How to Embrace the Stunning Popularity of Chorus Pedals

They say history is cyclical. Nowhere is that more apparent than in guitar tone. From the roar of high-gain stacks to the cleans of pedal-friendly combos, the prominence of Big Muffs to the classic Tube Screamer, tonal trends come and go, then come and go again.

But no effect’s on again-off again popularity is as polarizing as the chorus pedal. Once used on every guitar tone throughout its 1980s heyday, the 1990s seemed to ban the effect overnight. From then until recently, it was the most ‘uncool’ effect on the market. At least that’s what people thought. Here’s a quick history of what really happened.

1970s

Chorus got its start as a guitar effect in the 1970s when Boss released one of their first floor-based effects, the CE-1 Chorus Ensemble. Though bulky, even for the time, it allowed players to achieve the bubble-like tones, shimmer, and thickening that was previously reserved to studio trickery. Throughout the decade, the CE-1, electro-harmonix’s Electric Mistress flanger (it makes a killer chorus. Just ask Andy Summers), and the Roland JC-120 amp combo inspired tones as iconic as Alex Lifeson’s “La Villa Strangiato,” intro and Jaco Pastorius’s fretless bass tones on “Continuum.”

1980s

Chorus was everywhere in the ‘80s. It was on every overly polished pop hit. Rock and metal embraced it for everything from 80s rock power ballads to the clean tones of Metallica’s “Welcome Home (Sanitarium).” And, thanks to John Scofield, even jazz wasn’t immune. It was the age of the Dytronics Tri-Stereo-Chorus, Arion SCH-1, the evolving Boss CE-2, and more.

1990s

After a decade of dominance, chorus’s time had come to a quick and harsh end. Overnight, Players around the world relegated their pedals to closets, drawers, and pawn shops. It was a change in taste that lasted up until very recently. But it is worth noting, while no self-respecting rock guitarist would admit to liking the effect, it still made its way on to some of the most legendary songs. A perfect example is the Small Clone-laced intro and leads of Nirvana’s seminal hit, “Come as You Are.”

2000s

Like the ‘90s, chorus remained mostly out of the picture throughout the 2000s. But – also like the ‘90s – it still managed to fight its way to the top of the charts from time to time. Nu metal players such as Head (Korn) and Incubus’s Mike Einziger, found use in the forgotten pedals by cranking them into uncharted territory.

Throughout the 2010s, chorus pedals have come back in a big way. Thanks to players’ heavy reliance on clean, pedal-platform amps and highly involved pedalboards, they are being used for everything from recreating the classic ‘70s and ‘80s tones to powering the reinvigorated alternative and indie rock scenes. That also means there has been a groundswell in new chorus pedals designs.

Insanely powerful multi-effects and even top-of-the-line amp modeling hardware have integrated powerful modulation options. Onboard these units, you’ll find chorus tones that run the gamut of crystal-like digital clarity to warmer analog simulations. It’s truly remarkable what many of these units offer.

But if you like your modern pedals to retain the authentic warm, rich tones of an analog, bucket-brigade circuit, we think you’ll love the Seymour Duncan Catalina Chorus. Within this pedalboard-friendly enclosure are a vast array of easily accessible modulated tones. Controls for Depth, Rate (the speed of the modulation), Mix, and Tone are all you need to add addictive movement, shimmer, and depth to your playing. But we didn’t stop there.

catalina beauty shot

The heart and soul of the Catalina Chorus is its Dynamic Expression mode. Once activated, you can determine the depth of the pedal’s chorus effect with how hard you hit the strings. Switch the pedal into ‘Hard’ mode and bring in the modulation by digging in. Flip to ‘Soft’ mode, and you’ll find your lighter-picked passages take on the pedal’s affected voice.

Catalina knob details

Catalina features

Want even more control? We also added an intuitive ‘Delay’ knob, which manipulates the chorus effect’s intensity.

If you’re thinking, “Delay? I thought this was a chorus pedal.” you wouldn’t be alone.

The most common form of pedal chorusing is actually created by utilizing delay. The circuit generates a copy of your signal then modulates the copy’s delay time back and forth. It’s very similar to what you find in phaser and flanger pedals. But those effects manipulate the copied signal differently.

That Pedal Show did a terrific segment explaining the process. You can check it out here.

Classically, chorus effects were placed either after everything but your time-based effects on your pedalboard or in your amp’s effects loop. This allows them to blanket your entire tone without interfering with tone/filter-based pedals. But thanks to the Catalina’s Dynamic Expression, you might find a perfect spot at the front, middle, or end of your chain. Want lush cleans but dry distortion? Put it after your overdrive pedal and set the effect to turn off when boosted. Flip to ‘Hard’ mode and enjoy chorus-drenched leads every time you hit that same OD or boost.

The Catalina Chorus is also true bypass. With the line-driving abilities of buffered and hardwired-bypass pedals, we want the Catalina to be out of your way when you don’t need it. So no matter where you place it in your chain (assuming you have a good-quality buffer in there somewhere) your tone remains intact.

With chorus returning to pedalboards everywhere and technology screaming forward at the speed of light, we are all enjoying a boom in incredible digital pedals with astounding power. But there are still many among us who dodge the DSP and prefer the authentic, true analog tones of yesteryear. We say why not have both? Put a Catalina Chorus on your board and start swimming in classic shimmer and futuristic sonic exploration, all while maintaining a new level of touch-responsive control.

Want to know more about the Catalina Chorus? Check out the Catalina Chorus product page, or shoot us an email. We’d love to give you all the details on what Catalina can do.

Catalina front

Catalina Chorus Product Page

P90 Tone Profiles

Learn the tonal differences between a few of our most popular P90 single-coil pickups

 

Vintage P90

Magnet: Alnico V

Neck DCR: 8.0k

Bridge DCR: 9.7k

P90 Pickup

 

Our vintage-correct recreation of the original 1946 Gibson single-coil with all of the midrange grittiness, sparkle, and growl that make vintage P90 pickups so special. The dual alnico 5 bar magnets, and the short, wide bobbins give the P90 its unique tonal character with a powerful midrange and higher output than most other types of single coils.

 

In the neck position, this pickup sounds sweet and smooth, and will deliver big fat sounding chords. In the bridge position, this pickup has sparkly mids that really give it a gritty, open tone. Chords have a nice harmonic bloom, and single notes are glassy and up-front.

