Single NZ$129 for NZ customers, if you’re overseas it’s GST free; $112.17
Set NZ$339 for NZ customers, if you’re overseas they’re GST free; $294.78
AlnicoV – Neck 6.73KOhms, 3.22H, Middle 6.73 KOhms, 3.22H, Bridge 7.12 KOhms, 3.51H.
I’ve wound a lot of Strat pickups since I started in 1995. I started off re-winding cheap pickups and then moved on to repairing old dead Fender pickups. Every experiment was written down in a notebook with tone comments. Back when I started there wasn’t much information available so there was a lot of reverse engineering and a lot of trying things out. That learning time was invaluable to developing instinct for how to change the sound of a pickup. I’ve still got the note book and I’m still adding to it.
In, I think, 2014 a customer of mine approached me wanting a set of Strat pickups. He’s a great blues player and had recently moved from using a Les Paul to a Strat. He described the sound he was after and it seemed to me it was the same as I’d been after myself so I put some time in to designing a pickup set for him.
It needed to be most definitely a Strat sound – I hear plenty of Strat replacement pickups that are fine but just not Strat-ish. Secondly I wanted a bit more power, just a bit, enough to make a good old valve amp clip a bit easier than a “vintage” pickup would. And there needed to be dynamics – tickle it and it’s clean, dig in and it grits up. As I was making the original version of this set for a player used to humbuckers I wanted to reduce the ”ping” of the attack. I’ve added steel base plated as standard to this set. This changes the shape of the magnetic field, broadening the harmonic window. They add a wee bit of power, a wee bit of bass and reduce that pesky ping.
The neck pickup needed to have “that” Strat sound with fullness and clarity. It’s the ‘go to’ sound for most Strat players. The middle pickup needed to have some ‘quack’ to it with its own distinctive personality. The bridge pickup shouldn’t be too thin, it needs to have plenty of highs but not too much of that ‘ping’ or it’s almost useless. Then there are the other sounds – positions 2 and 4, mistakenly referred to as ‘out of phase’. They are really just 2 pickups in parallel. It’s hard to predict what those sounds will be, there was a lot of experimenting.
So I consulted my old note book and wound a lot of pickups and fitted them in a few test Strats. I’ve been lucky enough to have some great players as repair customers and so I was able to get quite a few opinions.
Eventually I was happy and I fitted a set for my ex Les Paul customer and he loved them straight away. A few months later he contacted me to say he was still loving them. I love it when players do that.
I’ve fitted resulting sets into a lot of instruments and it turns out that not only blues players like them, they seem to work for everyone. I shouldn’t be surprised, the Stratocaster is such a versatile guitar, of course they do.
Further experiments have shown they balance really well as part of a HSS set with either my Blue Sky or Cloud Nine humbuckers in the bridge position.
I’m lucky enough to hear a lot of bird song around my home. One day it occurred to me that the difference between the ”vintage ” Strat pickup I make and this pickup is like the difference in song between the Bellbird and the Tui. This hot set is the Tui; beautiful and clear but also just a tad dirty sounding. Versatile and aggressive, capable of performing well in just about any genre. So that’s how the names came about. If you’re not familiar with NZ birdsong have a listen to the links below, I hope you’ll agree.
Here’s a Tui:
And a Bellbird:
Here are some sound samples recorded clean through a Fender Princeton Reverb-Amp. The overdrive sounds are using an Electroharmonix Soul Food. The guitar is an Alder body Strat with rosewood fretboard strung with D’Addario 10-52’s. All of them with the same guitar, same amp, same settings, no reverb or eq added later.
Here’s some more Tui goodness, this time in a HSS configuration with a Cloud Nine humbucker.