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 ›
Blackberry Smoke will embark on their Rattle, Ramble and Roll Tour in 2025, featuring stops at Worcester’s Palladium, Burlington’s The Flynn, New Orleans’ The Fillmore, Austin’s ACL Live at the Moody Theater, among many others.
ickets for the newly added dates will be available for pre-sale starting tomorrow, Tuesday, October 29 at 10am local time, with the general on-sale following this Friday, November 1 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
Throughout their career, Blackberry Smoke has released eight studio albums including their latest, Be Right Here. Produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell), the record was released to widespread critical acclaim earlier this year and debuted at #1 on the Current Country Albums chart, Americana/Folk Albums chart and Current Rock Albums chart.
Since forming in 2001, Blackberry Smoke has continued to tour relentlessly, building a strong and loyal community of fans. In addition to their work as musicians, the band is deeply committed to charitable work and formed the Brit Turner Family Fund, a non-profit supporting several national foundations committed to curing children’s cancer. With these efforts, the band has raised over $1,000,000 to date benefitting children’s cancer research. Most recently, Blackberry Smoke raised over $26,000 with their hometown show at Atlanta’s Cadence Bank Amphitheatre at Chastain Park earlier this summer, which celebrated the life and legacy of the band’s late drummer, Brit Turner.
BLACKBERRY SMOKE CONFIRMED TOUR DATES
October 30—Bakersfield, CA—Fox Theater~
October 31—San Diego, CA—Humphreys Concerts by the Bay~
November 1—Las Vegas, NV—The Pearl Concert Theater~
November 2—Riverside, CA—Fox Performing Arts Center~
November 7—St. Augustine, FL—St. Augustine Amphitheatre^
November 8—Clearwater, FL—Ruth Eckerd Hall^
November 9—Fort Myers, FL—Barbara B. Mann Performing Arts Hall^
November 10—Pompano Beach, FL—Pompano Beach Amphitheater^
November 14—Royal Oak, MI—Royal Oak Music Theatre%
November 15—Marietta, OH—Peoples Bank Theatre%
November 16—Shipshewana, IN—Blue Gate Performing Arts Center%
November 21—Carterville, IL—Event Center at Walker’s Bluff Casino Resort
November 22—Tulsa, OK—Cain’s Ballroom**
November 23—Shawnee, OK—FireLake Arena**
December 5—Mobile, AL—Saenger Theatre††
December 6—Augusta, GA—Bell Auditorium##
December 7— Fayetteville, NC—Crown Theatre##
December 8—Savannah, GA—Johnny Mercer Theatre##
December 31—Macon, GA—Macon City Auditorium^^
January 30—Morristown, NJ—Mayo Performing Arts Center
January 31—Bensalem, PA—XCite Center at Parx Casino
February 1—Worcester, MA—The Palladium
February 2—Patchogue, NY—Patchogue Theatre for the Performing Arts
February 5—Portland, ME—State Theatre
February 6—Burlington, VT—The Flynn
February 7—Providence, RI—The Strand Ballroom & Theatre
February 8—Williamsport, PA—Penn College Community Arts Center
February 13-17—Rock Legends Cruise XII
March 6—Rockford, IL—Coronado Theatre
March 7—Peoria, IL—Peoria Civic Center Theater
March 8—Evansville, IN—Aiken Theatre
March 27—New Orleans, LA—The Fillmore
March 28—Houston, TX—713 Music Hall
March 29—Helotes, TX—John T. Floore’s Country Store
April 25—Miramar Beach, FL—Moon Crush “Pink Moon”
May 8—Austin, TX—ACL Live at the Moody Theater
May 9—Dallas, TX—Majestic Theatre
May 15—Maryville, TN—The Shed
May 16—Maryville, TN—The Shed
May 17—Maryville, TN—The Shed
~with special guest Kelsey Waldon
^with special guest Southall
%with special guest Sam Morrow
**with special guest Taylor Hunnicutt
††with special guest Georgia Thunderbolts
##with special guest Tishamingo
^^with special guest Robert Jon and the Wreck
Nearly 50 years ago, Rob Turner developed his first guitar pickup in Long Beach, CA. He's still creating new designs with EMG's current catalog approaching 100 pickups. He invited PG's John Bohlinger to Santa Rosa, CA, to see how a company that can produce 3,000 products a day still has an eager ear for new gear. See how they wind, wax, mold, wrap, and electrify your favorite instrument.
