Voila, les Lollar ayant des aimants A5 "degaussed", le niveau ne doit pas être très différent.des BK en dessous de 8K s'ils ont des aimants A5 normaux.
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P-90s are such a different kettle of fish. What are some of the nuances with that design?
That's the same thing, regarding coil shape, and of course it's a much wider coil. You've got people that are selling a "P-90" that fits in a humbucker. Well, if you notice on a humbucker there's only actually a quarter-inch space between the end of the pole piece and the end of the pickup. It actually needs to be about a half inch [on a P-90], so they take the coil and they make it taller, like a Strat pickup, so it'll fit in there, and it changes the whole nature of the pickup.
And those P-90s are long pickups, coil wise.
Way longer. You can take any pickups and make it shorter, or wider, and you'll hear a big difference in tone. That's one thing about the P-90, the shape of the coil. Then another is the shape of the magnetic field, because it's using two magnets underneath. Two magnets also make a different magnetism in the pole pieces than one magnet; two magnets are a little stronger. But you get less magnetism at the top of the pole piece with a pickup like that than you do with a Fender, so you can raise that pickup up really close to the strings and it's not going to pull the strings out of tune.
Yeah, I've heard people talk about not cranking the P-90 pole pieces up, but raising up the whole pickup—the entire coil—when you want to increase the power.
Yeah, it works better. One thing I make is a shim for a dog-ear P-90 to raise it up, and it's exactly the same size as the dog-ear cover so you don't see it so much. That's important, to adjust the pickup right.
The other qualities of the P-90 are what the pole piece material is made of, the size and the shape of the pole piece—whether it's got a round head or a flat head screw—and the type of material on the plate underneath, whether it's nickel silver or brass. Anything that's close to the coil, or the magnet, if it's, metal it's going to have some effect.
Your P-90 replacements are highly regarded.
I have been making P-90's since I started making pickups 30 years ago and I watched them go from a pickup no one really wanted to one of the more popular designs around. I've probably made more P-90s than anything else. I make a variety of them. I make an exact copy of a set of P-90s out of a '56 [Gibson Les Paul] Goldtop, and they don't sound like what people expect from P-90s.
In what way are they different?
They're lower output, they're a real soft attack, they're brighter, they don't have as much midrange, and they're not snarly and gritty. They're sweeter and brighter, with less attack.
Interesting. When I've played vintage guitars from that era that I have really liked, that's the sound that has appealed to me. But very often people, when they think P-90, think of the gritty, aggressive sound with the midrange hump.
That's what they think '50s P-90s sound like, but it's not really the case. Same thing with humbuckers. The old humbuckers in dot neck ES-335s in particular, I've had quite a few of those in and most of them are around 7.2k [ohms, resistance].
What kind of readings are you expecting for genuine '50s P-90s?
I've seen them anywhere from 6.5k to 8.2k. It depends, they vary a lot. If I had to pick a number I'd put them around 7.2k. The one that I sell the most of is around 8.2k, it's a little grittier, a little snarlier. It's the one on my web site. The more authentic '50s style version isn't actually listed, but I make it.
A lot of it depends on the amp, too. If you're playing a Fender Twin, you wouldn't want a bright pickups. But if you're playing a Fender tweed champ, you wouldn't want my stock P-90 pickup, it would just be too much for it.
