Seymour Duncan PowerStage pedal platform amplifiers are the ultimate solution for modern musicians dealing with today’s tonal realities. These realities include relying on pedal-driven tones, embracing digital amp modeling, as well as weight, cartage, and stage-volume restrictions. But never fear! The Seymour Duncan PowerStage amps address all of these issues and more.

• Expertly tuned amplification solutions for pedalboard-generated tones
• Ideal amplification solutions for modeler-based rigs
• Deliver excellent tone at any volume (including silent/direct tones)
• Direct, 4×12″ cabinet-emulated tones for the stage and studio
• Compact, lightweight, and consistently great-sounding backline

And we’re just getting warmed up.

There are other compact, powerful guitar amplifiers on the market today. And a lot of them solve those same issues. However, where many leave off is where the PowerStage amplifiers get going. Let’s take a more in-depth look at all three models and the unique features each model offers.

Seymour Duncan PowerStage Features:

• Three options to perfectly complement your setup
• DI outputs with True Cab Circuitry (TCC)
• Onboard, active EQ
• Automatic impedance matching
• Powerful routing options

Three Options to Perfectly Complement Your Setup

Every player’s amplification needs are different. That’s why we offer the Seymour Duncan PowerStage in three versions: PowerStage 170, PowerStage 200, and PowerStage 700.

Seymour Duncan PowerStage 170

PowerStage 170 places 170 watts of high-headroom, Class D power into a compact, pedalboard-friendly package. Not only will it keep up with the loudest drummers, but it puts full control of your levels right at your feet.

• 170 watts at 4 Ohms, Class D
• Active 3-band EQ
• Automatic impedance matching

Seymour Duncan PowerStage 200

The PowerStage 200 ups the game with even more power and headroom. The 200 is a touch larger than the 170, yet it’s still perfect for pedalboard placement. And thanks to its True Cabinet Circuitry (TCC) cabinet-emulated DI output, headphone out, and EQ/TCC bypass features, it’s ready for the stage, silent practice, and the studio.

• 200 watts at 4 Ohms, Class D
• Active 4-band EQ (Bass, Mid, Treble, Presence)
• XLR DI output – with TCC cab emulation
• TCC and EQ bypass on XLR DI output
• TCC-equipped headphone output
• Automatic impedance matching
• Auxiliary input

Seymour Duncan PowerStage 700

The mighty PowerStage 700 offers nearly unlimited headroom in an amp/table-top design. This is fantastic for guitarists. But, the 700 is also ideal for the power-hungry demands of bass and synths. And with its discreet stereo circuitry, this 700-watt, Class D powerhouse is the perfect centerpiece for stereo and wet/dry setups—more on that in a minute.

• 700 watts per channel at 4 Ohms, Class D
• 2 discreet stereo channels
• Active 3-band EQ
• 2 x XLR DI outputs – with TCC cab emulation
• Independent TCC bypass controls on XLR DI outputs

DI Outputs with True Cab Circuitry (TCC)

Onboard the PowerStage 200 and 700, you’ll find our TCC analog speaker-cabinet emulation. TCC makes it easy to send incredible tones to front-of-house. Also, it’s a fantastic tool for silent practice and recording. And to make things even better, you can bypass the TCC emulation on the DI outputs if you choose to pair the PowerStage with your favorite impulse responses.

True Cab Circuitry Features:

• All-analog, 4×12″ cabinet simulation
• Applied to DI XLR outputs (and headphone output on PowerStage 200)
• Bypassable for unaffected DI tones
• Individual bypass for each output (PowerStage 700 only)

Onboard, Active EQ

Every Seymour Duncan PowerStage pedal platform amp features active EQ. Similar to the resonance and presence controls you find on many amps’ power sections, these controls fine-tune your tone without masking it. Accordingly, they allow PowerStage amps to function as both transparent power sections and all-in-one clean pedal platforms.

Do you prefer to shape your tone on your digital amp modeler or pedals? Then simply set the EQ controls to noon for a flat EQ that still delivers the response expected of a traditional guitar amp. Also, you can completely remove the EQ from the DI signal with the push of a button (PowerStage 200 only).

Automatic Impedance Matching

Did you know that mismatching your amp and cabinet impedance will compromise your rig’s performance? This mismatch can lead to tonal degradation, less headroom, and a host of other tonal consequences.

Seymour Duncan PowerStage amplifiers remedy this with internal, automatic impedance matching. Whether you prefer 4-, 8-, or 16-ohm cabinets, every PowerStage automatically adjusts and delivers full power and tonal performance.

Not only that, but the PowerStage 200 and the PowerStage 700 allow you to mix-and-match cabinet impedances. Go ahead, run your 4-ohm cabinet out of one of the speaker outs, and your 16-ohm cabinet out of the other. Your PowerStage will power them both evenly and with optimal results.

Powerful Routing Options

The wide-spread use of digital modeling and pedal-switching devices gives everyone access to the in-depth guitar rigs previously reserved for the elites. But powering these involved signal paths often means compromise. Not with PowerStage pedal platform amps. Now your wet/dry rigs, amp slaving, and stereo setups are all easily achievable.

Wet/Dry & Amp Slaving

Separate dry and effected signals through your PowerStage and an additional amplifier with an effects loop.

1. Run a ¼” out of your main amp’s preamp/effects out into an ABY splitter box.
2. Send one signal directly back into your amp’s power amp/effects input.
3. Send the other through your chosen effects then into the PowerStage’s input.
4. Connect your main amp and the PowerStage to separate speaker cabinets.

Wet/Dry Rig (using the PowerStage 700)

Power dry and effected separately using only the PowerStage 700’s dual-amp circuitry.