 

Hot P90

Magnet: Ceramic

Neck DCR: 12.0k

Bridge DCR: 15.0k

P90 Pickup

 

The Seymour Duncan Hot P90 pickups are designed with dual ceramic bar magnets and are wound to provide extra power and midrange cut. Our Hot P90 soapbar pickups combine extra coil windings with two small ceramic bar magnets to give you more output, greater sustain, and more overall sensitivity. Both the neck and bridge models have a pronounced upper midrange that will make chords sound mean and full, and solos sound fat and cutting. When used with the bridge Hot P90, the RWRP, reverse wind reverse polarity, neck pickup will be free of 60-cycle hum.

 

Custom P90

Magnet: Ceramic

Neck DCR: 12.0k

Bridge DCR: 14.6k

P90 Pickup

 

Our most powerful soapbar model, the Custom P90 high-output pickup delivers a tight low-end punch with edgy top-end grit in the bridge and a mean midrange growl in the neck. With its overwound coil and dual large ceramic magnets, the Custom is our most powerful high-output P90 pickup. In the bridge position, it will give you fat, growling chords that are full of rich midrange and sparkling harmonics. It really emphasizes the attack of your pick against the strings, and can keep even high-gain sounds detailed and defined. Chords are raucous and bold and single notes will jump out with an edgy grit that will have no trouble cutting through any mix.

 

The Custom P90 neck will give you fat, full chords that are nicely balanced and articulate, with the muscular clang that typifies the best P90s. Use two Custom P90s for a high-output setup or pair a Custom bridge model with a Vintage P90 neck for ultimate flexibility.

 

Antiquity P90

Magnet: Alnico II

Neck DCR: 7.8k

Bridge DCR: 8.6k

P90 Pickup

 

Capture the cool, gritty bridge sparkle and the sweet neck-position warmth of a true ’52 Goldtop with our Antiquity P90 vintage P90 pickup. Our Antiquity P90 soapbar uses two specially calibrated Alnico 2 bar magnets and a custom coil wind to deliver the gritty, vintage-correct growl of an early ’50s Les Paul bridge pickup. Chords have a warm but sparkly midrange grit, and single notes jump out nicely without sounding harsh.

 

The neck model is full and round sounding, with single notes that have a sweet, musical, singing quality. It is also wound RW/RP to be hum-cancelling when engaged with a matching bridge pickup. When you remove our hand-aged soapbar covers, you’ll find the same hand-fabricated bobbin, plain enamel mag wire, and flatback tape that was made in Kalamazoo during the early days.

 

Antiquity P90 Dog Ear

Magnet: Alnico II

Neck DCR: 7.8k

Bridge DCR: 8.6k

P90 Pickup

 

Capture the weathered midrange growl and grit of an original ’59 ES-330 with our Antiquity P-90 Dog Ear pickups. Our Antiquity P90 Dog Ear pickups use two specially calibrated alnico 2 bar magnets, and custom neck and bridge coil winds to deliver the sweet, vintage correct growl of late 50s ES-330 P90 pickups.

 

In the neck position, chords are full and round sounding, and single notes have a sweet, bouncy quality. In the bridge, chords have a gritty, honky midrange, and single notes are nice and articulate without sounding harsh. The neck pickup is also wound RWRP to be hum-cancelling when paired with the bridge position model.

 

P90 Stack

Magnet: Alnico V

Neck DCR: 21.4k

Bridge DCR: 31.6k

 

Our P90 Stacks are P90 soapbar pickups that provide all the tone of a traditional P90 single-coil without any of the hum. Our P90 Stack delivers a noiseless, vintage style, P90 soapbar tone for any guitar with a P90 sized pickup route. You get the growl and sparkle, but none of the pesky hum that traditional single coils have. The neck model sounds nice and full, with just the right amount of low-end growl, while the bridge model sounds nice and midrangy, with all the classic grit that you’d expect out of a great bridge position P90.

 

The 4-conductor lead wire gives you the option to split the coils if you want, or to switch into series mode for a more compressed sound. At .95 in height, these noiseless P90 pickups are a little taller than a typical P90, so you may want to make sure your guitars pickup slots are deep enough before trying to install them.

 

Cory Wong – A Portrait

During the summer of 2019, Cory Wong traveled to the Seymour Duncan tiny house, located just outside of Santa Barbara, CA, to film our fifth Seymour Duncan “Portrait Series” video. Cory is an exceptional musician, guitarist, and multi-instrumentalist, who’s had an expansive genre-crossing career as a songwriter, composer, performer, frontman, bandleader, band member, and session and touring guitar player.

Hailing from Minneapolis, MN, Cory spent the early part of his career focused on jazz, performing in clubs throughout the Minneapolis and Saint Paul regions. After quickly gaining notoriety and recognition in the MN scene, Cory found himself traveling to Nashville, TN to perform. There, he connected with artists like Ben Rector, Bryan White, Brandon Heath, and Dave Barnes, supporting and performing alongside them as a session and touring guitarist. All the while, Cory continued sharing the stage in Minneapolis with veteran members of the city’s R&B, Funk, and Soul scenes, including former members of Prince’s band: Michael Bland and Sonny T.

In 2013, Cory connected with Los Angeles-based funk group, Vulfpeck. Shortly after performing alongside them as a featured guest on his namesake track, “Cory Wong,” Cory went on to become a formal member of the group in 2016. He has since recorded on every one of the band’s five album releases and performed on every tour.

In addition to his role in Vulfpeck, Cory leads his own instrumental funk quartet alongside Snarky Puppy guitarist Mark Lettieri, Vulfpeck bassist Joe Dart, and drummer Nate Smith called “The Fearless Flyers.” As a collective, they have released three albums and, in 2019, shared the stage alongside Vulfpeck at their sold-out show at Madison Square Garden.

Cory also has a prolific solo career and has released eight successful studio albums and six live albums under his name. In 2020 alone, Cory released five studio albums and three live albums, including his 2020 release with Jon Batiste, “Meditations,” which is nominated for a Grammy: Best New-Age Album.

Cory plays a variety of Seymour Duncan pickups including the Antiquity II Surfer Strat Set, Antiquity Humbucker Set, and Antiquity II Mini Humbuckers.

Check out Cory’s preferred pickups:

How to Get the Most From Your Distortion

What’s the Difference Between Diamondhead and Palladium?! 

 

Tuned for a wide range of distortion, rock players of all shades find the Diamondhead perfectly suited for their preferences. But we often hear, “Doesn’t Seymour Duncan already have the Palladium?”  

