Learning how to safely use a router is the key to this easy DIY project that you can do in an afternoon, yielding a different menu of tones.
The barrier between “I'll do it myself” and “my repair person will deal with this” often seems to lie at the point where power tools get involved—specifically one: the dreaded router. Since I enjoy encouraging those so inclined to challenge themselves, I believe that the router is a tool to be respected and not feared, and that, yes, you can actually do the pickup replacement we’re discussing here yourself.
Replacing a Bridge P-90 Pickup With a Humbucker in Epiphone Les Paul Special — Routing 101 | DIY
I’ll demonstrate by converting part of a new guitar into sawdust and noise, then transforming the instrument by installing a totally new pickup in the bridge position—so we can retain the natural flavor of the P-90 in the neck, but goose up the bridge position with a humbucker. And to make things even easier, there is a video of me doing this mod online at premierguitar.com, which I highly recommend watching. In it, I explain every step in great detail.
The guitar is a brand-new Epiphone Les Paul Special finished in glossy TV yellow—in my opinion, the best furniture finish ever commandeered for broadcast purposes—loaded with two P-90 pickups, black plastics, and chrome hardware. The pickup going into this guitar is a Parsons Street Humbucker by StewMac. Designed to emulate a popular variation of the traditional PAF-style humbucker, this medium-output pickup should retain plenty of treble clarity. It will mount to the guitar with a classic black humbucker mounting ring.
What You’ll Need for This Mod
Besides a guitar, a small bandsaw for cutting the pickguard, and painter’s tape, you can pick up everything you need for this modification project online at StewMac.com.
• Bosch Colt 1 HP Variable-Speed Palm Router
• Bosch Plunge Base for Palm Router
• Parsons Street Humbucker
• Fisch Wave Cutter Bit 5/8"
• Amana Tool Carbide Tipper Router Bit 1/4"
• Humbucker Pickup Routing Template
This is what our project guitar looked like before it hit the workbench.
Since we are on the topic of pickups, I’d like to note that the acronym PAF does not define a specific sound or a strict recipe for pickup making. It is simply a description of a design—Patent Applied For. Both P-90s and PAF-style humbuckers actually have a lot in common. If you examine their construction, it seems the goal for PAFs wasn’t necessarily a different-sounding pickup, just one that didn’t hum like its single-coil predecessors.
The OEM pickups in this Epiphone Les Paul Special are quick-connect, which makes for easy disassembling, but will require trimming the connectors and soldering as part of the humbucker’s installation.
As a result, a lot of the early Gibson ’buckers and P-90s have comparable output and not entirely dissimilar frequency response, depending on their magnets and how the coils were wound. These factors varied quite a bit for the first few years of production and produced some very different sounding pickups.
But, back to the bench, focusing on the task at hand.
Our author holds a StewMac humbucker-sized routing template over the pickup to be replaced.
This guitar is a good candidate for this kind of pickup swap for a few reasons: One, we only have to modify an existing pickup cavity; two, a medium-output bridge humbucker such as our Parsons Street should complement the sound of the neck P-90 nicely; and three, while the modification will be obvious, this new pickup will also complement the classic looks of the guitar.
The pickups are mounted to the body via two easy-to-remove screws.
You may be here looking for inspiration as much as information—thinking about trying this modification yourself, but still not sure. Although it’s ultimately your decision, I can at least equip you with some arguments for and against.
Try the mod if:
• You are curious about how different pickups sound and you recognize the benefit of using the same guitar as a control in your experiment.
• You love everything about your guitar, but want a little more punch from the bridge pickup. This is common with single-coil pickers, Telecaster aficionados excluded.
• You might deem the guitar cooler this way. After all, it’s an uncommon but highly effective treatment for this model—which could make you want to play it more.
Don’t try this mod if:
• You have a more valuable, historic, or rare instrument.
• The resale value of the guitar matters to you.
• It’s not your guitar (LOL).
• Safety and preparation are not priorities.
Don’t Fear the Router
The part of this modification that scares most people off is working with a router. It’s an intimidating device and fear of it is understandable, considering what it can do to a guitar, or fingers, but learning about how it works and how to use it should, hopefully, alleviate your fear.