1. Insert an ABY splitter box after the effects that you want to run to both amps.
2. Send one of the ABY’s outputs through you the effects that you want to be separated then into one input of the PowerStage 700.
3. Send the other signal directly to the other input of the PowerStage 700
4. Connect cabinets to the PowerStage’s corresponding speaker outputs

Stereo Rig with PowerStage 700

Amplifying left/right signals to separate speaker cabinets utilizing PowerStage 700’s discreet stereo circuitry.

1. Send one side of your stereo effects into one input of the PowerStage 700.
2. Send the other signal to the other input of the PowerStage 700
3. Connect cabinets to the PowerStage’s corresponding speaker outputs

Let’s talk tone!

If you have any other questions about any of the Seymour Duncan PowerStage models or any other products, check out our Knowledge Base here. You can also email us here. Also, don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth information on all of our different designs, how-tos, tone demonstrations, and a lot more.

The Fender Telecaster is country music guitar tone. And country music guitar tone is the Telecaster, plain and simple.

Yes, you’ll find every style of guitar used to great effect throughout the genre. But no guitar has put its sonic stamp on it quite like Fender’s first. Whether it’s James Burton’s genre-defining bends or the modern explosion of Brad Paisley devotees, the guitar and the genre are forever linked.

That’s why we built our list of the best guitar pickups for country music around T-style single-coils. We’ve included modern designs, old-school re-creations, and even a Paisley signature set. So, we have you covered no matter what kind of twang you live for.

The best pickups for country music guitar

• Vintage Stack Tele Set
• Brad Paisley Signature La Brea Tele Set
• Antiquity II Tele Set

Vintage Stack Tele Set

Hum-canceling single-coils pickups get a bad reputation. But we’re changing that with our Vintage Stack Tele Set.

We designed them around the best vintage T-style tones. They do boast a stack design that gives you humbucker-like silence. But they also offer vintage output levels, spanking bite, tight low end, and all the twang you can handle. They’re even made with vintage-correct Alnico 5 magnets. Add that to modern touches like a 4-conductor lead wire and you have the best of yesterday and today.

There are a lot of “noiseless” Tele pickups on the market. And there are even more vintage-sounding Tele pickups. But if you gig regularly, you need the benefits of both. You need the Vintage Stack Tele Set.

Brad Paisley Signature La Brea Tele Set

No one knows Tele tone quite like country music superstar Brad Paisley. So, the fact that we voiced these signature pickups for one of his famous ‘68s Fender paisley Telecasters, tells you just how good they really are. And Brad was involved in their creation from day one.

Though not exact vintage-pickup recreations, the La Brea Tele Set does borrow from the best of yesteryear. This includes vintage-correct cloth push-back wire, period-correct grey Forbon flatwork, and a vintage output of 7.44k (bridge) and 7.55k (neck).

But unlike many vintage Tele pickups, Paisley selected Alnico IV magnets for the bridge pickup and Alnico II magnets for this neck. This unique twist gives the La Breas familiar, bell-like top-end and punchy lows. But it also introduces the focused midrange that’s at the core of Paisley’s tone. Put it all together and you have two pickups that Paisley dubs, “the perfect set.”

Antiquity II Tele Set

If the Vintage Stacks and La Breas sound great, but you swear by a vintage tone and look, you have to try the Antiquity II Telecaster Set.

Seymour W. Duncan wanted to nail the perfect tone of his own mid-’60s Telecaster. And the only way to do that is to build pickups like they used to. Both the neck and bridge pickups feature Alnico 5 rod magnets with a period-correct stagger on the bridge; aged, gray bottom flatwork; a brass-plated steel bottom plate; and push-back cloth wire. He even lacquered and wax potted the Antiquity IIs like the ‘60s originals.

The Antiquity II Telecaster Set captures the magic of those old slab bodies. There is plenty of twang, a slightly softer treble, and the low-string bounce Tele players live for. So if you prefer your Teles more classic than modern, these may be your pick for the best guitar pickups for country music.

Let’s talk tone!

If you have any other questions about the best guitar pickups for country music, check out our Knowledge Base here. You can also email us here. And don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth info, how-tos, tone demonstrations, and a lot more.

Everything you need to know to ensure you get the perfect pickups for your favorite 5-string.

Not all 5-string Jazz Bass pickups are created equal. And we’re not talking about tone here. We’re talking about if they’ll even line up with the strings on your bass. And if you’ve ever bought replacement pickups for a 5-string Jazz, you may have learned this the hard way.

The culprit is string spacing.

Don’t worry. It’s not as confusing as it sounds. And we’re going to dig into it all right now, explaining what string spacing is and why it matters. We’ll also dissect the pros and cons of each commonly used spacing, how to measure your bass’s string spacing, and tell you which Seymour Duncan 5-string bass pickups work for each.

What string spacing is and why it matters

String spacing is the distance between the highest and lowest strings where they contact the bridge saddles. This spacing plays a significant role in the alignment of the pickups’ pole pieces. Get the wrong ones for your bass, and your strings may run between the poles. This can severely compromise your tone and sustain. But get the right ones, and they’ll deliver their unique tones as intended.

Some bassists prefer narrower string spacing for playability, while others like it wider. Therefore pickup manufacturers must offer 5-string Jazz Bass pickups in different dimensions.

The pros and cons of each commonly used spacing

Though there are many different string spacings, the two most common are 70mm and 74mm. For reference, most traditional 5-String Fender Jazz basses are 74mm, while the modern Jazz Bass V is 70mm.