 

Great question. 

 

We’d like to give a bit more insight into these two multi-gain stage distortion designs. We’ll talk about what sets them apart from other distortion pedals, what sets them apart from each other, and what makes them some of the best all-analog distortion pedals on the market. 

 

First, let’s look at the history and distinct characteristics of distortion pedals throughout the years. 

 

History 

 

The first distortion pedals hit the scene in the 1970s. While fuzz had already staked its claim as the first dirt pedals, they were generally too unfocused and loose in the low end to keep up with the faster and punchier sounds rock and metal guitarists were embracing.  

 

Those players were drawn more to the percussive and searing sounds their Marshalls delivered when driven to the max. But, as anyone who has ever pushed a tube amp to the max knows, their punishing volumes quickly become an issue. So, the rush was on to find a different way of getting the same tone at lower volumes. 

 

A few of the first and still the most revered distortion pedals to hit the market were the Boss DS-1, the MXR Distortion+, and the Pro Co RAT. Each delivered harmonically rich gain with a cutting sound that pushed players’ amps to the brink without losing their definition. In fact, they continue to be some of the biggest sellers and have become the platforms for countless clones.  

 

Though all three of these classics share the aggressive tone of a hard-clipped circuitmore ‘organic-sounding’ overdrives often use soft-clippingthey get their unique voices in two different ways. 

 

Symmetrical clipping 

Symmetrical clipping is when the top and bottom of the waveform are clipped exactly alike. This style of clipping can deliver a smoother sound with less cutting top end. That’s why the Pro Co Rat is such a favorite for its fluid tone and warmth while still being able to get nasty. 

 

Asymmetrical clipping 

Asymmetrical clipping isyou guessed itwhen the waveform is clipped differently on the top and the bottom of the wave. With this style of distortion, you’ll notice a more aggressive high end and a searing character. It’s what gives the Boss DS-1 and MXR Distortion+ their ability to cut through any mix while dishing out plenty of gain. 

Gain Staging 

 

No matter which flavors you prefer, distortion pedals offer a world of tonal options. Whether you need to nail a ‘70s style distortion in your cover band, want to add a fire-breathing tone to your clean-sounding amplifier, or are part of the doom/stoner/grunge movement that lives for crushing levels of old-school grit, a great distortion pedal is the way to go.  

 

But if you simply throw a cranked distortion in front of your gain-up amp stack, you may be greeted with an uncontrolled howl that’s far from the tonal nirvana you expected. That’s why gain staging is such an essential part of dialing in your gear. Think of it this way; if you are running the typical pedal-into-amp setup, you’re actually dealing with three main gain stages that all have to work in concert.  

 

  1. The pedal is the first stage and determines how loud your signal is when it hits the amp.  
  1. The amplifier’s preamp is the second stageAlready overdriving from the pummeling signal of your pedal, the preamp will distort even more than it would on its own.  
  1. Your signal then hits the power amplifier (or gain stage number three). And, depending on how hard you crank your amp, it can also distort. 

 

Push all three to their limits, and each will compress, overdrive, and turn your tone into an undefined mess. But give the right stages the room to breathe while carving your sound with others, and you begin to understand the tonal power of gain staging.  

 

Today, placing distortion before your preamp is no longer the only accepted method. Many modern players have discovered bypassing their amplifiers’ preamp sections altogether and running their distortion pedals directly into their amps’ effects return or an independent power amplifier. Now their favorite dirt boxes become the preamp, delivering their sonic signature without anything in the way. 

 

Not only are the Palladium and Diamondhead excellent options for this type of routing, but we designed them for it. 

 

Palladium Gain Stage and Diamondhead Distortion + Boost 

 

Seymour Duncan built the Palladium and the Diamondhead pedals around the concept of gain staging and the extensive tonal options it offers. Not only do they deliver delicious, analog distortion, but you get complete control of the character of that distortion, from boosts to output to EQ and everything in between.  

 

Diamondhead Distortion + Boost: 

The Diamondhead is our tribute to the glory days of cranked, boosted British-voiced stacks. Throw a little green overdrive in front of a Marshall and bingo! But just because we had classic rock and metal in mind, that doesn’t mean Diamondhead won’t hang with the impossibly tight and precise metal tones of today.  

 

Our good friend Rabea Massad demonstrates: 

The core of the pedal is a hard-rock approved amp-in-a-box. From its active 3-band EQ to the gain control’s ability to sweep from bluesy crunch to hard rock, it could very well be all a player needs. But flip on the onboard Saturation (SAT) toggle, and a genuine Seymour Duncan 805 overdrive circuit front-ends the pedal, delivering all the punch, cut, and added gain you’d require. On top of that, an independent (and foot-switchable) +/- 15dB variable clean boost is waiting at the end of the circuit. Not only do you have killer old-school metal distortion, but place the pedal in front of a clean amp, and a solo boost is only a toe tap away, 

 

  • Voiced for ‘70s-’90s amp stack distortion tones 
  • Perfect for use in front of a clean channel or as a stand-alone preamp 
  • Carefully tuned, active 3-band EQ  
  • SAT switch engages Seymour Duncan 805-style overdrive front-end circuit 
  • Independent, foot-switchable boost with +/- 15dB range 

 

Palladium Gain Stage: 

Palladium picks up where Diamondhead leaves off. Voiced to keep up with the impossibly tight rhythms, clear-as-a-bell string separation, and liquid lead tones of today’s metal tones, it is the next evolution in distortion pedal design. 

 

Keith Merrow demonstrates Palladium’s savage tones. 

Like the Diamondhead, Palladium features three individual gain stages that allow you to tune your tone precisely. The pedal’s core tone is a high-gain endeavor. There’s no denying that. But factor in its 3-band EQ, semi-parametric Mid controls, and Presence knob, and there’s plenty of flexibility for any application. In front of this stage is a foot-switchable, and finely tuned boost for adding copious amounts of drive, sustain, and grind. And because modern metal tones live and die by their bass-frequency focus, Palladium features a unique Resonance control that manipulates the pedal’s low-end gain. 

 

  • Voiced for modern, high-gain distortion tones 
  • Perfect for use in front of a clean channel or as a stand-alone preamp 
  • Active 4-band EQ with semi-parametric mid control 
  • Variable and foot-switchable boost placed before the distortion circuit  
  • Resonance control tailors the low-end gain for clarity and thump 

 

With so much control and their hybrid preamp/distortion pedal designs, cover band players, death metal studio junkies, and traveling session aces will all find something to love in both of these powerful pedals. 

