the yesteryear tone of our Antiquity boutique guitar pickup line with a pristine, showroom-floor look.

Available for the following models:

Vintage-style Antiquity Retrospec’d Humbuckers

Our Antiquity humbuckers give you the same tone you would find in a 60-year-old P.A.F. Right down to the way the magnet ages after decades of playing. The bridge model is wound a little hotter for better balance (and to reflect the mismatched sets that were extremely common among the originals).

Vintage-style Antiquity Retrospec’d Texas Hot Strat

The Antiquity Retrospec’d Texas Hot delivers a spanky, bell-like chime and a little more growl and midrange from your bridge pickup. Each pickup is custom-aged magnetically to simulate the wear and tear that a pickup goes through after decades of playing. This adds the sweetness that only six decades of playing can provide. They are also lacquered and potted in lamp black paraffin wax, like the originals.

Vintage-style Antiquity II Retrospec’d Surfer Strat

Classic single-coil sounds of the 60s were a little beefier than their 50s counterparts. But not at the expense of classic Strat chime and bounce. The Antiquity II Retrospec’d Surfer Strat set uses specially calibrated Alnico 5 rod magnets and a custom scatter-wound coil to nail that exact tone. The bridge pickup is wound 50% hotter for more mids, and we soften the treble with degaussed magnets. And, of course, each pickup is aged to sound like a 1960s original. They have vintage-correct blue/yellow cloth pushback lead wire, light gray bottom flatwork, and custom-aged covers.

Vintage-style Antiquity Retrospec’d for Telecaster

If you play a vintage 50s Telecaster pickup, you’ll find that the high end has softened and sweetened a little. The Antiquity Retrospec’d Tele Lead gives you that aged, early 50s Tele tone in spades. Custom-calibrated hand-ground Alnico 2 rod magnets sweeten its high end. And, like the originals, the ferrous bottom plates are not wax potted, which gives you a little extra edge and snarl. The rest of the pickup is lacquered and potted in lamp black paraffin wax.

Vintage-style Antiquity II Retrospec’d for Jazzmaster

Our Antiquity II Retrospec’d Jazzmaster bridge pickup uses hand-ground Alnico 5 rod magnets and a special coil wind to deliver ’60s Jazzmaster crispness, glassiness, and snap. The aging process utilized on the magnets mellows the attack a bit for the smooth treble of a fantastic vintage instrument. Clean tones are sharp and clear and dirty tones have a gloriously ragged bark that cuts. We also use heavy Formvar mag wire, vintage-correct gray flatwork, cloth push-back lead wire, and the same lacquer and wax potting as the originals.

Vintge-style Antiquity Retrospec’d for P90 Dog Ear

Put the weathered midrange grittiness of an original ‘59 ES-330 into your newest guitar with our Antiquity Retrospec’d P90 Dog Ear. These single-coils use two specially calibrated alnico 2 bar magnets and a custom coil wind. This combination delivers the gritty, vintage correct growl of a great bridge pickup. If you remove the cover, you’ll find the same hand-fabricated bobbin, plain enamel mag wire, and flatback tape that was made in Kalamazoo during the early days.

How to find the vintage-style pickup that’s right for you

We get it; plenty has been said about vintage-style boutique guitar pickups. And as we openly admit, we’re very guilty of it ourselves. But let’s face it, every great guitar tone in history had its start with these groundbreaking designs. And the continued popularity and incredible demand of our boutique guitar pickups mean they are still a standard in tone. But, because much of the ‘information’ floating around is either opinion or straight-up incorrect, we’re giving you the facts. Facts that come straight from Seymour’s long career at the top of the pickup and tone game.

Seymour’s vast experience is also why you’ll always get boutique guitar pickups that embody the best of these classic designs.

If you want to find the right pickup for you try our custom Pickup Finder tool. And don’t forget to dig further into the Seymour Duncan blog! There’s a ton of in-depth information on all our different designs, how-tos, tone demonstrations, and a whole lot more.