Obviously, understanding this is incredibly helpful when choosing replacement 5-string Jazz Bass pickups. But because it affects playability, it’ll also help you find the perfect bass next time you’re in the market.

74mm (Roughly 19mm between each string)

By spreading the strings further apart, basses with 74mm spacing offer more real estate between the strings. This allows slap players more accuracy without worrying they’ll hit the wrong string. So if you’re a funk or gospel player, 74mm string spacing is just the ticket.

The downside to 74mm spacing is that it makes string-to-string transitions a bit harder. It also moves the strings closer to the edges of the fretboard. Some Jazz-style basses account for this by widening the string nuts and fretboards. But if you have a heavy fretting hand, this is something to consider.

70mm (Roughly 17mm between each string)

Today, a lot of builders craft 5-string Jazz Basses with the narrower 70mm string spacing. By bringing the strings closer together, they minimize the distance to your next note. This helps with faster string skipping and easier access to quick passages.

And you can still slap on a 70mm bass! Many bassists love this spacing and get punchy, articulate slap tones with no problem. But if you’re new to slap, know that the smaller spacing does require more precise technique.

How to measure your bass’s string spacing

So how do you measure your bass’s string spacing? There are two easy ways to check.

Easy

1. At your bridge saddles, measure (in millimeters) from the center of your lowest string to the center of your highest string.
2. That number is your bass’s string spacing.

Easiest

1. Look online. Many bass and bass hardware manufacturers document the specs and spacing right on their website or in their manuals.

 

Tech Tips

Some sources use inches instead of millimeters when listing their specs. They may also list the spacing as the measurement between each string. So you may have to do some quick conversions.

Which Seymour Duncan 5-string bass pickups work for each

As you can see, string spacing is crucial when finding the right 5-string bass pickups for your bass. Not only will the wrong pickups not sound right, but they may not even fit. So how do you know which Seymour Duncan 5-string bass pickups will work?

This list should help.

70mm

67/70 Vintage Jazz Bass 5-String

67/70 Apollo Jazz Bass 5-String

74mm

70/74 Vintage Jazz Bass 5-String

70/74 Apollo Jazz Bass 5-String

Universal

Quarter Pound Jazz Bass 5-String: Both the Neck & Bridge models feature a 70mm string spacing. The larger ¼” diameter pole-pieces increase the size of the pickup’s magnetic field, making precisely accurate string spacing less of a concern.

Stack Jazz Bass 5-String: The Stack Jazz Bass 5-String pickups utilize blade magnets rather than individual poles, so no need to worry about string spacing. Will accommodate string spacings up to 2.9″ (73.6mm) for both neck and bridge pickups.

Active Jazz Bass 5-String: The Active Jazz Bass 5-String pickups utilize blade magnets rather than individual poles, so no need to worry about string spacing. The bridge pickup will accommodate string spacings up to 3.10” (78.7 mm), and the neck pickup will accommodate string spacings up to 3.00” (76.2 mm).

Let’s talk tone!

If you have any other questions about finding the right 5-string Jazz bass pickups for your bass, check out our Knowledge Base here. You can also email us here. And don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth info, how-tos, tone demonstrations, and a lot more.

The debate among players as far as what kind of pickups, passive or active, are best for metal rages on. And it will continue to do so for a long time. But one thing’s for sure. When it comes to the best pickups for metal, active humbucking pickups are regularly at the top of the list.

Unlike passives, active pickups are powered by a battery (or batteries) that’s onboard your guitar. Usually a 9-volt. The battery gives the active guitar pickups all they need to deliver their hotter output levels and uniquely defined tones. They also offer a buffered output with a very low noise floor.

If you’re pushing a long line of true-bypass pedals, active pickups are a great choice. But it’s in their preamp-punishing output where actives built their legacy. And that’s why they are some of the best pickups for metal, period.

Here, we’ll take a look at Seymour Duncan’s top three active options.

The best active pickups for metal:

• Blackouts Humbucker Set
• Mick Thomson Signature Blackouts Humbucker Set
• Jeff Loomis Signature Humbucker Set

Blackouts Humbucker Set

From day one, the Seymour Duncan Blackouts Humbucker Set (AHB-1) were designed for metal-minded guitarist. They pay tribute to our long legacy of high-output options while pushing traditional active pickups to a whole new level. That’s why they are the obvious choice to lead this list.

Not to mention, they are the starting point for every other pick up on it.

With a focus on retaining passive-like dynamics while extending the treble and bass response, AHB-1s are both familiar and totally new. Think of a Duncan Distortion on steroids. We’re talking powerful lows, aggressive highs, and articulation that takes no prisoners.

Right off the bat, Blackouts were embraced by metal players around the world. They’ve even built quite a roster of signature artists who rely on them for their own pulverizing tones.

And that brings us to the next active pickups on the list.

Mick Thomson Signature Blackouts Humbucker Set

One of the first metal players to embrace Seymour Duncan Blackouts was Slipknot’s Mick Thomson. They became his active pickup of choice for years. But there were a couple of tweaks he wanted to handle Slipknot’s pulverizing, low-tuned riffs.

How do they compare to the original Blackouts? We’ll let Mr. Thomson tell you himself.

“I had them tighten up the bottom because tuning low like we are, you don’t need that lower ‘woof.’ And I had the top end adjusted a little bit for more cut without being harsh or scratchy. They’re extremely quiet, they’re extremely clean, and they have a lot more tone than the typical active pickup. They sound more real. The harmonics are richer. It’s a bigger sound across a wider range of frequencies.”

– Mick Thomson

Slipknot’s #7 remains devoted to his Mick Thomson Signature Blackouts Humbucker Set. So much so that they are the tonal cornerstone of his Jackson Signature Mick Thomson Soloist electric guitar.