 

For more info on these two unique pedals:

seymourduncan.com/diamondhead

seymourduncan.com/palladium

5 Boost Pedals Every Guitarist Needs to Know

Boost pedals are one of the most overlooked but powerful effects you can have on your pedalboard. Within a single—often compact—stompbox, they give you access to high-gain tones, solo boosts, line-driving buffers, and even out volume differences between guitars. They are the Swiss Army knives of the pedal world. And they’re usually straightforward to use.

Not all boost pedals are created equal, however. A glance through the selection of your favorite retailer will often reveal clean boosts, EQ pedals, treble boosters, preamp boosters, and dedicated line drivers. Each of the designs has its own sonic characteristics that make them ideal for various playing situations.

Pickup Booster™

 

EQ Pedals:

Though not specifically boost pedals, a great graphic EQ pedal may be the most versatile boost out there. Most feature a ton of headroom and the ability to boost separate frequencies, as well as an overall volume slider for even more output. By tweaking each control to your liking, you’ll get a finely tuned boost that gives more of what you want and none of what you don’t.

 

Treble Boosters:

Vintage and boutique-style amps often sound great cranked up. But push them too hard, and you end up with a flubby low end. Treble boosters, like the legendary Dallas Rangemaster, fix this by driving your amp’s mids and treble into harmonically rich gain without disturbing its natural lows. If you—like Brian May, Tony Iommi, and countless other rock legends—like driving your power tubes, but want a tight bottom end, treble boosters are where it’s at.

 

Preamps:

Preamp pedals are boosts that offer control over the most guitar-friendly frequencies. As their name implies, many of them, such as the Seymour Duncan Palladium, can be used as the front end of your entire rig. Other preamp boosts are pedal versions of the preamplifier circuits of such legendary gear as the EP-1 and EP-2 Echoplex tape delays. Those preamps have a signature sound that players have been after ever since. These preamp boosts are voiced to give the same character as those original, injecting their tonal magic.

 

Line Drivers:

While all boost pedals can drive a signal chain, line driver pedals are specifically designed for the job. These buffered circuits match impedances, amplify the signal, and send it to your amp as if your guitar were plugged straight in.

 

Clean Boosts:

Clean boost pedals may be the most popular version of the boost world. They take your guitar’s natural signal and offer dramatically increased output without changing the tone. This ‘flat” EQ makes them incredibly popular for a wide range of applications. Their volume-boosting capabilities retain your original tone, and they’ll drive your amp or pedals’ front end. They’ also ideal for balancing the levels of different guitars and as always-on tonal sweeteners.

When it comes to clean boost pedals, our favorite is – unsurprisingly – the Seymour Duncan Pickup Booster. Though it is the patriarch of the entire Seymour Duncan effects line, it wasn’t supposed to be a pedal at all. We initially designed the Pickup Booster’s circuit as an onboard, active boost for Jackson guitars. It was called the Fire Storm. But it didn’t take long for artists to start requesting it in pedal form for use with a broader range of guitars. And that’s how the first Seymour Duncan pedal came to be.
clean boost pedal

The Pickup Booster definitely covers all of the clean boost requirements. But we also gave it a few added tricks to make it one of the most flexible clean boosts on the market.

3-position resonance switch

Enjoy a perfectly flat EQ setting or boost your thinner-sounding bridge single-coil with two warmer, humbucker voices for fat, singing sustain.

Unity, 0dB gain setting

Turns the pedal into a pristine-sounding line driver for long signal chains.

High-headroom

Can be run anywhere from 9- to 18-volts for increased headroom and power.

True bypass

When disengaged, the Pickup Booster passes your signal, untouched.

Made in America

Like all Seymour Duncan pedals, the Pickup Booster is crafted right here in California, USA.

All of these little additions add up to a powerful, flexible, and fantastic-sounding boost pedal that has a home in every guitarist’s arsenal.

  • Crank up the flat EQ mode and place it after your overdrive pedals into the front of a clean amp for a guitar solo volume bump.
  • Set it on unity gain and drop it at the front of your effects chain. You’ll enjoy incredible guitar/amp interaction.
  • Place it in front of your gain pedals or dirty amp to slam it into thick, sustaining submission.

The Pickup Booster can do it all.

Hi-Def Boost & Line Driver clean boost pedal

As you can see, we really love the Pickup Booster. Whether it’s because it was our first, or because we genuinely feel it’s the best on the market, we can’t get enough of this little powerhouse. So, to celebrate its popularity, we introduced a Blacked-Out version. It’s everything we all love about the original model with an aggressive and lower-profile look. So, whether you have yet to experience the Pickup Booster, or you want a killer-looking mate for the one you already have, grab yourself a Blacked Out Pickup Booster.

Passive P-Bass Tone Profiles

Learn the tonal differences between a few of our most popular Passive P-Bass Pickups

 

SPB-1 Vintage P-Bass

Magnet Type: Alnico V

DCR: 11.0k

SPB-1 Vintage P-Bass with eq graph

The P-Bass has defined recorded and live music since its inception, and the Vintage P-Bass pickup nails all the things we love about that distinctive tone. You will get just the right balance of authoritative thump and clear articulation for an authentic P-Bass feel. Our Vintage P-Bass pickup uses hand ground Alnico 5 rod magnets, and a vintage coil wind to deliver all of the bold, smooth tone of the late 50s Precision Bass. This pickup is a drop-in replacement for any American Standard Precision bass.

 

SPB-2 Hot P-Bass

Magnet Type: Alnico V

DCR: 22.9k

SPB-2 Hot P-Bass with EQ Chart

The SPB-2 is a hot-rodded split-coil P-Bass pickup with added warmth and punch to give you a bigger, meaner tone than the Vintage model. If you are a fan of P-bass tone but need a little more push, the Hot P-Bass pickup gives you all the tonal and output burst you need. Built similarly to our Vintage model, the Hot for P-Bass uses a custom high-output coil winding for increased low-end response and a fuller sound. What exactly does that mean? Basically your P-Bass just got a whole lot bigger. Its aggressive attack makes it a great pickup for heavier musical styles. This pickup is a drop-in replacement for any American Standard Precision Bass.

