
Fig. 1
You can split a humbucker to the north coil or south coil, or you can access a tapping point in the middle of a single-coil pickup. Learn what this means, and how to do it.
Hello and welcome back to Mod Garage. This month we'll take a closer look into what tapping and splitting a pickup really means. Coil tapping is often confused with coil splitting, and a lot of companies and mod pages use the term tapping when they mean splitting, and vice versa. As the golden rule of thumb, you can remember: You are tapping single-coil pickups and you are splitting humbuckers. This should avoid major confusion about this subject.
So, what is this all about? Let's start with coil-splitting humbucker pickups, which is much more common in the guitar world compared to tapping, and we've discussed this many times before. In technical terms, splitting a humbucker means shutting down one of the two coils to ground so the other coil remains active as a single-coil for a much brighter tone, but also with less volume. In other words, splitting a humbucker means making a single-coil out of a humbucker pickup, with all the single-coil pain and glory you know: hum, noise, and reduced volume.
In reality, it never really sounds like a good single-coil pickup. At best it sounds "single-coil-ish," and most of the time, more like a kind of P-90 than a Strat or Tele pickup. Besides this, you'll struggle with an unbalanced volume between the humbucker and the single-coil tone, which is the nature of the beast in any passive guitar circuit, but I'll address exactly this issue in detail soon, in a future column.
"Splitting a humbucker means making a single-coil out of a humbucker pickup, with all the single-coil pain and glory you know: hum, noise and reduced volume."
The humbucker is usually much louder compared to the split version. I think this is no surprise to anyone. Many companies tried to find a compromise for these issues, so there are special humbuckers that sound really good in split mode and like real single-coils. On the downside, these special humbuckers usually don't sound very good as full humbuckers ... choose between the devil and the deep blue sea, it's all up to your personal choice. There are also special humbuckers that try to compensate the volume drop when split. (As mentioned before, we'll cover those in detail in a future column.)
Generally, you need a humbucker with a 4-conductor wiring to split it, so you have access to the start and finish of both coils (Fig. 1). It's not possible to do this with a standard two-conductor humbucker, like a standard PAF-style pickup. With 4-conductor wiring, it's possible to split a humbucker in two different ways.
The first way is by shutting down the slug side (north coil) of the humbucker, leaving the screw side (south coil) active as a single-coil pickup. This is also often referred to as "splitting to the south coil" and is recommended for neck humbucker pickups.
Technically his means:
- South coil start = hot output
- North coil start + north coil finish + south coil finish = soldered together with the bare wire to ground
Fig. 2
- Fig. 2 shows what this looks like for a Seymour Duncan humbucker pickup, but you can use this diagram for any 4-conductor humbucker pickup by simply using a color-chart diagram to transfer the different pickup wires to the humbucker you have.You can also split a humbucker with 4-conductor wiring by shutting down the screw side (south coil) of the humbucker, leaving the slug side (north coil) active as a single-coil pickup. This is usually referred to as "splitting to the north coil" and is recommended for bridge humbucker pickups because it gives a fuller sound than compared to the screw side. You can see this illustrated in Fig. 3.
- Techically this means:
- North coil start = hot output
- North coil finish + south coil start + south coil finish = soldered together with the bare wire to ground
Please note: In split mode, the humbucking function is no longer active, so you'll receive all kinds of hum and noise, just like with any other single-coil pickup. Besides using a switch to split the humbucker, it's possible to use a pot for a variable split (aka "spin-a-split"), but this goes too far for our column today.
Fig. 3
Now, what's the deal with tapping? A standard single-coil pickup is a spool of wire wound around a set of magnets with a start and a finish, connected to the two pickup wires usually referred to as "hot" and "ground," with the hot wire usually coming from the finish of the coil. A tapped pickup has two hot wires with one connected to the finish of the winding, just like with any standard single-coil pickup. The other one is connected to a point somewhere in the middle or close to the end of the winding, effectively "tapping" (hence the name) into the coil to access a different tone. The tapped connection gives you a lower-output version of the full coil for two different tones from the same single-coil pickup. Usually tapped pickups are overwound single-coil pickups, so you have the full power but also a more traditional vintage-flavored tone at your fingertips when using the tapped connection.
Getting access to both tones is very easy to do. With a standard SPDT on-on switch, you can simply engage the full or the tapped connection following this basic schematic shown in Fig. 4. Instead of the additional mini-toggle switch, you can use any standard push-pull or push-push pot for this option, so you don't need to drill any holes into your pickguard.
Fig. 4
It's also possible to replace the switch with a pot to make it variable, so you can blend between both sounds. Technically, it will work, but it's not recommended, because you'll have a good portion of sound loss in a passive system. This is a complex system and, in the background, you'll see that besides the blend pot there will also be a volume pot somewhere for this pickup, so here is a shortened and simplified version.