And he’s not the only Jackson signature artist that relies on Seymour Duncan actives.

Jeff Loomis Signature Humbucker Set

Jeff Loomis is the undisputed king of modern shred guitar. His work as a solo artist, with Nevermore, and with Arch Enemy is proof of that. So it’s an honor that he chose the Seymour Duncan Blackouts as the basis for his signature active pickup set.

And yes, you’ll find the Jeff Loomis Signature Humbucker Set armed and ready in his Jackson Signature Jeff Loomis Kelly electric guitar.

The first thing you’ll notice about the Loomis active pickups is their classic, exposed pole-piece look. This comes from Loomis’s insistence on maintaining a passive-like, dynamic sound while embracing the power of active electronics. What you end up with are easily some of the best active pickups for metal. They straddle the line between a tight, aggressive low-end and a fluid top-end that lets all of your picking nuances shine through. If you spend a lot of time flying around or above the 12th fret, these are the active pickups for you.

Let’s talk tone!

If you have any other questions about the passive vs. active pickups debate, finding the best pickups for metal, and the best active pickups for your rig, check out our Knowledge Base here. You can also email us here. And don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth information on all of our different designs, how-tos, tone demonstrations, and a lot more.

The Telecaster has almost been synonymous with Nashville, Tennessee for decades. And there’s a reason a Tele can still found in every A-list session guitarist’s arsenal. But many of the town’s pros need a guitar with a broader range of voices. They need the tone of their Teles with the flexibility of a Strat. So, to attain those tones, players—like Brent Mason—would drop Stratocaster pickups into their Telecasters’ middle positions. And, just like that, the configuration of Nashville Telecaster pickups were born.

Though Teles in every other way, it’s the configuration of the Nashville Telecaster pickups that define these guitars. This Tele/Strat hybrid approach was an instant hit. And Nashville Teles are still hot commodities. Players are even diving into modern pickup technology and taking their Nashville Teles further than ever.

But finding the right combination of Nashville Telecaster pickups is a bit of a process.

• Do you want the standard Tele/Strat/Tele setup?
• Are you looking for a setup that features hum-canceling or noiseless pickups?
• Do you want something even more versatile?

We’re going to answer those questions while breaking down three Nashville Telecaster pickup setups. We’ll discuss the benefits of each and who they are for. And, we’ll also tell you what to keep in mind when choosing your Nashville Telecaster pickups.

3 Nashville Telecaster Pickup Combos

• The Secret Agent Setup
• Vintage Voiced
• Super Tele

Tech Tips

Many Telecaster neck pickups—such as the Alnico II Pro, Five-Two, La Brea, Antiquity, and Antiquity II—feature a reverse winding/reverse polarity (RWRP) construction. This makes them hum-canceling when combined with the bridge pickup.

But adding a middle Strat pickup changes things. A standard-wind Strat pickup will be hum-canceling when combined with the Tele neck. But it will not be when combined with the bridge. And it’s the other way around with an RWRP Strat pickup. ​

Tele pickups—like the Hot Tele and Quarter Pound Tele—do not present this issue. For these, you want an RWRP Strat pickup for the middle position.

 

Secret Agent Setup

Five-Two Tele Set with Brad Paisley Signature Secret Agent

The Secret Agent Setup combines Five-Two Tele single-coils with the Brad Paisley Signature Secret Agent pickup. It is a perfect tonal blend of traditional and modern.

We designed the Five-Two Tele pickups for Nashville session players. Utilizing a blend of Alnico 5 and 2 magnets, they sing with a finely sculpted voice for all occasions. You can expect excellent articulation without the ice picking highs of some vintage-voiced options.

The Secret Agent adds to the Five-Twos’ character with old-school magic of its own. But it does it while hiding underneath your pickguard. From your audience’s perspective, you’re playing a regular Telecaster. But three new spanky tones await with the flick of your 5-way switch.

The Secret Agent is RWRP.

Vintage Voiced

Antiquity Tele Set with SSL-2 Vintage Flat Strat

These Nashville Telecaster pickups maintain everything you love about vintage T-style tone. We based them around pair of our Antiquity Tele pickups. From their materials to construction methods, Antiquities nail the vintage “thing.” And our aging process even gives them the look.

Our SSL-2 Vintage Flat Strat pickup adds ’60s Strat tone to your palette. It shares materials and construction with our period-correct Vintage Strat pickups. But thanks to the non-radiused pole pieces, there is less to inhibit your picking. It also gives the pickup a bit of a smoother top end.

Put the Antiquities and the Flat Strat together, and you have an old-school tone with a ton of options.

Antiquity Tele neck pickup is RWRP.

The SSL-2 Vintage Flat Strat is available in standard and RWRP. That way, you can choose whether you prefer the pickups to hum-cancel in position 2 or 4.

Super Tele Setup

Little 59/Vintage Stack Tele Set with STK-S4m Classic Stack Plus for Strat

The Nashville Telecaster is famous for sonic flexibility. It’s also a perfect platform for pushing the limits. That’s what you get with the Super Tele Setup.

The Super Tele combines noiseless Vintage Stack Tele and Classic Stack Plus Strat pickups in the neck and middle positions, respectively. Then it throws a humbucker in the bridge to add a little LP tone to the mix. Use a 5-way pickup selector, and that alone will get you through any gig.

And, the Little 59 humbucker is also available with 4-conductor wiring. That means you can wire up your Nashville Telecaster pickups for some advanced switching options. Want single-coil Strat quack in positions 2 and 4? It’s easy to do. Want a push-pull pot to swap between series and parallel humbucker tone? Piece of cake. There’s not a lot the Super Tele Setup can’t do.