 

SPB-3 Quarter Pound P-Bass

Magnet Type: Alnico V

DCR: 11.5k

SPB-3 Quarter Pound P-Bass with EQ Chart

The SPB-3’s large ¼” diameter Alnico 5 rod magnets and a high-output coil wind deliver the most tone and attitude you could ever want in a high-output P-Bass pickup. There’s a reason this is our most popular Bass pickup: massive tone. The QP has a fat, punchy tone that pushes P-bass pickups past previous models with design and frequency improvements. The quarter-inch diameter pole pieces expand the magnetic field and extend the frequency ranges for a fat, full, punchy sound with tremendous mid-range presence and maximum output.

Though often used for heavy rock tones, this pickup gives amazing tonal versatility, making it a favorite across the board in live and studio settings. This pickup is a drop-in replacement for any American Standard Precision Bass and is available in 4 and 5-string configurations.

 

SPB-4 Steve Harris Signature P-Bass

Magnet Type: Alnico V

DCR: 13.0k

SPB-4 Steve Harris Signature P-Bass with EQ Chart

When metal’s most legendary P-Bass player reaches out for a medium output P-Bass pickup that is both detailed and powerful, you accept the challenge. Originally developed in our Custom Shop for Iron Maiden’s Steve Harris, this medium-output P-Bass pickup is special for a few critical reasons. Working closely with Steve, we crafted a P-bass pickup with a low-mid boost that adds punch and body while maintaining a crisp and clear high-end attack. This design uses hand-ground Alnico 5 rod magnets and a special vintage-hot custom wind of 13k Ohms to achieve its uniquely aggressive bite.

“I was having some problems with the original pickups in my bass and Seymour Duncan said they could make pickups that did what I needed – and they did!” Steve said.

We are honored to be working with such a legend.

 

Antiquity P-Bass

Magnet Type: Alnico II

DCR: 11.0k

Antiquity P-Bass with EQ Chart

The Antiquity P-Bass pickup is a vintage-accurate reproduction of a ’57 P-Bass pickup, complete with an aged cover and brass bottom plate. A faithful reproduction of Leo Fender’s 1957 dual-coil pickup design, the Antiquity for P-Bass delivers that warm and woody tone, with a slightly softer treble response. You will hear all of the familiar body and depth of a P-Bass, but with the smooth mellowing of our custom aging process.

Hand made in our Custom Shop, the Antiquity for P-Bass uses hand-fabricated forbon bobbins, plain enamel mag wire, hand-ground sand-cast Alnico II magnets, brass bottom plate, and waxed cloth pushback wire. Each is lacquered and potted in lamp black paraffin wax like the originals.

 

Antiquity II P-Bass

Magnet Type: Alnico V

DCR: 11.0k

Antiquity II P-Bass with EQ Chart

The Antiquity II P-Bass pickup provides that quintessential early ‘60s P-Bass tone that laid down the soundtrack of a generation from Motown to the coasts. Whether you’re upgrading your new instrument or you’re restoring a vintage axe, make your Precision Bass sound the way it was intended to with our Antiquity II P-Bass pickup. The seasoned Alnico 5 rod magnets and custom wind ensure the right balance of warm growl and articulate click perfect for classic rock, surf, and staple R&B rhythm tones.

Hand made in our Custom Shop, the Antiquity II for P-Bass uses hand-fabricated forbon bobbins, plain enamel mag wire, hand-ground sand-cast Alnico V magnets, brass bottom plate, and waxed cloth pushback wire. Each is lacquered and potted in lamp black paraffin wax like the originals.

Passive Jazz Bass Tone Profiles

Learn the tonal differences between a few of our most popular Passive Jazz Bass Pickups

 

SJB-1 Vintage Jazz Bass

Magnet Type: Alnico V

Neck DCR: 9.3k // Bridge DCR: 9.2k

SJB-1 Vintage Jazz Bass with EQ chart

These pickups are a faithful recreation of the Jazz Bass single-coils of the early 60s. Our Vintage Jazz Bass pickups stay true to the originals by capturing that warm tone with just the right amount of midrange. The neck model is full sounding and brings in a nice, rich bottom end without being boomy. It is wound Reverse Wound, Reverse Polarity (RWRP) so that it will hum-cancel when used together with the bridge pickup. The bridge model is smooth and punchy and delivers a brightness that is a perfect balance for the warmer neck model. These pickups are drop-in replacements for any American Standard Jazz Bass.

 

SJB-2 Hot Jazz Bass

Magnet Type: Alnico V

Neck DCR: 16.3k // Bridge DCR: 16.6k

SJB-2 Hot Jazz Bass with EQ chart

The Hot Jazz Bass pickups are a hot-rodded version of the classic Jazz Bass single-coil with increased warmth and growl in the bridge and more punch in the neck position. We used that classic jazz tone foundation and added some punch. These pickups are voiced a little lower than a traditional jazz, with a hotter output and fuller low-end than the original, giving you boom without too much top-end sizzle. The hand-ground Alnico 5 rod magnets and custom coil wind deliver a warmer, fatter Jazz Bass tone with a lower midrange growl. The more aggressive attack from these pickups make them great for all things Rock. The neck pickup is wound Reverse Wound, Reverse Polarity (RWRP) so that it will hum-cancel when used together with the bridge pickup. These pickups are drop-in replacements for any American Standard Jazz Bass.

 

SJB-3 Quarter Pound Jazz Bass

Magnet Type: Alnico V

Neck DCR: 13.7k // Bridge DCR: 13.7k

SJB-3 Quarter Pound Jazz Bass with EQ chart

The Quarter Pound Jazz Bass pickups have it all: hot output, great attack, and massive attitude. The 1/4” diameter poles and hot coil winding delivers a full, even response with great sustain and sonic complexity for a powerful tone suited to any genre. You get the higher output of an overwound coil, with the articulation and detailed high end of a vintage pickup. These high-powered pickups deliver all the attitude and punch you could ever want from a Jazz Bass. The neck position model is wound Reverse Wound, Reverse Polarity (RWRP) for hum-cancellation when used together with the bridge pickup. These pickups are drop-in replacements for any American Standard Jazz Bass (Mexican Standard Jazz Basses use two neck-sized pickups).

 

Apollo Jazz Bass

Magnet Type: Alnico V

Neck DCR: 8.79k // Bridge DCR: 9.25k

Apollo Jazz Bass with EQ chart

The Apollo Jazz Bass noiseless pickups are linear humbucking pickups that add punch and articulation missing from standard Jazz Bass pickups while minimizing noise. The Apollo Jazz Bass pickups have a traditional look, but the punchy and articulate tone they deliver is definitely unique to Seymour Duncan. These pickups utilize a linear humbucking design with two coils that sit next to each other under the cover. The way the coils are wired delivers hum-free performance while creating a sonic fatness and oomph that can often be missing from traditional single-coil Jazz Bass pickups and are just what you need to take your tone to the next level.