A router is a powered chisel that does what a standard chisel can do, good or bad … only faster. Positive or negative results depend entirely on the operator, just like any hand tool. And good results come from developing good technique and practice, which is one of the skills this mod aims at developing.
There is a wealth of information available about technique and a limit to the length of this article, so I’m only going to focus on a few basic tips that will help you get started safely:
• Only power the router on or off when the bit is able to turn freely, not in contact with any material.
• Do not move the router while the bit is accelerating or decelerating.
• Multiple shallow cuts are better than one deep cut.
• Pay attention to the router bit’s direction of rotation when planning the direction of the cut.
• Use PPE—at the very least, safety glasses.
Now we can get started with the project. However, there are several things to do before we can begin making sawdust and noise.
If you’re just too excited about firing up the router and can’t wait, I understand, but please read through these steps first. Afterwards, feel free to practice some small shallow cuts on the edges of scrap wood before jumping into the project, using large enough pieces that can be secured to your work surface. This will give you a good idea of how the router feels and sounds when making a cut.
Step 1: First, all electronics and hardware should be removed from the guitar, to make sure we have plenty of room to operate the router without any obstacles. Take photos and draw diagrams now if you’re unfamiliar with guitar wiring, since you will probably have to disconnect the pickups and switch wires, and will definitely be connecting the new pickup. [Marshall provides instructions on this step in the video companion to this story on premierguitar.com, and StewMac has detailed wiring instructions on its website.]
Note that on this guitar, although the pickup selector switch is not in the way, I suggest removing the switch to keep the wires away from the router bit.
Step 2: Next, make sure the new pickup fits inside the template for the new pickup cavity. Make sure you have enough clearance to move the pickup through the template. It shouldn’t catch or rub on any part of the template.
Line up the template on the guitar body to determine where the new cavity will be. There are several techniques you could use here. Some might locate and mark the guitar’s center line, then line up the template that way, but since we are modifying an existing cavity we know is more or less centered, I suggest using that cavity as a guide and eyeballing it. Carefully.
Since the StewMac template has a center line and other measures on its face, it’s easy to position over the cavity for the OEM pickup and decide which of its zones need routing.
Step 3: Now that you know where the template goes, attach the template to the guitar. I prefer using rolled up painter’s tape on the bottom side of the template because it holds fairly well (as long as you don’t use too much force with the router), it’s easy to remove, and relatively safe for modern finishes. Stronger double-sided adhesives work well but run the risk of damaging either the guitar or the template on removal.
After taping the template in place, Marshall uses the router bit to trace the path he’ll use, and to gauge the depth of the pickup cavity versus the location of the bit’s bearing.
Step 4: The template determines the shape of the new cavity, but the router itself determines the depth of the cut. Start by setting the depth so that the tip of the router bit is just barely touching the bottom of the cavity when the router is sitting on the template. Once the cut is made, we can double-check to make sure this depth works.
With the template secured and the depth of cut adjusted, I suggest trying a “dry run” of the cut to make sure the router moves freely around the template. Keep in mind the bit’s direction of rotation and plan moves that allow the bit to cut into the wood—but don’t do it yet. Just outline your moves. Make sure that the bearing on top of the router bit can freely follow the template, too. Setting the depth too shallow risks cutting your template, ruining both it and your guitar.
This seems like an excessive amount of preparation, but trust me, an hour of planning can prevent a minute-long job from destroying your guitar.
It’s almost time for the fun part. Don’t turn the router on yet. Put on your safety glasses and consider using ear protection if you are sensitive to high-pitched, loud sounds. This would also be a good time to make sure you have a shop vacuum handy, as you are about to make quite a mess.
Step 5: Now, it’s time to actually make the cut. Tilt the router slightly so that the bit is completely free before turning the router on. Keep in mind that the router should not be moved while the bit is accelerating or decelerating, so don’t make any cuts until the router is at full speed.
Once it’s at full speed, make the cut as practiced earlier. Take several shallow passes instead of trying to remove all the wood at once. There’s no need to force the router, you will hear and feel when the bit is cutting. Too much force may cause your template to move and ruin your cut, wreck the router bit, or potentially hurt you. And since the router spins the bit in a specific direction, be sure the cutting edge of the router is digging into the wood and that you move the router in the direction that puts the blade edge of the bit forward.
