
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
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Whitman Audio introduces the Decoherence Drive and Wave Collapse Fuzz, two innovative guitar pedals designed to push the boundaries of sound exploration. With unique features like cascading gain stages and vintage silicon transistor fuzz, these pedals offer musicians a new path to sonic creativity.
Whitman Audio, a new audio effects company, has launched with two cutting-edge guitar pedals, the Decoherence drive and Wave Collapse fuzz. Combining science and art to craft audio effects devices, Whitman Audio aims to transcend the ordinary, believing that magic can occur when the right musician meets the right tool.
Delivering a solution for musicians looking to explore a wide range of sounds, each pedal offers a unique path to finding your own voice. The Decoherence drive injects a universe of unique saturation into your music arsenal while the Wave Collapse fuzz takes you to uncharted sonic territories.
Decoherence features include:
- Cascading stages (Gain A > Gain B) each with a unique sound and saturation character
- Gain A - Medium to high gain stage with a mid focus for clear articulation and punch
- Gain B - Low to Medium gain with a neutral EQ that compliments and expands Gain A
- G/S Toggle - Selects the clipping diodes for Gain B (NOS Germanium or NOS Silicon)
- Tone Knobs (H & L) - Tuned active Baxendall style EQs that boost or cut Highs and Lows
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
Introducing: Decoherence Drive - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Wave Collapse features include:
- Vintage Silicon transistor fuzz that goes from vintage clean to doom metal mean
- Buffered input and pickup simulation ensure it sounds great anywhere in your chain
- Bias Knob - Allows for a huge range of texture and response in the pedals gain structure
- Range and Mass Toggles - Provide easy access to three diverse bass and gain ranges
- Filter Knob - A simple-to-use tilt EQ enhanced by the Center toggle for two mid responses
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
The Decoherence drive and Wave Collapse fuzz pedals carry retail prices of $195.00 each.
For more information, please visit whitmanaudio.com.
Introducing: Wave Collapse Fuzz - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.With authentic stage-class Katana amp sounds, wireless music streaming, and advanced spatial technology, the KATANA:GO is designed to offer a premium sound experience without the need for amps or pedals.
BOSS announces the return of KATANA:GO, an ultra-compact headphone amplifier for daily jams with a guitar or bass. KATANA:GO puts authentic sounds from the stage-class BOSS Katana amp series at the instrument’s output jack, paired with wireless music streaming, sound editing, and learning tools on the user’s smartphone. Advanced spatial technology provides a rich 3D audio experience, while BOSS Tone Exchange offers an infinite sound library to explore any musical style.
Offering all the features of the previous generation in a refreshed external design, KATANA:GO delivers premium sound for everyday playing without the hassle of amps, pedals, and computer interfaces. Users can simply plug it into their instrument, connect earbuds or headphones, call up a memory, and go. Onboard controls provide access to volume, memory selection, and other essential functions, while the built-in screen displays the tuner and current memory. The rechargeable battery offers up to five hours of continuous playing time, and the integrated 1/4-inch plug folds down to create a pocket-size package that’s ready to travel anywhere.
KATANA:GO drives sessions with genuine sounds from the best-selling Katana stage amp series. Guitar mode features 10 unique amp characters, including clean, crunch, the high-gain BOSS Brown type, two acoustic/electric guitar characters, and more. There’s also a dedicated bass mode with Vintage, Modern, and Flat types directly ported from the Katana Bass amplifiers. Each mode includes a massive library of BOSS effects to explore, with deep sound customization available in the companion BOSS Tone Studio app for iOS and Android.
The innovative Stage Feel feature in KATANA:GO provides an immersive audio experience with advanced BOSS spatial technology. Presets allow the user to position the amp sound and backing music in different places in the sound field, giving the impression of playing with a backline on stage or jamming in a room with friends.
The guitar and bass modes in KATANA:GO each feature 30 memories loaded with ready-to-play sounds. BOSS Tone Studio allows the player to tweak preset memories, create sounds from scratch, or import Tone Setting memories created with stage-class Katana guitar and bass amplifiers. The app also provides integrated access to BOSS Tone Exchange, where users can download professionally curated Livesets and share sounds with the global BOSS community.
Pairing KATANA:GO with a smartphone offers a complete mobile solution to supercharge daily practice. Players can jam along with songs from their music library and tap into BOSS Tone Studio’s Session feature to hone skills with YouTube learning content. It’s possible to build song lists, loop sections for focused study, and set timestamps to have KATANA:GO switch memories automatically while playing with YouTube backing tracks.
The versatile KATANA:GO functions as a USB audio interface for music production and online content creation on a computer or mobile device. External control of wah, volume, memory selection, and more are also supported via the optional EV-1-WL Wireless MIDI Expression Pedal and FS-1-WL Wireless Footswitch.
For more information, please visit boss.info.
In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.