 

Classic Stack Jazz Bass

Magnet Type: Alnico V

Neck DCR: 11.9k // Bridge DCR: 21.0k

Classic Stack Jazz Bass with EQ chart

The Classic Stack Jazz Bass pickups are vintage-voiced and feature a stack design that is a noiseless drop-in replacement for any 4-string Fender American Standard Jazz Bass. We captured that great Jazz Bass tone from the definitive 60s era, in a noiseless pickup design. The Classic Stack Jazz Bass is one of our most popular pickups and with good reason. It has everything a Jazz Bass pickup should: presence without being bitter, smooth response, and a classic low-end bump. It captures the same great tone as our Vintage Jazz Bass single-coil, but without the annoying 60-cycle hum.

This bridge model is slightly overwound to make output balancing easier, for a perfect match with the Classic Stack Jazz Bass neck pickup. (NOTE: This bridge pickup is the slightly wider American-sized Jazz Bass version. If you have a Mexican Standard Jazz Bass, you will likely need to use two neck pickups, as the pickup slots are both neck-sized on that model.)

 

Hot Stack Jazz Bass

Magnet Type: Alnico V

Neck DCR: 18.6k // Bridge DCR: 25.0k

Hot Stack Jazz Bass with EQ chart

The Hot Stack Jazz Bass is a noiseless pickup that will deliver increased output and a fatter tone for any 4-string Fender American Standard Jazz Bass. We took the noiseless Classic Stack and ratcheted everything up another notch. For the Hot Stack Jazz Bass, we increased the output and thickened up the midrange response, which gives rock tones an added push without getting harsh. The slightly overwound bridge model pairs perfectly with the Hot Stack Jazz Bass neck pickup, for a powerful matched set. This is everything you love about the world-famous Jazz Bass tone, but with more oomph. (Note: The Hot Stack Jazz Bass is based on the slightly wider American-sized Jazz Bass bridge pickup. If you have a Mexican Standard Jazz Bass, you will likely need to use two neck pickups, as the pickup slots are both neck-sized on that model.)

 

Antiquity Jazz Bass

Magnet Type: Alnico II

Neck DCR: 8.70k // Bridge DCR: 8.70k

Antiquity Jazz Bass with EQ chart

Like an old photograph, the tone of the Antiquity Jazz Bass vintage Jazz Bass pickups can spark memories of days gone by and the sounds of another era. The Antiquity Jazz Bass is a faithful reproduction of the classic vintage Jazz Bass pickups that graced some of the greatest recordings of all time. The timeless warmth and midrange punch are all there, along with Reverse Wound, Reverse Polarity (RWRP) construction for hum-free operation when the bridge and neck are used in tandem. The original pickups made their mark where new eras and genres of music began, and we are proud to offer a classic bass tone that doesn’t bend with the trends. Hand made exclusively in our Custom Shop.

 

Antiquity II Jazz Bass

Magnet Type: Alnico V

Neck DCR: 8.10k // Bridge DCR: 8.90k

Antiquity II Jazz Bass with EQ chart

Period correct late-60s Jazz Bass pickups, the Antiquity II Jazz Bass Jive neck and bridge take your vintage thump and add a hint of point to the attack. Built around the next phase of vintage Jazz Bass pickups from the mid-60s, the Antiquity II for Jazz Bass are perfect for the player looking for the ability to keep their tone smooth and clear, yet smack with mid-range punch when needed. These are great recording pickups for that very reason. The neck is also wound Reverse Wound, Reverse Polarity (RWRP) for hum-free performance when paired with the bridge model. These vintage-correct pickups are hand made in our Custom Shop.

Hum-Canceling Tele Pickup Tone Profiles

Learn the tonal differences between a few of our most popular Hum-Canceling Telecaster Pickups

 

Vintage Stack Tele Set

Magnet Type: Alnico V

Neck DCR: 15.8k // Bridge DCR: 18.0k

hum-canceling vintage stack tele set with eq chart

Our Vintage Stack Tele pickups offer up unmistakable Telecaster sparkle and spank without the traditional hum. Eliminate that pesky hum while keeping all the chime and bite Telecaster players crave. The Vintage Rhythm Stack is a noiseless Tele neck pickup that delivers classic output and tone. The lows are full and warm, and the treble response has that classic spank. Access to rich chords and bubbly leads is maintained across the fretboard. The Vintage Lead Stack delivers classic lead tone with all of the bright Tele twang, but none of the traditional single-coil noise. The highs have a nice sparkle and the low end is snappy and articulate the way it should be. The output is straight up vintage, making this a great choice for players who need to eliminate the hum, but without sacrificing true Tele lead tone.

 

Hot Rails Tele Set

Magnet Type: Ceramic

Neck DCR: 10.9k // Bridge DCR: 16.0k

hum-canceling hot rails tele set with eq chart

The Hot Rails for Tele set will transform your Telecaster into a fire breathing beast with an unapologetic, mean sound that’s got the power of a set of full-sized high-output humbuckers. The lead pickup uses a powerful ceramic magnet, dual steel blades, and over-wound coils, which together provide a raw, heavy tone with amazing sustain. The rich midrange harmonics and tight low end give it a crunch that makes this pickup great for all types of rock and metal. The matching Hot Rails Tele Rhythm pickup fights back with full, warm humbucker tone in a size that drops right into your stock pickup slot. It delivers smooth tone for rhythm playing, and fat single notes for lead work.

 

Little 59 Tele Bridge

Magnet Type: Ceramic // Bridge DCR: 17.7k

hum-canceling little 59 tele with eq chart

The Little 59 for Tele is like putting a well-balanced, full-sized P.A.F. pickup into the bridge position of your Tele. This medium output, single-coil sized pickup has a nice, even bass and treble response with a slightly scooped midrange that gives it that classic, full-bodied humbucker sound. Great for everything from Country to Rock. The 4-conductor lead wire gives you access to parallel and split wiring options for added versatility. This pickup is a drop-in replacement for a Fender American Standard Telecaster sized pickup route. Pairs well with our Vintage Stack Tele neck pickup.