I am sure the anticipation has been killing you. We all know how exciting switches are right?! Well your wait is over, and today we are going to show you 5 easy Strat mods you can do with a standard 5-way Strat switch. If you just joined us on this adventure and need to get up to speed we recommend checking out Part 1 and Part 2. For the rest of you let’s jump right in!

Quick recap (standard 5 way switch wiring)

In Part 2, we walked you through a standard Strat 5-way switch wiring scheme.  If you remember we added a jumper from A0 to B0. One of the biggest advantages of connecting both sides of the switch via a jumper is that we can better utilize the tone pots.

Let’s take second to remember the standard Strat 5-way switch wiring from Part 2 (Fig 1A). The tone pots were connected to B2 and B3. The downside to this wiring is that the only way we can use a tone on the bridge pickup is in position 2 (bridge + middle).

We don’t have the option to use the tone pot on the bridge by itself (position 1). So what’s a guitarist to do? In my 5-year-old voice: “But, I want to have a tone on all my pickups… waaaah.” Well, you may not be able to have an independent tone for each pickup (we only have two), but we do have a nice, easy solution that just may make you drool uncontrollably.

5 Easy Strat Wiring Mods

Next let’s take a look at Fig 1B. Notice anything different? We moved tone 2 to B1 (bridge) and connected a jumper between B2 and B3. Moreover, the jumper was created by pushing back more of the cloth from the tone 1 lead wire so it would extend to terminal B2. Didn’t even need an extra wire! Cool eh?! Ok, so why would we do this? Well, now our neck and middle pickups share the tone 1 potentiometer and our bridge pickup gets its own tone control. Now each pickup’s tone can be adjusted when we select either the pickup by itself (position 1,3, and 5)  or when in the “in-between” positions (2 and 4). Here’s a breakdown of Fig 1B:

Position 1 Bridge = Tone 2 | Position 2 Bridge + Middle = Tone 1 or Tone 2 | Position 3 Middle = Tone 1 | Position 4 Middle + Neck = Tone 1 | Position 5 Neck = Tone 1

By jumping B2 to B3, we open up some new possibilities. Let’s take this a step further and look at few combinations in how to wire a 5 way switch you can try:

FIG 1 (Standard Strat Wiring)

1. Position 1 Bridge = No Tone

2. Position 2 Bridge + Middle = Tone 2

3. Position 3 Middle = Tone 2

4. Position 4 Middle + Neck = Tone 1 or Tone 2

5. Position 5 Neck = Tone 1

FIG 2

1. Position 1 Bridge = Tone 2

2. Position 2 Bridge + Middle = Tone 2 or Tone 1

3. Position 3 Middle = Tone 1

4. Position 4 Middle + Neck = Tone 1

5. Position 5 Neck = Tone 1

FIG 3

1.Position 1 Bridge = Tone 2

2. Position 2 Bridge + Middle = Tone 2

3. Position 3 Middle = Tone 2

4. Position 4 Middle + Neck = Tone 1 or Tone 2

5. Position 5 Neck = Tone 1

Fig 4 

1.Position 1 Bridge = Tone 1

2. Position 2 Bridge + Middle = Tone 1 or Tone 2

3. Position 3 Middle = Tone 2

4. Position 4 Middle + Neck = Tone 1 or Tone 2

5. Position 5 Neck = Tone 1

Fig 5 Master Tone

1.Position 1 Bridge = Tone 1 or Master Tone 2

2. Position 2 Bridge + Middle = Tone 1 or Master 2

3. Position 3 Middle = Master Tone 2

4. Position 4 Middle + Neck = Master Tone 2

5. Position 5 Neck = Master Tone 2

The master tone mod can be used a few different ways. For instance, in the above wiring, we have Tone 1 connected to B1 (bridge), but we can also connect Tone 1 to B2 or B3 as well. Have fun with this one!

By now you should have a thorough understanding of how to use the 5 way switch to mod your guitar. Next, all you have to do is kick back and play!

In part 2 we are going to look at a traditional, standard Strat wiring configuration with a 5-way switch and teach you step by step how to get it done. If you haven’t read Part 1 yet, start here.