Now, you can turn the router off, but remember not to move it until the bit has completely stopped rotating. Check that the template has not been damaged, that the cut matches the template, and the pickup fits neatly inside.
The sawdust flies as Marshall uses the router to slowly make gentle, shallow cuts, eventually reaching the cavity size required for the Parsons Street Humbucker.
Step 6: With this specific type of pickup, it turns out that we do need to make two slightly deeper cuts to accommodate the mounting screws and “ears” of the pickup base. You can do this by setting the bit to cut just a little deeper—in our case about 3/16" deeper—and cut only the areas around the pickup mounting screws. You could also do this with a hand drill or a drill press and a large spiral or Forstner bit, but I prefer the cleaner results from the router.
Checking the final cut to be sure there are no issues like snags or protrusions that would interfere with the fit of the pickup.
Step 7: Now, the new bridge pickup should fit. Test it by mounting the pickup in its ring and placing this assembly on the guitar. The mounting ring should sit on top of the guitar without having to force it down. If everything fits, go ahead and rewire and reassemble the guitar, then set it up to your liking. [We have a video at premierguitar.com called DIY: Easy 4-Step Guitar Setup.]
After placing the ring around the pickup, Marshall drops the humbucker and ring into place to test the fit. (As it turned out, a little bit of additional routing was required for the bottom of the cavity, to provide space for the humbucker’s left-side dog-ear mount.)
Step 8: On this Les Paul Special, since I’ve replaced the bridge P-90 with a bigger and more squared-off pickup mounting ring, the pickguard will have to be modified slightly to fit. I did this by tracing the pickguard onto a piece of paper, taping the tracing to the guitar, then marking the outline of the new pickup mounting ring. Now, I can use the tracing as a template and cut away the parts of the pickguard that I don’t need. I used a small bandsaw blade to cut away most of the material and slowly fine-tuned the edges with files and a small scraper until it fit.
Here’s the paper template Marshall used to trace the new pickguard configuration required to accommodate the Parsons Street Humbucker. He then placed it atop the actual pickguard to make the cut.
I like to start with my bridge pickup very close to the strings, somewhere around 3/32" away from the treble strings and balancing the bass side of the pickup by ear. After that, I like to set the height of the neck pickup just by comparing the sound of each pickup, again, making sure that the output of each pickup is balanced from the bass side to the treble side.
To my ears, the humbucker we used in this guitar works very well paired with the stock P-90 in the neck position. It’s a medium output pickup, so it does have a bit more punch than the P-90 but doesn’t overpower it. Higher output humbuckers can roll off a bit of treble, depending on how they’re made, but this pickup has plenty of brightness for me. Both pickups together have abundant chime and sparkle. I really like this sound!
The proof is in the playing: Marshall tries out the Epiphone Les Paul Special’s new, combined humbucker-and-P-90 sound.
And on top of all that, I think this guitar looks really cool now as well. To me, that’s worth an afternoon’s work.
Learning to use a router is a great introduction to serious guitar modifications. It can be intimidating, but once you learn the basics, it opens up so many possibilities for modifications and repairs. Embrace the router!
Shop DIY tools and Supplies for your next guitar project: https://stewmac.sjv.io/qnPnag
- 10 Humbucker-Sized P-90s You Should Try ›
- Mod Garage: The Infamous Telecaster Neck Pickup ›
- Will Ray's Bottom Feeder: 2001 Epiphone Firebird VII ›
On this Wong Notes, the legendary Doobie Brother, Steely Dan member, and session weapon talks the science of music and how to defuse conflict—whether on the world stage or in the sound booth.
“Skunk” Baxter has had an interesting career. The Washington, D.C.-born musician was one of Steely Dan’s founding members in the early 1970s, and played on some of their most iconic numbers, like Can’t Buy a Thrill’s’ “Reelin’ in the Years” and “Do It Again,” or Pretzel Logic’s “Rikki Don’t Lose That Number.” Then, he moved on to join the Doobie Brothers, from roughly 1974 to 1979, where he fatefully invited Michael McDonald into the band. After that stint, he became a go-to session player for artists like Rod Stewart, Joni Mitchell, Dolly Parton, and Donna Summer, and a touring performer for Elton John and Linda Ronstadt, among others.