 

Hot Stack Tele Bridge

Magnet Type: Alnico V

Bridge DCR: 21.4k

hum-canceling hot stack tele with eq chart

Our overwound Hot Lead Stack for Telecaster with its blade magnet delivers a vintage-hot output with a nice even string balance and no dropouts when bending strings. The Alnico 5 blade magnet gives a tone has all the spank and twang of a traditional lead pickup but is just a little smoother and warmer overall. And since it’s one of our patented Stack pickups, it’s totally quiet. Perfect for players who want to add just a little more output and warmth without losing the classic Tele lead tone. Pair with our Vintage Rhythm Stack for a versatile setup.

Announcing the Eric Steckel Signature “Candy” Humbucker Set

We’re excited to announce the release of the new Eric Steckel Signature “Candy” Humbucker Set, available now from the Seymour Duncan Custom Shop.

Eric Steckel is a blues prodigy with a sonic signature all his own. Whether playing with John Mayall’s Bluesbreakers or garnering international accolades as a solo artist, he continues to shatter blues norms. His “Bluesmetal,” high-gain tone is as captivating and rich as any players that have gone before him. And he gets it with his Seymour Duncan Eric Steckel Signature “Candy” Humbucker Set.

The Steckel Signature Humbuckers are spot-on recreations of the Alnico III humbuckers found in “Candy,” the 1960 Les Paul behind Steckel’s signature Knaggs guitar. From boasting the exact pickup readings to matching relic’ing—by Knaggs Guitars’ own Joe Knaggs and Lukas Fronzoli—every detail of the originals are represented. The “Candy” Humbucker Set is also available in a variety of options, including single or 4-conductor wiring, covered or uncovered, aged or unaged, and more. So no matter what look you’re after, you’ll enjoy the same level of nuanced response that inspires Steckel every time he picks up his guitar.

Magnet Type: Alnico III

Neck Humbucker DC Resistance: 7.55k

Bridge Humbucker DC Resistance: 7.68k

 

Eric Steckel Signature “Candy” Humbucker Set

 

 

 

Eric Steckel Signature “Candy” Humbucker Set

 

Tele Single-Coil Tone Profiles

Learn the tonal differences between a few of our most popular Single-Coil Telecaster Pickups

 

STL-1b Vintage Broadcaster Tele Bridge

Magnet Type: Alnico V

Bridge DCR: 8.0k

Vintage broadcaster Tele Bridge image with eq graph

A faithful tribute to the 1950 original, our Vintage Broadcaster is the perfect choice for discerning players who demand something more from their Tele lead pickup. Our Broadcaster uses a special wind that best represents this pioneering era in Fender history. The Alnico 5 magnets with a slightly larger diameter of .197 and higher output coax biting treble and snarly mids for raucous riffs and stinging lead runs from any Telecaster. Pair with our Vintage Tele Rhythm for great vintage setup.

 

STL-1 Vintage ‘54 Tele Bridge

Magnet Type: Alnico V

Bridge DCR: 7.0k

Vintage '54 Tele Bridge image with eq graph

For Telecaster players seeking a straight forward approach to the bridge tone that helped define rock, blues, and country, we offer the Vintage ‘54 Tele Lead vintage-output Tele pickup. Its vintage correct construction and hand-ground Alnico 5 rod magnets with a raised D and G, coupled with a lower output wind, yield a bright, well-defined treble response that is perfectly suited to plucky lead work and fast-moving chords from Chicago to Nashville. Pair with our Vintage Tele Rhythm for great vintage sounding setup.

 

STR-1 Vintage Tele Rhythm

Magnet Type: Alnico V

Neck DCR: 7.6k

Vintage Tele Rhythm image with eq graph

Our Telecaster Vintage Rhythm vintage output Tele pickup was designed to provide a smooth open tone with warm lower mids and airy highs, just like the best Teles from the ‘50s. With its hand ground Alnico 5 rod magnets, this neck pickup will deliver big full sounding chords. When used in combination with the bridge pickup, you’ll get that famous hollow Tele sound. Warm enough for most types of rhythm playing, but percussive enough for chicken pickin’ as well.

 

Brad Paisley’s Signature La Brea Tele Set

Neck Magnet Type: Alnico II // Bridge Magnet Type: Alnico IV

Neck DCR: 7.55k // Bridge DCR: 7.44k

brad paisley's signature La Brea Tele set image with eq graph

La Brea is a vintage spec Telecaster set designed in collaboration with Brad Paisley, featuring smooth Alnico II rod magnets in the neck and focused Alnico IV rod magnets in the bridge—perfect for achieving Brad’s signature bite, snap, and twang! The bridge model features Alnico IV rod magnets, vintage-correct cloth push-back wire, vintage output of 7.44k, and classic grey forbon flatwork, giving you the wonderful open quality that you expect from a vintage pickup, but with the focused midrange that only an Alnico IV magnet can provide. The neck pickup uses Alnico II rod magnets alongside an output of 7.55k, and the same period-correct wire and flatwork to provide a smooth, thick neck tone. Together, these telecaster pickups deliver the snap and twang that Brad is known for, with a round top end and full but tight lows.

 

Alnico II Pro Tele Set

Magnet Type: Alnico II

Neck DCR: 8.0k // Bridge DCR: 6.6k

Alnico 2 pro tele set image with eq graph

These vintage-style Telecaster pickups use Alnico 2 rod magnets to provide a softer treble attack for players who want Telecaster lead tone without excess bite and classic Tele rhythm tone with a sweeter, smoother treble response. The Alnico II Pro Tele Lead uses a vintage coil wind, and sand-cast Alnico 2 rod magnets for a vintage Telecaster pickup sound and vibe, but with a smoky sweetness on the high end. You’ll still feel the Tele snap and twang, but with a nice, round warmth added in. Your pick attack will feel slightly mellower, and chords will have a spongy, bouncy quality. This pickup pairs perfectly with our Alnico II Pro Tele neck, which sports a deep drawn chrome-plated brass cover for a sweet, hollow tone that sounds great both clean and dirty.

 

Quarter Pound Tele Set

Magnet Type: Alnico V

Neck DCR: 11.75k // Bridge DCR: 16.95k

Quarter pound tele set image with eq graph

The Quarter Pound high output Telecaster pickups deliver humbucker-level punch and saturation in a true single-coil package. The Quarter Pound for Tele Rhythm’s custom overwound coil provides a powerful midrange that cuts through any mix without sounding bright or brash. This makes it a rhythm beast with huge sounding chords, and full, fat lead tones. The Quarter Pound Tele Lead is our highest output Telecaster single coil. Its special high output coil, with hand polished ¼” diameter Alnico 5 rod magnets, delivers a huge sound with an almost P90-like growl. Leads will jump out and sound fatter than ever, while chords will be rich with sparkly midrange harmonics.