Let’s talk tone!

If you have any other questions about Nashville Telecaster pickups, check out our Knowledge Base here. You can also email us here. And don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth info, how-tos, tone demonstrations, and a lot more.

We know that picking the best guitar pickups for metal is impossible. It’s even hard to narrow them down for classic metal. Every player has different preferences, everyone is after a different tone, and there are just too many options available. Not to mention, classic metal means something different to everyone.

Here’s how we define it:

Modern players such as Periphery’s Mark Holcomb are redefining today’s concept of “metal tone.” Things have become tighter-sounding and more precise than ever before. So we’re defining “classic metal” as all-metal pre-2010. This includes ’90s death, ’00s nu-metal, ’80s thrash, and the list goes on.

Even within those parameters, selecting the best guitar pickups for classic metal leaves a ton of options. But we think Seymour Duncan offers some of the best in the business. So in this first installment of Best Pickups for Metal, we’re going to highlight our three classic metal favorites.

The 3 Best Pickups for Classic Metal

• Invader SH-8
• Distortion SH-6
• Black Winter

Seymour Duncan SH-8 Invader

DCR: Neck 7.5k // Bridge 16.6k
Magnet: Ceramic
Cable: 4c Shielded
Type: Passive

The Seymour Duncan Invader is one of the most unmistakable humbucking pickups in history. Its over-sized pole pieces give your guitar an-all business look. But it’s the Invader’s massive output and low-end punch that puts it on our list of best pickups for metal.

Invader humbuckers get their sonic force by combining custom overwound coils, three large ceramic magnets, and oversized metal oxide pole pieces. Their low-end warmth is ideal for maintaining the body in your guitar’s upper register. And it’s devastating for down-tuned riffs.

Thanks to this sonic signature, the Seymour Duncan Invader has been a go-to classic metal pickup for years. And with players like the Misfits’ own Doyle Wolfgang von Frankenstein swearing by them, they’ll remain on this list for a long time.

Seymour Duncan SH-6 Duncan Distortion

DCR: Neck 13.0k //Bridge 16.60k
Cable: 4c Shielded
Type: Passive

Seymour Duncan has created a lot of popular pickups for heavy metal over the years. Some, like the Invader and the JB model, have a lasting legacy. Others, such as the Omega, Pegasus, and Blackouts, are on the cutting edge, aimed at the future of metal. But the Seymour Duncan SH-6 Duncan Distortion still reigns as the supreme pickup for classic metal.

We specifically craft the Duncan Distortion humbucking pickups to wring as much gain from your amp as possible. And we voice them for big lows and the defined top-end that classic metal demands.

There was finally a pickup created just for metal players! They quickly embraced the Duncan Distortion from day one, and, as evidenced by the demand for our 7- and 8-string Duncan Distortion models, players still love them to this day.

Through the decades, a slew of competitors has come and gone. But the Duncan Distortion SH-6 will always remain one of the best pickups for metal.

Seymour Duncan Black Winter

DCR: Neck 13.0k // Bridge 16.6k
Magnet: Ceramic
Cable: 4c Shielded
Type: Passive

If the Duncan Invaders are all about low-end power, the Black Winter humbuckers are all about ferocious articulation.

Black Winter humbucking pickups arm your guitar with buzzsaw cut for savage black metal and death metal tones. And thanks to their full low-end and detailed treble, they’re also an excellent pickup for precise, Dream Theater-style prog and grinding groove-metal.

Black Winters utilize a custom overwound coil and three large ceramic magnets to create a high output humbucker that can compete with any hot active pickup. But, the Black Winters still maintain the dynamic response of their passive design. And because they’re available in 6-, 7-, and 8-string models and 4-conductor wiring, they’re the most versatile classic metal pickup on the list.

Let’s talk tone!

If you have any other questions about finding the best pickups for metal, check out our Knowledge Base here. You can also email us here. And don’t forget to dig deeper into the Seymour Duncan blog! There’s a ton of in-depth information on all of our different designs, how-tos, tone demonstrations, and a lot more.

January is a great month for new beginnings. You know, a new year, new me kind of thing. But, it’s also a great month for reflection and thinking about the best moments from the year prior. So, in this last week of January 2021, we’re going to do just that. Here are the Top 3 most visited Blog posts from 2020—the posts that you all dug the most!

Adjusting Pickup Height—An Easy, Fast, Free Way to Improve Your Tone

Adjusting Pickup Height—An Easy, Fast, Free Way to Improve Your Tone

How to Test Guitar Pickups with a Multimeter

How to Test Guitar Pickups with a Multimeter

5 Boost Pedals Every Guitarist Needs to Know

5 Boost Pedals Every Guitarist Needs to Know

You can always use the filter function on our blog to find more tips and tricks like these at seymourduncan.com/blog

We’ve all heard guitar vets pine for the days of plugging straight into an amp and getting all the tones they ever needed. No need for pedals, switchers, multi-fx boards, or tap dancing. So what stops today’s players from embracing the rigs of old? Having to push old tube amps to volume-war levels is one. But the main culprit behind their reluctance to rely on their guitar’s electronics is the muddy tones they encounter when lowering their guitar’s volume.

We’ve all experienced it. You’re reveling in the harmonically rich tones of a cranked amp, you roll the guitar’s volume back for some cleaner rhythm work, and everything changes. Where did all of your glorious tone and treble response go?