That was just the beginning. Baxter’s interest and background in electronics, science, and recording technology gained him a position in the U.S. defense industry. Turns out, a lot of digital music gear shared similar principles with emergent defense tech. “Basically, a radar is just an electric guitar on steroids,” says Baxter, noting the same four fundamental forces at work over everything in our universe.
Wong and Baxter trades notes on how to navigate studio sessions (“Just shut the hell up,” offers Baxter), early conversions of pitch into digital signals, and how Baxter cut his solo on Donna Summer’s “Hot Stuff” on a $25 guitar. And can mediating between artists and producers feel like high-stakes hostage negotiations? Sometimes. Tune in.
Wong Notes is presented by DistroKid.
Use this link for 30% off your first year.
Featuring presets by Jack White, this pedal is designed to offer intuitive control, precise filtering, and flexible expression pedal integration.
Eventide, in collaboration with Third Man Hardware announces Knife Drop, a commanding new effects pedal that merges aggressive octave fuzz with earth-shaking analog synth tones.
Born from the collaborative vision of two pioneering forces in music technology, Knife Drop opens a new chapter in effects processing. The pedal combines Eventide’s decades of digital audio mastery with Third Man Hardware’s innovative vision, resulting in a product that’s as intuitive as it is deep, as fresh as it is familiar.
"The Third Man crew have amazing product design instincts and we learned so much throughout our collaboration. It didn't feel like work, it felt like Rock 'n Roll.” —Russell Wedelich, Eventide Audio CTO
"Collaborating with Eventide on the Knife Drop has been an inspiring and exciting experience that expanded into some amazing sonic possibilities. We're so excited to get the Knife Drop into people's hands, to make their own sounds and feel the same excitement we had." — Dan Mancini, Third Man Hardware
Core Features:
- Rich blend of octave fuzz and analog synth capabilities
- Dual octave control with dedicated footswitch
- Precise filtering options with pre/post distortion routing
- Intuitive preset system with instant recall
- Stereo I/O with switchable guitar/line level inputs
- Flexible expression pedal integration for dynamic control
Intuitive Control
The Synth Mix knob allows players to blend between raw guitar signals and bold synthesized tones, while the Drive section delivers everything from a subtle boost to intense, biting distortion. The expressive filter section includes responsive envelope control, adjustable resonance, and switchable routing, putting total tonal flexibility firmly in the user’s hands.
Knife Drop features an LED ladder display for precise preset navigation and a secondary function layer that unveils additional sonic territory. The dual I/O configuration supports both mono and stereo operation, while the switchable input accommodates various signal levels for versatile applications, whether onstage or in the studio.
Knife Drop will be available for purchase on October 29, 2024, in the United States through Third Man Records’ website and internationally through Eventide's authorized distributors, with an MSRP of $299. Additionally, a limited-edition yellow model will be offered exclusively on Third Man Records' website for $333.
For more information, please visit eventide.com
Knife Drop Pedal: Presets Playthrough and Sound Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.PG contributor Tom Butwin details RAB Audio GSRS – a studio racking system purpose-built for guitarists looking to declutter, customize, and elevate their creative space. Whether you’re a pedal enthusiast or amp collector, RAB Audio has a solution for your recording setup.
RAB Audio ProRak SRS1 Guitar Studio Racking System
3 adj amp head decks, laminated plywood, Blk TrimHandcrafted in the USA, the JEL-50 features 50 watts of all-tube power, two channels, and a transparent effects loop. The JEL-212 Cab is loaded with Celestion Creamback speakers.
Jake E. Lee ranks high on the shortlist of influential gunslinger guitarists that emerged as the heroes of a new generation in the early ‘80s. Best known for the burning guitar work and innovative songwriting, Lee contributed to two of Ozzy Osbourne's most revered albums, 1983’s Bark at the Moon and 1986’s Ultimate Sin.