Connecting the 5-Way Strat Switch

If you remember from Part 1, the anatomy of a 5 way Strat switch, we have two sides: Pole A and Pole B (Fig 1). First, we have to connect both sides of the switch by adding a “jumper” from terminal A0 to B0 (Fig 2).

Remember A0 and B0 are the common terminals. This allows us to use both sides of the switch for different functions. Once we have both sides connected via the jumper, we can add the pickup hot lead wires to Pole A side of the switch. In a standard Stratocaster wiring configuration, the bridge pickup goes to A1, middle to A2, and neck to A3 (Fig 3). Next, we will attach the Tone 1 (closest to your volume pot) lead wire to B3 and tone 2 to B2. Finally, we’ll attach our volume lead wire to common B0.

All 5 POSITIONS

The Bridge

Simple right?! So what is really happening in a standard Strat wiring? Well, when we select position 1 (Fig 3A), we are sending (connecting) our bridge pickup A1 to common A0. And since the commons are connected via a jumper, the bridge is also being sent to B0. The wiper is also connecting B0 to B1. As you can see from Fig 3A, the bridge shows up in several places. In a traditional Stratocaster guitar wiring, we don’t have a tone pot connected to B1, the bridge is unaffected by either of the tone controls.

Sultans Of Swing (Bridge + Middle)

Now here is where it gets fun. When we select position 2 with our standard 5-way switch wiring, it sends both bridge (A1) and middle (A2) to A0 then to B0 via the jumper. Just like A0, B0 is seeing both bridge and middle pickups. On the pole B side the wiper is connecting B0, B1, and B2 (Fig 4B). Notice tone 2 is connected to B2. Since B0, B1, B2 are connected together via the wiper, when we roll down tone 2 it will affect both pickups by the same amount. The high end is bleeding off to ground for both pickups. Mark Knopfler used position 2 on many Dire Straits songs including his famous tune Sultans of Swing.

Clapton in the Middle

When we select position 3 with our standard 5-way switch wiring, the middle pickup goes from A2 to A0 to B0 to B2. You could take an Ohm reading from any of those terminals and it will read the same middle pickup. (Fig 4C) This position may not be the most popular of the 5 positions but you’ll hear it used by players such as Clapton and SRV to name a few.

Couldn’t Stand the Weather (Middle + Neck)

In position 2 we connected two pickups together. Similarly, position 4 connects the middle and neck pickup together (Fig 4D) . We are sending (connecting) the middle and neck pickup to A0 then over to B0 via the jumper. The wiper on the Pole B side is sending (connecting) middle and neck to two terminals B2 and B3. Therefore, B2 and B3 are also connected to tone 1 and tone 2 respectively.

Since the middle and neck are both connected to tone 1 and tone 2 we can use either one. The tone pot rolled down the most will take precedence over the other. So, if you have tone 1 rolled all the way down but tone 2 all the way up, you will hear only the effect of tone 1 since it’s bleeding off more high end of the two pots to ground. Frequencies are set by the capacitor and the amount is set by where the pot is positioned.

Position 4 is one of the most used Stat positions. You’ll hear players from SRV, Hendrix, to John Mayer use this this juicy position both live and in the studio.

The Wind Cries Mary (Neck)

Last but not least, we have position 5 (Fig 4E). We all love a good neck tone right?! Using the standard Strat wiring in this position, the neck pickup goes from A3 to A0 to B0 to B3. Tone 1 is connected to B3 which allows us to set our desired tone level to the neck pickup. Position 5 is another common position among blues, rock, and jazz players.

More than 1-way!

Now, one thing may have crossed your mind. Why not hook up the tone lead wires to the Pole A side terminals A2 and A3? Wouldn’t that essentially do the same thing without having to use a jumper? Good question young padawan. You are absolutely right! The switch would function the same if you kept the jumper from A0 to B0 or move your volume lead wire to A0.

So why does Fender wire Strats this way? We suspect the reasons the standard Strat wiring originally utilized the switch this way are twofold: firstly, Fender already had lots and lots of three-way, two-pole switches in stock because they needed them for the Telecaster; and secondly, it’s easier to solder one wire to a contact than it is to solder two. If they already had those switches, why not make it easier to solder?