The reason your tone lost its top-end sparkle is that an electric guitar’s electronics can act as a low pass filter. Think of it this way, your guitar’s volume potentiometer is a variable resistor. As you turn the volume down, it introduces more resistance into the signal and sends it to ground, allowing less to pass through. Pots with different tolerances, tapers, and impedances all have a significant effect on this interaction, often dumping your highs along with your level.

And pots are just one factor in this phenomenon. Today, guitarists often live and die by their massive pedal collections, in-depth switching systems, and modeling units. Every item in these signal chains adds another sonic barrier, chipping away at the inspiring and elusive touch response of your favorite head or combo. From your pedals and cables to your amp’s input section, every step of the process has a say in how you sound.

Luckily, there are as many fixes for treble loss as there are causes. And none are as popular – or as misunderstood – as adding a simple treble bypass filter – most commonly called a treble bleed modification – to your guitar.

At its core, a treble bleed mod is the simple (and completely reversible) addition of a capacitor, on its own or paired with a resistor, to your guitar’s volume pot. That’s all it takes to ensure your treble “bleeds” through, no matter where you have your volume control. Now, a simple twist of your volume knob takes you from driven, cranked-amp tones to glassy cleans, all while retaining your top-end detail. And best of all, a treble bleed is one of the most inexpensive and easiest (if you know how to solder electronics) guitar mods out there.

But before you grab your guitar and start soldering, there are some important things you need to know. Most importantly, there are many different ways to wire a treble bleed and even more options in capacitors and resistors. Let’s take a look at three of the most popular treble-bypass arrangements (TBA) we see around Seymour Duncan to help clear the air.

“Cap Only” wired with 1 M Volume Potentiometer

In the 1960s, Fender started installing this circuit on their Telecasters. By combining the 1000 pF capacitor with a volume potentiometer rated at a full 1 Meg, they succeeded in maintaining top-end detail. But it also gave the already thinner-sounding Tele an ice-pick treble at full volumes and a thin tone at lower volumes.

Players soon found other circuits that offered a better balance. One of the most popular is the “cap only” mod. Just add the capacitor to your guitar’s stock volume pot, and you have an effective and simple fix.

The only downside to the “cap only” mod is that it tends to roll off lows, maintaining clarity, but at the expense of a bit of warmth as your volume is reduced. This isn’t necessarily a bad thing. In fact, this is the factory treble bleed mod you’ll find on thousands of Paul Reed Smiths. It’s also incredibly useful with muddy-sounding neck humbuckers.

Capacitor and Resistor wired in parallel

Because many players prefer their treble and bass to roll off simultaneously, it’s often preferable to add a 150k-ohm resistor in parallel with the capacitor. As promised, your high- and low-end rise and fall in concert, keeping your tone intact regardless of volume knob position.

If there is a drawback to this simple circuit, it’s that it can have a radical effect on the sweep of your volume knob. The volume will decrease gradually throughout most of the range. But your output may drop suddenly toward the end of the range, making fine-tuning your sound more difficult.

Capacitor and Resistor wired in series

Love the tone of a treble bleed wired in parallel, but can’t live with the volume sweep? Series wiring – also known as the Kinman treble bleed – is for you. This circuit is extremely popular, as it protects your treble response nearly as well as parallel wiring, but maintains a familiar volume sweep.

In this setup, the values of your chosen capacitor and resistor are incredibly interactive. So we highly recommend doing your research and giving several combinations a try. But here’s what we recommend.

• • 1000-1500 pF Capacitor: Lower values = higher frequencies, higher values = lower frequencies 

  • 100-330k-ohm Resistor: lower impedances are brighter, higher impedances are darker

So which is the right treble bleed mod for your guitar? Like all things tone, that depends on your guitar, your rig, and your ears. Because every link in your chain has an impact on how your guitar’s volume pot performs, every one of your guitars may require a different circuit. It’s up to you to find the one that works best for each.

However, as we’ve stated above, treble bleed modifications are among the easiest and most inexpensive to perform. So go ahead, pick up a bunch of different caps, resistors, and pots, then mix and match to your heart’s desire. We’re confident that you’ll land on the perfect pairing for every one of your electrics.

Now that you’ve chosen and installed the perfect treble bleed for your guitar, go plug into a cranked amp and give the volume knob a whirl. You’ll immediately understand what those old-school guitar slingers are raving about. And treble bleeds also work great with your favorite touch-responsive drive pedals – like the Seymour Duncan Forza and Palladium Gain Stage.

Not comfortable with working on your guitar electronics (or wish to keep your warranty intact)? Then we highly recommend having an authorized luthier take care of the work. But if these types of mods are no problem, you’ll love SeymourDuncan.com’s deep selection of wiring diagrams, tech tips, and tonal know-how.

As always, you can give us a call at (805) 964-9610 or email with any other questions you may have. We’d love to help you turn your guitar into the versatile tone machine it deserves to be.

Forza Overdrive

Palladium Gain Stage

Joe Bonamassa’s ear for tone is legendary.

So when he says that Bonnie, his 1955, hardtail Fender Stratocaster, is his “best Strat,” we trust him. And when he wanted to offer the guitar’s magical-sounding pickups to the public, we went to work re-creating them with pin-point accuracy and attention to detail.  

Introducing the limited-run Joe Bonamassa Signature “Bonnie” Strat Pickup Set and Loaded Pickguard.

As with all of our vintage-style pickups, we craft the Bonnie Strat single-coil set with attention to every sonic and physical detail. They feature era-accurate, cloth, pushback lead wires; black Forbon flatwork; Alnico IV rod magnets; and a uniform 5.96K rating. They even boast vintage-correct, perfectly aged plastic covers that replicate Joe’s originals. 