With Ozzy, his post-Ozzy band, Badlands and most recently, with his own group, Red Dragon Cartel, Lee’s playing embraced the athleticism of the ‘80s while remaining firmly rooted in the hard rock fundamentals of the ‘70s. Jake’s tonal choices provide the evolutionary glue between the sonics of those two great eras. Jake E Lee and Dave Friedman combined their legendary ears and talents to create the new Friedman JEL-50, a signature amplifier that offers Lee’s ultimate tones in a boutique hand-wired package.
In Lee’s own words, “this amp puts the two specific tones I use to create my sound in one head: The sweetness and warmth of a classic Plexi and the more aggressive slant of the master volume amps of the ‘80s -- all tweaked to my taste. Dave has an innate understanding of where I’m coming from as a player and we’re alike in the way we hear tones. Dave doesn’t hear things as a technician, he hears things like a musician, and that made him really easy to work with. I grew up in the ‘70s and those muscular, articulate rock tones were the tones I always sought, but I made a name for myself in the ‘80s when you needed a little more aggression and a little more scream. I’ve always tried to retain a little of that ‘70s heart and I still do, and that’s what this amp does -- though it’s got plenty more on tap if you need it!”
The JEL-50 was specifically designed to take pedals well especially boosts, ODs, phasers, flangers, tremolos, and wahs. The ultra-transparent buffered, series effects loop takes time-based effects pedals and rack units equally well. This is the exact same FX loop Friedman uses on all its amplifiers including the legendary BE-100. The head cabinet features beautiful red tolex, white piping and solid Baltic Birch construction.
SPECIFICATIONS
- 50-Watt all-tube head
- Two channels
- Handwired in the USA
- Custom USA made transformers
- 2 x EL34 power tubes
- 3 x 12AX7 preamp tubes
- JEL channel - Gain, Master, 3-way Bright switch
- JEL Channel Hi/Lo (Push pull gain switch)
- Plexi channel - Gain, Volume, 3 way Bright Switch
- EQ- Bass, Middle, Treble shared with Ch1 and CH2
- Ultra-transparent series effects loop
- Thump knob - ( Rear ) Varies lowered response of the amps power section
- Presence - ( Rear) Varies high end content of the amps power section
- Single button foot switch for channel selections
- 4, 8 and 16 ohm Impedance jacks
- Limited Lifetime Warranty
- Dimensions: 8.75″ (D) x 24″ (W) x 10″ (H)
- Weight: 33.5 lbs
2x12” Celestion Creamback Loaded Extension Cab
The Friedman JEL 2x12” is a rear ported closed-back extension cabinet which utilizes tongue and groove Baltic Birch construction to deliver the bass, mid response and great sound you would expect from a Friedman cab. The JEL 212 Cab features red tolex, white piping and black grille cloth, designed to cosmetically match the Friedman Signature Jake E Lee heads.
At the heart of the cab is a Celestion G12M-65 Creamback 16 Ohm speaker. The G12M Creamback is perhaps the definitive vintage Celestion ceramic magnet guitar speaker. Developed in the mid-sixties, it was quickly adopted by players like Hendrix, Beck and Page, who typified the louder and more aggressive blues-rock playing styles that came to characterize that era. The higher power handling G12M-65 Creamback used in the JEL 1x12 produces that familiar woody tone, making it ideally suited when both vintage and modern tones are desired. The increased power handling brings with-it low-end grunt complementing the warm and vocal mid-range, crunchy upper mids and sweet, refined highs.
As with all Friedman cabinets, oversized 12-gauge speaker wire is soldered between the speaker and terminal, assuring you capture every ounce of valuable tone. This compact monster not only excels in the studio, but the perfect compliment to your stage rig. The Friedman JEL-212 Cab is handcrafted with pride in the U.S.A. and designed to withstand the rigors of the road.
SPECIFICATIONS
- Hand crafted in USA
- Cosmetics to match the Jake E Lee Signature Heads
- 2 x Celestion G12M-65 12" Creamback Speakers
- Nominal impedance - 8 Ohms
- Closed back -rear ported cabinet design
- Limited lifetime warranty
- Dimensions: 12" (D) x 30" (W) x 20.75" (H)
- Weight: 58 lbs.
The Friedman JEL-50 Head carries a street price of $2999.99 and the JEL-212 Cabinet carries a street price of $999.99.
For more information, please visit friedmanamplification.com