The ‘Pandora’ 3 way Esquire pickup took its inspiration from my desire to fix a problem.
I’ve never been happy with the switching options given on the Fender Esquire so I came up with a plan.
Rather than switch in some capacitors or switch out parts of the circuit and create sounds you can make anyway using the tone control, I thought it would be better to have a tapped pickup so the player could generate usable, ‘real’ tones.
It’s simply a case of ‘tapping’ into the winding at different points to obtain different strength pickups from the one coil.
This essentially gives the player 3 different pickups in one.
So in the middle position it’s an Esquire pickup, one way it’s less than that (I’m calling it ‘Gold Foil’ though it isn’t). The other way it’s more – my Cruel Mistress pickup. This gives 3 distinct tones going from jangly rhythm to fat lead without losing the distinctive Esquire/Telecaster character.
It makes use of the normal 3 way switch to achieve this.
Then, of course, I realised that the main use for this wouldn’t be in Fender Esquires but in single pickup builds. The single pickup movement is getting bigger and this is the perfect tool to give those guitars extra versatility while still using a single Tele style bridge pickup.
So the experiments and trials began, there’s a lot to test with this sort of pickup.
The ‘Cruel Mistress’ part was easy, it’s my best selling Telecaster pickup set. The middle position is based on a ’61 Esquire I once had the good fortune of getting to know. I was going for that clear, ringing bridge pickup tone we all know and love, a sound that stands out from a mix. I was so happy with how this pickup turned out that I have since made a Telecaster set from it – The Dutchess. The third position I’m calling ‘Gold Foil’ but I could have equally called it ‘Lipstick’. It’s a tone in the character of that style of pickup though technically is neither.
I sat on the design for quite a while (about a year) thinking that although I really liked it the idea might be a bit complicated.
Then on a whim I just posted on Instagram about it and received a huge response. It seemed players and builders liked the idea. So here it is, the ‘Pandora’ 3 way Esquire.
To get the most out of it I recommend this wiring diagram:
The difference is that 1Meg pot (it’s usually 250KOhms) and those resistors. This enables each of the 3 pickup settings to ‘see’ the volume pot as a different value. It just emphasises the good points of each setting, it’s subtle but it does make a difference.
I like to support my customers as much as I can so here is my drawing of Gibson Modern Wiring – Les Paul.
The modern wiring is used in most Les Pauls and it’s great for players wanting to roll off some treble when the guitar volume is turned down.
The difference between the modern and 50’s wiring is in how the tone capacitor is connected to the volume pot. It’s a very simple modification if you have 50’s wiring and are curious.
Modern Wiring – Les Paul
I’ve linked below to my 50’s wiring diagram so you can see the difference.
Another thing to remember is that you can actually use both wiring methods on the same guitar. It is possible, for instance, to use 50’s wiring for the neck pickup and modern for the bridge. That way the neck pickup would retain some clarity as you lower the volume. The bridge pickup (with the modern wiring) would loose a bit of high end with the volume down a bit and therefor smoothing off the treble. It just depends on what you’re trying to get out of your Les Paul. Then there’s capacitor choice, pot value, coiltap or series/parallel, or even out of phase – the list goes on. I will be writing more blogs to cover all that at some point.
It’s always important to remember that here is no right or wrong, despite what you may read on social media. It’s all just a matter of personal taste. These wiring differences are all subtle too, the place to start is with great pickups.
I like to support my customers as much as I can so here is my drawing of Gibson 50’s wiring. Hopefully it will help you fit your new pickups.
The 50’s wiring is great for players wanting to retain some treble when the guitar volume is turned down.
The difference between the 50’s and modern wiring is in how the tone capacitor is connected to the volume pot. It’s a very simple modification if you have modern wiring and are curious.
There really is nothing wrong with modern wiring, having your tone darken as you turn down the volume can be very useful in some settings. So try both and see which suits you best.
It seems that all the cool kids and ‘experts’ on the internet are telling us it has to be 50’s or nothing but for anyone with a soldering iron it’s an easy mod and completely reversible so experiment for yourself. You may find you like 50’s for the neck pickup and modern for the bridge.
Inspired by the early Gibson PAF pickups the Integrity-vintage humbucker give the classic full, balanced tone we all love. Asymmetric coils give an open sounding mid range and the Alnico II magnet gives clarity and balance. A rich bottom end, characterful mids and sweet treble make this a pickup set for every situation – Jazz, Blues, Rock, it does it all.
Every pickup manufacturer makes a “Vintage” humbucker based on the Gibson PAF, of course they do – old Gibsons sound so good.