In the pickguard, you’ll find several unique touches that continue our “accurate recreation” ethos of Joe’s favorite Strat. From the custom made “Phone Book” .1uF/150V capacitor and Joe’s preferred 5-way selector switch to Bonnie’s modern switch tip and mini skirt control knobs, it’s all just as he likes it. And the pickguard is rounded out with a trio of 250K high-quality CTS potentiometers. 

Joe Bonamassa is an authority in all things guitar tone. And the limited-run Joe Bonamassa Signature Bonnie Strat Pickup Set is the heart and soul of one of his favorite guitars. So whether you’re after Joe’s sound or want the “best Strat” sound for your own, these are the pickups for you. But act fast, these are a very limited run. Only 550 sets and 100 loaded pickguards are available. And you don’t want to miss out.

joe bonamassa signature bonnie strat pickup set

joe bonamassa signature bonnie strat loaded pickguard

Pop quiz. What is the most critical part of your guitar’s electronics – other than pickups? 

Answer: Your potentiometers.

Potentiometers – or simply, pots – determine how much of what frequencies make it from your pickup to your output jack. And while some players may be content leaving them full up, getting to know these little guys can open tones that have been hiding right under your fingertips.

While some would argue we’re getting into the weeds on this one, this is ground zero for getting the very best performance from your favorite pickups. And pots come in a wide variety of configurations. From impedance ratings to sizes, shaft construction to taper, there is a lot to learn. So let’s get started.

Some important terms

• Rating

The rating of a pot is a measure of the resistance it places on your signal as it passes through. We won’t get into the math of it all, but it’s important to know that different ratings generally work better when matched with varying styles of pickup.

• Capacitor

A capacitor is a device that diverts the flow of your guitar’s frequencies. Different ratings affect different frequencies. This is why you don’t lose low end when rolling your tone knob back.

• Resistor

A Resistor is a device with a measurable amount of resistance. Simply put, a Resistor impedes the flow of or “resists” electricity and turns things down.

• Variable resistor

All pots are variable resistors (and therefore, volume controls. Though we’ll get to that in a bit). They are resistors that you control in real-time, allowing you to restrict varying amounts of signal through your electronics.

• Tone pot vs. volume pot

Believe it or not, they’re usually the same type of pot. While a volume will restrict all the frequencies and shut your signal off, the simple addition of a capacitor and/or resistor allows specific frequencies to pass through unaffected. So you can shut off your high end while keeping your lows, AKA a tone pot.

• Push/Pull pot

This is a style of pot that combines the standard pot with an independent, onboard switch. They’re perfect for adding functionality to your guitar’s electronics without drilling new holes into the top of your guitar. And they’re extremely popular for coil splitting and tapping.

• Shaft

The shaft of a pot is the piece that sticks up out of the assembly. It’s also the part that the control knob is attached. It may seem like a no-brainer piece of the puzzle, but the shaft makes a big difference in finding the right pot for your guitar.

• Taper

Your pot’s taper is what determines how fast, slow, or gradual the pot affects your signal as you turn it. The two types of taper we’ll deal with here are Audio (Logarithmic) and Linear.

Finding the perfect pots

Here are the most important aspects to consider when finding the right pots for your guitar. We’ll tackle these in a specific order to come out on the other side with the perfect pots for your guitar.

Electronic considerations

Potentiometer ratings

Two main impedance ratings pop up again and again, 250K and 500K. These two ratings have been the gold standard for decades.

250K pots offer lower resistance to your guitar’s pickups. Don’t think of it as more or less resistance. It’s actually where the resistance sits that makes the difference. Because of this, 250K pots naturally attenuate more high frequencies than pots with higher ratings. This makes them perfect for, and almost universally paired with the brighter tones of passive single-coil pickups.

As you can probably guess, 500K pots have higher resistance, lessening their impact on high frequencies. This makes them the perfect choice for use with the commonly darker tones of passive, humbucking pickups.

Honorable mention

1 Meg pots:These pots’ extremely high rating helps bring out chime in certain pickups. Often found in Jazzmasters, some Teles from the ’70s and Wide-Range humbucker-equipped guitars. They’re also a popular mod for players who want maximum bite and attack.

Active vs. passive

Active electronics are a different animal than passive electronics. They require pots with a very low impedance rating of 25K. While frequencies do play a role here, this low resistance is actually to match the battery-powered LO-Z impedances these systems deliver.

Audio Taper vs. Linear Taper Pots

Taper is how smoothly and quickly pots attenuate your signal as you turn them. As a general rule, Audio taper provides a more natural feeling and sounding swell. This allows for many different tonal shades throughout the range of the pot.

Linear taper pots react much differently. This style of pot feels more like an on/off switch. As you raise the pot from zero, you’ll notice a significant and fast increase in your signal within the first quarter turn. From there, it may seem as though very little happens throughout the rest of the range

Not a shortcoming of the design, many players prefer the way this gives them plenty of room to work with when making fine adjustments to their tone and volume.

Whether you choose an Audio or Linear taper is about personal preference. And you really can’t go wrong. That’s why we highly recommend trying both. Some players even prefer using one on their volume controls and the other on their tone.

Construction considerations

As if wading through all of the techy electronics weren’t confusing enough, pots also come in a ton of different construction styles. And like making sure you have the right electronic match for your guitar, it’s equally essential to snag one with the perfect build style.

Shafts

One way to tell a lot about different pots, as well as telling them apart, is by their shaft (the piece that turns inside the pot’s housing). When it comes to split- and solid-shaft pots, the differences don’t affect your tone, but will guide your choice in knobs.