To make it work in a passive system, you need a high-impedance blend pot— i.e., a 250k pot—to avoid any load of the upper winding, resulting in massive treble loss. Most single-coil pickups use 250k volume pots, but the blend pot needs to be smaller than this to avoid a massive volume drop. In technical terms: The blend pot should not act as a series resistor for the volume pot. Both issues are contrary to each other, so in reality a 100k blend pot would probably work, but only with a good portion of tone loss.
Why? Think of the following scenario: The volume pot is fully opened with the cable capacitance passing through, forming the typical operational resonance together with the pickup's inductance. That's the normal behavior and tone we all know. With such a blend pot explained above that is, let's say, in a middle position, the cable capacitance will not reach the pickup because of the attenuation of the pot. The typical operational resonance gets lost and even worse: A low pass will be created, killing the high-end—a really bad scenario.Next month we'll return to our relic'ing project, talking about aging new electronics. Until then ... keep on modding!
A satin finish with serious style. Join PG contributor Tom Butwin as he dives into the PRS Standard 24 Satin—a guitar that blends classic PRS craftsmanship with modern versatility. From its D-MO pickups to its fast-playing neck, this one’s a must-see.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
Standard 24 Satin, Red App MetThe exquisite BilT Brothers collaborative guitar: a Frank Brothers Ultra Light in BilT eggplant sparkleburst with Arcane 3x3 Gold Foil Humbuckers and loaded with a Caroline Custom Cannonball Distortion.
This forward-thinking custom guitar commissioned by our columnist makes a special case for partnership in the guitar building community.
Owning a guitar shop, your brain is full of to-do lists, questions, and plenty of compulsive thoughts over details. And when you run a shop that specializes in custom builds that you spec out from boutique companies, the ideas for these guitars often come at the most random times of day (and night). While I don’t subscribe to the notion of fate, the following makes a case for its existence.
It was like any other random day at work: We had customers coming in, items shipping out, services on the bench. I was simultaneously working on a pedalboard for a customer and making plans with some vendors. I was on the phone with Brandon Darner of BilT Guitars when DHL dropped off our latest Frank Brothers guitar. Now, I’m never shy about talking up builds from any of our vendors. Spec’ing guitars for our shop, seeing their execution exceed my expectations, and then getting it into the hands of its new owner is one of my absolute favorite parts of my job. So, naturally I mentioned that we just got a new Frank Brothers in. Brandon told me how much he loved their stuff—sort of a “game recognizing game” kind of thing.
After we unboxed the guitar, I called Tim Frank to let him know how we continue to be impressed with their work and how much we loved the new arrival. I also mentioned Brandon had some very nice things to say about their work. Tim’s response was something like, “Oh wow! That’s really cool. Their stuff is amazing and we have a lot of respect for those guys.” At first, I thought he was just being polite, but I’ve gotten to know him pretty well. I knew that the compliment and sentiment was genuine and past the point of his wonderful Canadian pleasantness. One thing led to another, and I started a group text. Very quickly, they became friends. In fact, Brandon even ordered a Frank Brothers shortly after the introduction.
The Frank Brothers and BilT team, left to right: Tim Frank, Tim Thelen (BilT), Nick Frank, and Brandon Darner (BilT).
My last call of the day was to Philippe Herndon from Caroline Guitar Company. As we talked, he was glowing about the pedal building community and how friendly and collaborative it is, and obvious questions popped into my head: “Why aren’t guitar companies like that?” “Why can’t we do a collab guitar?”
Long story extremely short, with tons of excitement, I got Brandon and Tim on the phone and proposed the idea of doing a guitar together. Without hesitation, the response from both was “Hell yeah, let’s do it!” and it was time for us to spec it. We decided on a Frank Brothers Ultra Light. BilT would apply their world-class fit/finish as well as their signature effects treatment. I picked my favorite finish in the BilT repertoire called eggplant sparkleburst, selected Arcane 3x3 Gold Foil Humbuckers, and tapped Philippe on the shoulder to ask if he had any Custom Cannonball Distortions—the first pedal I bought from Caroline in 2013—that he could provide for the build, to which he happily obliged.
A year or so later, the BilT Brothers was born. Of course, it is exceptional beyond words and is a true testament to the results of these incredible companies working together to produce something truly remarkable. We decided, with custom shirts and all, to proudly debut our creation at Fretboard Summit in Chicago. The reaction from everyone exceeded our expectations and showed me that the level of mutual respect and admiration in this business can lead to phenomenal results.
This project has opened a lot of doors that I’m not sure anyone knew existed. For me, the most exciting part of all of this is the fact that, like the smaller pedal companies, there is an actual community here filled with like-minded, pure enthusiasts who also happen to be master craftsmen—and who truly geek out over each other’s work.