So how come they all sound so different? Well, the simple answer is that PAF’s were all different. I’ve been a full time luthier since 1995, whenever I come across an old humbucker I test the ohms and the gause and have a good listen. They’re all different. My conclusion is that pickup manufacturers have taken the PAF they like and based their own version on that. Old PAF’s vary so much so modern ones do as well.
I like my own version to be clear sounding, have obvious string separation and definition and to keep clarity no matter how much gain. The mids must be strong and woody, this is not a “scooped” pickup. The clean sound needs to be chimey and clear with no mush; through a valve amp I want clarity. When I tickle it I want clean and vocal sounding when it clips. The bridge pickup needs to be well behaved with high gain and clear with enough cut through so the drummer knows you’re there. The neck smooth, clear and articulate. Warm but with none of the boom you get with a more powerful pickup.
I don’t want much do I.
My “Integrity”-vintage humbucker has an Alnico II magnet and I’ve used plain enamel insulated magnet wire with asymmetric coils to open up the mids. The very first pickup I ever made back in 1995 was a PAF style and I’ve been tweaking the recipe ever since. Like all my pickups I’ve used a number of test pilot players in its development as well as gigging it myself. It wasn’t until around 2015 that I settled on this particular design. I did a gig with a set in a PRS SE series only last weekend – sounded great to me.
The full and honest sound of the Integrity-vintage humbucker along with it’s timeless tone inspired the name “Integrity”. https://mrglynspickups.com/
I like to support my customers any way I can so here’s a Telecaster Wiring Diagram for a standard Telecaster to help you fit your set of Mr Glyns Pickups.
Tele Wiring Diagram
I’ve draws this diagram using the colour code for Mr Glyn’s Pickups.
I use shielded cable for my Telecaster pickups so not only do they hum less but by swapping the red and white wires it’s easy to reverse their phase. That’s really useful if you want to use a 4 way switch to combine the two pickups in series as a humbucker.
This is the standard Telecaster Wiring Diagram – there are plenty of modifications you could make to change things a little.
Changing the capacitor to one of a lower value will lessen the effect of using the tone control. A .022 microfarad cap, for instance, will make the tone control more subtle to use but it’s not great if you like using the tone as a wah wah.
My name is Glyn Evans. I have been a full time pickup winder and luthier since 1995. I wound my first pickup under the guidance of legendary guitar repairer Ted Lee while studying guitar making/repair under him at City of Leeds College of Music in the North of England. There’s something about the physics that really appealed to me. I went straight home, built my own winding machine, bought some wire and started experimenting. In those pre-internet days there just wasn’t any information available on how to make good pickups. I made pickup after pickup, I wound and I listened. I made notes of every variation both good and bad so I could learn what was happening. Looking back I think that time was invaluable for developing an intuition for making pickups. Whenever I came across a result I didn’t understand I swatted up on the physics; there’s a lot to learn. I wrote all the experiments down in a notebook, I still have the notebook and I’m still adding to it. I love hearing my pickups played live or on recordings; it feels good to have played a very small part in that sound.
My day to day work has always been in guitar repair so I’ve been privileged to be able to study first hand some of the great vintage (and modern) pickups. I have re-wound and repaired countless faulty pickups to either restore them to their original state or to improve them. This is how you learn and I think I will always be learning.
In 2012 I had the idea for my own range of pickups. In 2020 MrGlyn’s Pickups website went live. I’ve been lucky enough to know many professional players who’ve given their time and expertise to help me. Every pickup design I make has been tested both by me and some of these “test pilots”. They’ve been in and out of numerous guitars, recorded, gigged, analysed and altered more times than I can remember. I am really happy with the results, I hope you will be too.
My day to day work has always been in guitar repair so I’ve been privileged to be able to study first hand some of the great vintage (and modern) pickups. I have re-wound and repaired countless faulty pickups to either restore them to their original state or to improve them. This is how you learn and I think I will always be learning.
In 2012 I had the idea for my own range of pickups. In 2020 MrGlyn’s Pickups website went live.
I’ve been lucky enough to know many professional players who’ve given their time and expertise to help me. Every pickup design I make has been tested both by me and some of these “test pilots”. They’ve been in and out of numerous guitars, recorded, gigged, analysed and altered more times than I can remember.
I am really happy with the results, I hope you will be too.
There are numerous ways to wire a humbucker but for me the most versatile is with a Series Parallel switch.
So what is series/parallel all about?
The standard way of wiring a humbucker is in series. PAF’s are wired this way and it gives the traditional full sound with plenty of mids and bottom end. Its simply one coil following the other, the end of one coil connected to the beginning of the next.