The good news is there’s a good reason to leave the jumper connected to A0 and B0. This jumper will allow us to mod our switch to better suit our specific playing styles.

Check out part 3 where we look at a few ways to re-wire your standard Strat wiring for more options. And the good news is you don’t have to buy extra parts.  Hallelujah! Mod time…

You’ve played em’ and you’ve heard em’ but have you ever wondered how exactly a 5-way Strat switch works? We’ve put together an in-depth 3-part series that pulls back the pickguard on one of the most common switches you’ll come across. In Part 1 we take a close look at how a 5-way Strat switch works. In Part 2 we build off this knowledge and look at the most common way to wire a Strat. Finally, in Part 3 we’ll show you some very simple modifications that you can do to customize your guitar.

A dash of history

5 way Strat switch has a few more indents.

The 5-way Strat switch is the most common switch you’ll find in Stratocaster guitars. The original Stratocaster had a 3-way switch (same as a Tele) to select one of three pickups. But over time players noticed an interesting sound when switching from one pickup to the next. Guitarists found they could turn on more than one pickup at a time to get the “in-between” sounds. To achieve this, they had to do a little MacGyver action by putting match sticks or paper to keep the switch in just the right place. Finally, in 1977 Fender made the 5-way Strat switch a standard feature in their guitars. Both 3-way and 5-way switches are wired the same. The only difference is the 5-way has a few more indents (Fig 4).

What the heck is a 5-way Switch?

On a basic level, switches are connectors. They connect one or more terminals together. The 5-way Strat switch uses a blade to connect or “wipe” across the terminals (Fig. 1A). Looking at Fig 1B, you’ll notice there is a common terminal that is always connected. We’ll get into the common terminal a bit more later. Another thing to note is there are two sides to the switch—Pole A and Pole B (Fig. 2). Both sides work the same way. The only difference is the physical distance between terminals, and the numbers work in the opposite direction. That is why the commons are on the opposite ends of the switch (vertically speaking).

Lets’ get connected

Because both sides work the same way, lets take a closer look at Pole B to see exactly what’s going on (Pole A is hard to see because of the cover). There are two parts to the wiper— The common (marked in red Fig. 1A) and wide connector (marked in yellow Fig. 1A). In Fig. 1A, you can see terminal B2 and B0 are connected. The lower half of the wiper (in red) is always connected to the “common” terminal. Terminal A0 is common on Pole A side and terminal B0 is common on Pole B side.

The wide part of the wiper (in yellow in Fig. 1A) connects A1-A3 and B1-B3 terminals to their respective common terminal. As you may guess, this wider part of the wiper is just wide enough to connect two terminals at the same time (see position 2 and 4 Fig. 1B), but is also narrow enough to connect only one terminal to the common (see position 1,3, 5 Fig. 1B).

In Fig. 1B, notice how all the positions connect to B0 (common). The common is always “on” and will never disconnect from the wiper. This makes a perfect place to connect our volume pot which would be connected to our output jack. This allows us to control any “live” or “hot” pickup or pickups that have been selected via the switch. Now lets take a look at the top side of the switch (Fig 3A-3E).  This is a good birds eye view of both poles and each position. Remember, these two poles work independently meaning they are not connected to each other. You’ll see in Part 2 how we’ll connect both sides of the poles.

Two Side

POSITION 1

Pole A: A1 and A0 are connected | Pole B: B1 and B0 are connected

POSITION 2

Pole A: A1, A2, and A0 are connected | Pole B: B1, B2, and B0 are connected

POSITION 3

Pole A: A2 and A0 are connected  | Pole B: B2 and B0 are connected

POSITION 4

Pole A: A3, A2, and A0 are connected | Pole B: B3, B2, and B0 are connected

POSITION 5

Pole A: 5 = A3 is connected to A0 | Pole B: B3 is connected to B0

Now that you have that under your belt, click here to read Part 2 on Standard Strat Wiring.