Never was this more evident than at the Wood Wire Volts show this January, where not only did the BilT and Frank Brothers crews travel and stay together, they were also often in deep chats with fellow luminaries Sacha Dunable (Dunable Guitars) and Carlos Lopez (Castedosa Guitars), discussing the trade, the work, and ideas for the future. If the vibe is any indicator, we can safely assume that while the BilT Brothers was, by all accounts, the first ever collab guitar of its kind, it will not be the last.
This entire experience is reminiscent of the DIY community ethos that I’ve clung to and has inspired me for most of my life. There is a cliché about the journey being greater than the destination, and while the destination in this case is one of the finest guitars I’ve ever laid my hands on, I’d have to say it holds true
Introducing the new Gibson Acoustic Special models, handcrafted in Bozeman, Montana, featuring solid wood construction, satin nitrocellulose lacquer finishes, and L.R. Baggs electronics.
Solid Wood Construction
Each of the three Acoustic Special models from Gibson are crafted using solid mahogany for the back and sides, solid Sitka spruce for the tops, utile for the necks, and rosewood for the fretboards for a sound that will only get better and better as they age.
Satin Nitrocellulose Lacquer Finishes
All three Gibson Acoustic Special models are finished in satin nitrocellulose lacquer for a finish that breathes, ages gracefully, and lets the natural beauty–both in sound and appearance–of the quality tonewoods come through.
L.R. Baggs Electronics
The Gibson Acoustic Special guitars come with L.R. Baggs Element Bronze under-saddle piezo pickups and active preamps pre-installed, making them stage and studio-ready from the moment you pick them up.
For more information, please visit gibson.com.
Introducing the Gibson Acoustic Specials – J-45, Hummingbird & L-00 Special - YouTube
Great Eastern FX Co. has released the limited-edition OC201 Preamp, featuring vintage Mullard OC201 transistors for a unique fuzz sound. Part of the 'Obsolete Devices' series, this pedal combines classic circuits with modern components for optimal tone and reliability.
Boutique British pedal designers GreatEastern FX Co. have released a new pedal. Limited to just 50 units, the OC201 Preamp is an intriguing twist on the familiar two-transistor fuzz circuit, built around a pair of new-old-stock Mullard OC201 transistors.
“The OC201 is a very early silicon transistor,” company founder David Greeves explains. “It was actually the first silicon transistor made by Mullard, using the same method as their germanium devices. It’s pretty crude by modern standards, with very low gain and limited bandwidth, but that’s exactly what makes it so great in a fuzz pedal.”
This little-known low-gain silicon transistor is responsible for the OC201 Preamp’s palette of sounds, which GreatEastern FX say ranges from dirty boost and garage rock drive sounds up to a raw and richly textured fuzz, all with the excellent volume knob clean-up characteristics this style of fuzz is famous for. The circuit has also been tweaked to deliver a healthy kick of volume to your amp.
This limited-edition pedal is the first in a new series that Great Eastern FX are calling ‘Obsolete Devices’. According to the company, the Obsolete Devices series will feature the company’s take on a range of classic circuits, constructed using a mixture of vintage and modern components. It’s a distinct departure from Great Eastern FX’s main range of pedals.
“With pedals like the Design-a-drive and the XO Variable Crossover, we’re really committed to developing original designs that bring something new to the table,” founder David Greeves explains. “I’m always very conscious of choosing parts that aren’t going to go obsolete so we can go on making the pedals for as long as people want to buy them. But I also love messing around with old parts and classic circuits, which is a totally different mentality. The Obsolete Devices series is basically a way for me to have fun modifying these classic circuits and experimenting with my stash of NOS components, then share the results.
“The name is a little bit of an inside joke,” he continues. “I think what gets labelled as ‘obsolete’ is very subjective. As pedal designers and guitar players, we obsess over obsolete components and what, in any other field, would be considered outdated designs. So the name is a nod to that. I also loved the thought of us coming out with some brand-new Obsolete Devices of our own!”
Alongside the pedal’s new-old-stock Mullard OC201 transistors – which are the reason only 50 of them are being made – the OC201 Preamp uses quality modern components, including high-tolerance Dale metal film resistors and WIMA capacitors. GreatEastern FX say that this hybrid approach, using vintage parts where they make the most difference sonically and low-noise modern parts elsewhere, will deliver the best combination of tone and reliability while also keeping the price from spiralling out of control.
The OC201 Preamp will cost £249 in the UK, $299 in the US and €299 in the EU. It’s available now direct from Great Eastern FX Co. and from the following dealers:
- UK – Andertons
- Europe – Pedaltown.nl
- USA – Sound Shoppe NYC
- Canada – Electric Mojo Guitars
For more information, please visit greateasternfx.com.