 

Hot Tele Set

Magnet Type: Alnico V

Neck DCR: 9.9k // Bridge DCR: 16.2k

Hot telecaster single coil set image with eq graph

The Hot for Telecaster pickups deliver a bigger, fatter true single-coil tone with greater low-end power. If you were to begin with a vintage Tele neck pickup, wind it hotter, mellow the highs and enhance the midrange response, the result would be the Hot Tele Rhythm. The treble response is still articulate, but it is smoothed out by the more aggressive low end. Great for full sounding chords and sweet solo work. The Hot Tele Lead pickup uses flat, hand-ground Alnico 5 rod magnets and a special high output coil wind to give you enough midrange power to cut through like a humbucker. The absence of a steel bottom-plate gives you a fat, full punch in both the low and mid-range frequencies, yet it retains the muscular twang of a vintage style lead pickup. Great for Telecaster players who demand a more powerful lead tone, with extra presence and drive.

 

Five-Two Tele Set

Magnet Type: Alnico II/Alnico V

Neck DCR: 8.0k // Bridge DCR: 7.0k

five-two telecaster single coil set image with eq graph

The Five-Two Telecaster pickups put a unique spin on the classic Telecaster pickup sound with a special combination of Alnico 2 and 5 rod magnets positioned specifically to deliver tighter lows and smoother, sweeter highs. The Five-Two was originally designed for Nashville studio players who wanted a classic Telecaster pickup that could produce a softer treble attack on the high strings while retaining all of the articulate snap on the low strings. We came up with a mixture of Alnico 2 and Alnico 5 rod magnets that delivers the best of both worlds. The Alnico 2 rods positioned under the G, B, and E strings provide a sweetened treble response, while the Alnico 5 rods under the low E, A, and D strings contribute a bright, snappy tone with enhanced midrange and articulation. This combination results in an all-around well-balanced pickup with traditional output that delivers all the twang and pop of a great Tele with none of the “ice pick” treble. The Five-Two neck pickup is RWRP (reverse wind, reverse polarity), so when used with the bridge model you get sweet hum-free tone.

 

Jerry Donahue Signature Tele Lead

Magnet Type: Alnico II

Bridge DCR: 7.7k

Jerry Donahue Signature Telecaster single coil Lead image with eq graph

Tele master Jerry Donahue needed a classic Tele pickup to make his touring guitars sound like his prized ’52 Telecaster. The result is a warm lead pickup that uses Alnico 2 rod magnets and a special coil wind for increased sustainability and output. The raised D and G poles mirror the fretboard radius for nice even string response. Single notes are soft, sweet, and musical, while the low notes have just the right amount of articulate Tele snap to balance things out.

 

Antiquity Tele Set

Neck Magnet Type: Alnico V // Bridge Magnet Type: Alnico II

Neck DCR: 7.9k // Bridge DCR: 6.5k

Antiquity telecaster single coil set image with eq graph

Designed to deliver all the vibe and musicality of a vintage Telecaster pickup, Antiquity Telecaster pickups have that classic twangy ’50s Tele lead tone—custom aged for a smoother treble response—combined with a ’50s Tele rhythm pickup’s well-rounded low end and nice sweet treble response. The Antiquity Tele Lead will give you that early-’50s Tele tone, but with the high end sweetened by the custom-calibrated, hand-ground Alnico 2 rod magnets. What you get is the classic Tele twang and snap, but with a treble response that is bright but never piercing. The Antiquity Tele Rhythm is a faithful reproduction of an early-’50s Tele neck pickup. The bass response is full and round, and will add richness to your chords, while the specially calibrated hand-ground Alnico 5 rod magnets and custom coil winding give the top end a smoother, more musical attack. It’s great for big, bold rhythm playing, and percussive enough for classic country-style chicken pickin’, with a reverse wound/reverse polarity design for hum-canceling when used in combination with the Antiquity Tele Lead pickup.

 

Antiquity ‘55 Tele Set

Neck Magnet Type: Alnico V // Bridge Magnet Type: Alnico II

Neck DCR: 8.0k // Bridge DCR: 6.5k

Antiquity 55 telecaster single coil set image with eq graph

After early production of the flat-pole Telecaster lead pickup, in 1954 Fender began to manufacture pickups with raised D and G poles to provide a more even string response and output for those guitars with a 7.25″ radius fretboard. With the Antiquity Tele ‘55 you get the same bright, twangy tone as our flat-pole Antiquity Tele Lead but with a little more edge. The neck model’s bass response is full and round, and will add richness to your chords, while the specially calibrated hand-ground Alnico 5 rod magnets, and custom coil winding give the treble a smoother, more musical attack. It’s great for big, bold rhythm playing, and percussive enough for classic country-style chicken pickin’.

 

Antiquity II Tele Set

Magnet Type: Alnico V

Neck DCR: 7.9k // Bridge DCR: 6.6k

Antiquity 2 telecaster pickups set image with eq graph

These vintage Telecaster pickups are our tribute to the time-honored 1960s classics. The bridge model is bright and twangy with a slight softening of the treble response. Seymour wound the rhythm pickup as the perfect match for the unique picking style and intricate bends he used on his mid-’60s Tele. The Antiquity II Tele vintage Telecaster bridge pickup is built with specially calibrated, hand-ground Alnico 5 rod magnets, with the period-correct pole stagger. There is plenty of snap and bounce to the low strings, and the high strings give you that classic Tele twang, but with none of the dreaded “ice pick” harshness. It’s obviously great for country, but plenty of rockers rely on this pickup to work their magic. The Antiquity II Tele Rhythm pickup also uses hand-ground Alnico 5 rod magnets, as well as a special coil wind to deliver a clear, bright, and balanced Tele neck tone. There is plenty of warmth as well as crisp detail that makes this a great pickup for players who use a hybrid picking style or do lots of string bending. In fact, Seymour wound the rhythm pickup as the perfect match for the unique picking style and intricate bends he used on his own mid-’60s maple-neck Tele.

Please check your items carefully and confirm they are correct for color, position, etc. We are not able to accommodate order changes or cancellations once you have completed the check out process.

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