Wiring a humbucker in parallel is quite a different sound. It’s much more similar to a single coil sound but the pickups is still hum cancelling. There is a drop in volume though not as much as with a coil tap (switching one coil off).
This series parallel humbucker wiring diagram shows how to do it with a push/pull switch. With the switch down and the humbucker is wired in series (normal), pull it up and it’s in parallel. The wiring colour code is for Mr Glyn’s Pickups ( I use the same colours as Seymour Duncan).
I’m not sure why series/parallel isn’t more popular. Maybe it’s a little harder to understand than coil tapping, maybe it’s because its a little more complicated to wire up. I certainly prefer it.
I’m going to be posting a few more wiring diagrams in the near future. Keep an eye on this blog or my social media:
Mr Glyns pickups are individually made near Auckland, New Zealand. From low powered Vintage to powerful ROCK pickups. Designed combining experience, intuition and science. Road-tested by players on stage and in studios. Packaged with care for you and the planet. Food for amplifiers.
Mr Glyns Pickups is a small business which means I can communicate with my customers one to one. I’m always happy to discuss your requirements, answer questions and give advice. I want to know about the guitars my pickups are going in, send me pictures, send me recordings.
You may have noticed that when you turn the volume control down on an electric guitar it not only gets quieter but also more muddy. As the volume goes down so does the clarity. This can, of course, be useful. Quite often you’ll want to be able to take some sparkle off the sound of single coil pickups. But with humbuckers I think they just get too wooly and undefined as the volume goes down. So here’s the solution, it’s cheap and simple, easy to fit and makes humbuckers so much more versatile without taking anything away from the full volume sound. I’m talking about treble bleed capacitors. For our purposes all you need to know about capacitors (caps for short) is they allow treble frequencies to pass through them but block bass. The frequencies involved depend on the value of the cap. The volume control (potentiometer or pot) on an electric guitar looks like this:
It’s a fairly simple device, As you turn the volume down the resistance between the ‘in’ and ‘out’ leg increases. This makes it increasingly harder for the signal from your pickups to get through. Less signal means quieter. Here’s the same thing with our cunning treble bleed:
This one has the ‘Orange Drop’ treble bleed which has a resistor added to it. This resistor softens the treble as you turn down making the effect more subtle. My preference is for the cap on its own. So as you turn down and the the resistance increases there’s an alternative path for the signal – through the cap. But the cap will only let treble through. As you turn the volume down you’re also turning the bass down. As a result you have a usable single coil (ish) sound when the volume is low. If you’re overdriving an amp the result is cleaning your sound up. So with a high gain amp and your volume at about 1/4 you get a bluesy breaking up sound , crank the volume on the guitar and you’re rocking. Here’s a picture of me rocking.
As you can see, it’s very effective. On my guitars I prefer a simple treble bleed (0.001uf), no coil taps or series parallel. Just the volume control.
A brief explanation of how treble bleed circuits work and why you might need one
With some help from Sammy the dog
Here’s a more wordy explanation of a Treble Bleed:
You may have noticed that when you turn the volume control down on an electric guitar it not only gets quieter but also more muddy. As the volume goes down so does the clarity. This can, of course, be useful. Quite often you’ll want to be able to take some sparkle off the sound of single coil pickups. But with humbuckers I think they just get too wooly and undefined as the volume goes down. So here’s the solution, it’s cheap and simple, easy to fit and makes humbuckers so much more versatile without taking anything away from the full volume sound. I’m talking about treble bleed capacitors. For our purposes all you need to know about capacitors (caps for short) is they allow treble frequencies to pass through them but block bass. The frequencies involved depend on the value of the cap. The volume control (potentiometer or pot) on an electric guitar looks like this:
It’s a fairly simple device, As you turn the volume down the resistance between the ‘in’ and ‘out’ leg increases. This makes it increasingly harder for the signal from your pickups to get through. Less signal means quieter. Here’s the same thing with our cunning treble bleed:
This one has the ‘Orange Drop’ treble bleed which has a resistor added to it. This resistor softens the treble as you turn down making the effect more subtle. My preference is for the cap on its own. So as you turn down and the the resistance increases there’s an alternative path for the signal – through the cap. But the cap will only let treble through. As you turn the volume down you’re also turning the bass down. As a result you have a usable single coil (ish) sound when the volume is low. If you’re overdriving an amp the result is cleaning your sound up. So with a high gain amp and your volume at about 1/4 you get a bluesy breaking up sound , crank the volume on the guitar and you’re rocking. Here’s a picture of me rocking.