Split Shaft:

Split-shaft pots are the most common style of potentiometers found on electric guitars. Defined by the slot that runs down the middle of the shaft, these pots utilize friction to hold your knobs secure. By slightly spreading the two sides of the shaft apart, its splines can grab hold of the knob and keep it in place.

While this makes for an easier time when replacing your knobs, it does present its own set of challenges. For instance, if the sides of the shaft aren’t putting enough pressure on the knob, it’s easy for it to come loose. And because achieving the right fit requires manipulation of the metal, the sides of the shaft can break if pushed too hard.

Solid shafts:

Solid-shaft pots do away with the shaft splines and slot down the middle. Instead, they utilize a single, smooth piece of solid metal. This style of pot requires a knob outfitted with a metal insert and set screw for holding on.

The benefit to a solid-shaft pot is that, when the set screw is secure, it holds tight. And there is little chance of breaking the shaft. Unfortunately, if the set screw shakes loose, even a little bit, nothing is holding your knob from going flying mid-performance.

Size is everything

Now let’s make sure you have the right fit.

When discussing pot sizing, there are two main things to think about; shaft length and diameter. These differences are purely a matter of getting the correct fit for your guitar and make no difference to the pot’s performance. Luckily, knowing which is right for your instruments is a straightforward affair.

Shaft length is the first consideration. Guitars with thick, arched tops, such as Les Pauls, some Paul Reed Smiths, etc. require a pot with a long shaft to ensure enough material rises above the top to fit your control knobs. Guitars that boast pickguard-mounted controls, a thin arched top, or flat construction are perfect candidates for the short-shaft variety. Here are a few recommendations to help you get the right fit.

Long Shaft:Les Paul, carved-top PRS, and similar designs

Short Shaft: Stratocaster, Telecaster, SG, Jazzmaster, ES-335, Explorer, Flying V, and similar designs

Diameter 

As vital as the shaft’s length is its diameter. Due to differences in measuring systems, pots and the holes routed into a guitar can vary from imported and US-made products. Often, imported pots and guitars feature narrower shafts and routes. This means, you won’t be able to fit an American-style pot into many imported guitars’ routes without widening the hole first. Conversely, installing an import-style pot to an American-made guitar can leave you with too much room, making it difficult to secure the pot in place.

While there are remedies for both of these situations, we highly recommend measuring the route in your guitar before purchasing your replacement pots.

General diameters of both

American-style: ¼”

Imported-style: 6 mm

Push/Pull Pots

The last pot construction style we’ll cover here are push/pull pots. For players who are happy with their guitar’s versatility and aren’t looking for more pickup-switching options, go ahead and skip to the next section. For the rest of us, read on!

Push/pull pots are simply the combination of a potentiometer and a switching mechanism. While their potentiometer section acts the same as a similarly rated, non-Push/pull pot, the independent switching also makes them a convenient and versatile way to increase your guitar’s sonic flexibility.

From adding coil-tapping and splitting capabilities to engaging onboard electronics, being an active/passive switch to being a killswitch, there are few limits to what these pots can do. But best of all, they do it all while maintaining the look and feel of your stock guitar. No need for drilling extra holes into your guitar, people!

Yngwie, Liberators, and More!

Hopefully, now you’re able to decide on the potentiometers with the perfect resistance; taper; shaft style, diameter; and length, as well as determining if push/pull is the way to go. No matter what you choose, we offer here multiple options to make sure you give your guitar’s pickups the perfect match.

Liberator pots

Not only are our Liberator pots extremely high-quality and deliver exceptional performance, but they are an answered prayer for players who love to swap pickups. By outfitting them with simple and secure, solderless connections, you’re demo new pickups as quickly as you can load them in and out of your guitar. And their solderless connection is every bit as reliable as a traditional solder joint.

Available in both 250K and 500K varieties, the Liberator potentiometers are the perfect way to find your ideal set of electric guitar pickups.

Standard and YJM Speed Pots.

Every pot has its own action and feel. Some players like them to be smooth and loose for quick control manipulation, while others like their pots to give them a bit of resistance. This keeps them stable when you accidentally bump them.

Our standard Seymour Duncan pots are a perfect middle ground, offering easy control and just the right amount of resistance. But once we went to work with the inimitable Yngwie Malmsteen on his signature set of pickups, a new breed of Seymour Duncan potentiometer was born, the YJM Speed Pot.

Yngwie demanded a pot with action so fast and smooth that it can keep up with his blazing technique. So we went to work, adding minimal-viscosity lubricant to our standard potentiometer construction. It worked perfectly, creating one of the most effortless and smoothest-feeling pots on the market.

While perfect for Yngwie, players of all styles and genres have embraced the YJM Speed Pots, leading us to offer them in multiple configurations. So if you want Seymour Duncan quality in a pot crafted for quick control, we recommend trying the YJM Speed Pots for yourself.

In Conclusion

Whew! That’s a lot of information! After all that, we’ll bet you don’t look at your guitar’s pots the same.

From determining your pickups’ performance to how they feel in your hand, there’s a ton to think about when finding the perfect ones. But the cool thing is, there’s no wrong pot for your guitar (outside of one that doesn’t fit, of course). There are just ones you’ll prefer over others. So don’t be afraid to experiment with different values, switching options, and construction types. You may find you love something a little bit out of the norm.

If you have any other potentiometer or wiring questions, please, don’t hesitate to reach out at (805) 716-6747 or email. Also, don’t forget to dig into the Seymour Duncan blog! There’s a ton of in-depth information on all of our different designs, how-tos, tone demonstrations, and a whole lot more.

YJM Speed Pot

Standard Potentiometer

Seymour Duncan Liberator