Nap Eyes’ Brad Labelle joins reader Galen Brownson and PG staff in sharing about what makes them—and thereby, their tunes—so unique.
Question: What are some personal qualities of yours that set you apart from others in your writing or playing?
Brad Labelle - Nap Eyes
A: I love dance music and have an unrelenting thirst for new and fresh sounds. I don’t feel my guitar playing is particularly groundbreaking, but those influences must seep through somehow. I do believe I’m a fairly expressive player and my short attention span keeps me endlessly improvising.
Nap Eyes’ latest release, The Neon Gate.
Obsession: I can’t stop listening to the recent Jane Remover track “Magic I Want U.” The production is deeply detailed but doesn’t feel cluttered, and her melodic sensibilities are intoxicating. She gives you crunchy guitars paired with breakbeats, West Coast synth lines, a Janet Jackson-esque electro outro, scratching, a fun little guitar solo.... I could go on.
As of late, Two Star & the Dream Police by Mk.gee has been in Brad's regular listening rotation.
Galen Brownson - Reader of the Month
Metallica’s two-guitar format inspired Galen when he was learning guitar.
A: When I was learning how to play, I was listening to a lot of two-guitar bands, like Metallica and Megadeth and Iron Maiden. I tried to find ways to play both guitar parts at once, which is not always possible, but I write two parts for one guitar now.
Metallica’s second album is a fan favorite of their early, pioneering years.
Obsession: My latest obsession is finding ways to combine metal music with electronic music, particularly dubstep. My younger brother once chastised me for ignoring electronic music by saying “metal and dubstep have a lot in common,” and he was absolutely right. I’ve since made it a goal to weave them together.
Galen names Polis by Uppermost, a French electronic music producer, as one of his favorite records.
Ted Drozdowski - Editorial Director
Ted takes a slide solo on his well-traveled and beloved Dollycaster.
A: My interests toggle between history and mystery, so my technique is based in archaic/anarchic blues playing styles and an expansive sonic palette that relies on blending fingerpicking, slide, and an array of pedals to create tones and sheets of sound. I think of it as cosmic roots music, and don’t hear a lot of other people doing what I do the way I do it.
The marquee image for Ted and Coyote Motel’s new movie, The River: A Songwriter’s Stories of the South.
Obsession: For a few years now, much of my creative energy has been invested in a feature film I created with my band Coyote Motel—scripting, recording narration, performing as part of the band, editing, and learning many painfully new and hard lessons about movie-making. And then getting the film to festivals, where we’ve won laurels, and onto a few select screens. Now, I’m working on distribution, in a field where there ain’t no Bandcamp or DistroKid. It ain’t easy, but I’m obsessed with getting The River: A Songwriter’s Stories of the South into the world.
The current state of Ted’s pedalboard. (He’s aware he could do a better job with the wiring.)
Kate Koenig - Managing Editor
Kate’s newest album, which contains some of their rawest and most vulnerable lyrics to date.
A: I wear my heart on my sleeve—to the point where I’ve always struggled to have a verbal filter—so I tend to write very raw, vulnerable lyrics. A taste for cerebral art during my formative years has also informed my approach to coming up with challenging and intricate fingerpicking guitar parts.
When PG’s worldly gear editor Charles recommended Black Flag’s record Damaged, Kate got on that posthaste.
Obsession: I’ve been revisiting, digging into, and expanding my knowledge of classic ’80s and ’90s punk in preparation for my next artist interview for Premier Guitar(some foreshadowing, eh?). I have always been intrigued by punk culture’s outspoken rebelliousness and commitment to anarchic ideals, which strike me as free and authentic.
Kate has a distinct memory of a classmate playing “You’re Gonna Go Far, Kid” on loop in their senior-year studio-art class. (They still wonder why their teacher didn’t intervene.)
Learn the key elements to jumpstart your fingerpicking journey and improve your overall fingerpicking technique.
Learn the key elements to jumpstart your fingerpicking journey and improve your overall technique. Caitlin covers classical-style technique and uses it in a modern setting to enhance your fingerstyle technique for all styles/genres.