Unravel the mysteries of series, parallel, and coil-splitting wiring schemes.
This month we're going to explore four ways to configure any humbucker that has 4-conductor wiring. (Note: These wiring schemes are not intended for an old-school humbucker with 2-conductor wiring, but rather the modern humbucker that allows coil-splitting and other wiring mods.)
For starters, let's review our terminology. Looking at a humbucker from the front, we call the lower coil "south" and the upper coil "north." The south coil is always the "screw side," while the north coil is the "slug side." The latter is named for the type of magnetic material used on this coil. Each coil is wrapped with very fine wire, and this wire has a start and a finish. This results in a total of five wires coming from the humbucker:
- North coil start plus north coil finish.
- South coil start plus south coil finish.
- Ground.
The bare wire or braided shield always goes to ground—there's no exception—so that leaves us with four wires to play with. Having access to the start and finish of each coil wire not only makes it easy to solve potential out-of-phase issues (a subject we'll cover in another column), but it also gives you the option to wire up your humbucker in one of four different ways. If you're ambitious, you can use a switch to put several options at your fingertips.
The south coil is always the "screw side," while the north coil is the "slug side."
Every pickup company uses its own color-code scheme for these four wires. This makes discussing humbucker wiring a little more confusing than necessary, but that's the way it is. As usual, I'll use the Seymour Duncan color code as a quasi-standard. You should be able to get color-code information for your pickups from their maker, and there are several charts available on the internet that let you compare color-code schemes from different manufacturers. You can use such charts to translate the following wirings into whatever color code corresponds to your particular brand of humbucker. Fortunately that's not too hard—you only need to know which color wire on your pickup indicates the start or finish of which coil. Once you have that info, you can draw up a reference chart to decode this column's wirings.
Here's the Seymour Duncan 4-conductor humbucker color code:
- North coil start is black; north coil finish is white.
- South coil start is green; south coil finish is red.
- Ground is bare wire.
Fig. 1 sums up what we've covered so far in the Seymour Duncan format. Now let's walk through the four ways you can wire up a humbucker. Ready?
Standard humbucker wiring: both coils connected in series.
This is the default wiring in almost every guitar loaded with one or more humbuckers because it produces a warm, fat tone with maximum output while offering hum-cancelling capability. (It's also the factory standard for all humbuckers with 2-conductor wiring consisting of only hot and ground.)
Fig. 2
illustration courtesy of singlecoil.com
Here are the connections for series wiring (Fig. 2):
- North coil start is the hot output.
- North coil finish and south coil finish are soldered together and taped off (this is the series link).
- South coil start is soldered together with the bare wire going to ground.
“Single-coil" humbucker wiring: both coils connected in parallel.
This option gives you a single-coil-like tone, but still retains hum-cancelling capability. It doesn't deliver a crystal-clear Strat or Tele tone, but to my ears it at least resembles a single-coil pickup—maybe closer to a P-90 than to a standard single-coil. Every type of humbucker sounds a little different when wired this way, so it's simply a matter of giving it a try to determine if you like the sound.
Fig. 3
illustration courtesy of singlecoil.com
Parallel wiring (Fig. 3) requires the following connections:
- North coil start and south coil finish are soldered together as the hot output.
- North coil finish and south coil start are soldered together with the bare ground wire.
Coil-splitting humbucker wiring #1: splitting to the south coil.
This wiring splits the humbucker in half, shunting one coil to ground and leaving the other coil engaged like a true single-coil pickup. In this mode, the hum-cancelling function is no longer active, so you'll get the hum and noise of any single-coil pickup. But don't expect a true Strat or Tele tone: If that's your goal, investigate the special breed of humbuckers that are made out of two real single-coil pickups. The downside of this type of pickup is that it doesn't sound great in full humbucker mode, so, as we're so often reminded, it's about compromise.
Splitting to the humbucker's south coil, which is the screw side, is only recommended for neck pickups. (You'll learn why we're excluding the bridge pickup when we get to our fourth wiring scheme.) Let's also remember that in most guitars with neck humbuckers, the south, screw-side coil lies closest to the neck.
Fig. 4
illustration courtesy of singlecoil.com
For this coil-splitting wiring (Fig. 4), you need the following connections:
- South coil start is the hot output.
- North coil start, north coil finish, and south coil finish are soldered together with the bare ground wire.
Coil-splitting humbucker wiring #2: splitting to the north coil.
This wiring follows the same concept as our previous coil-splitting recipe, but leaves the north coil active—that's the slug side. This version is recommended for a bridge humbucker because pole-piece slugs deliver a fuller sound than pole-piece screws.
Fig. 5
illustration courtesy of singlecoil.com
Here are the connections for our second coil-splitting wiring (Fig. 5):
- North coil start is the hot output.
- North coil finish, south coil start, and south coil finish are soldered together with the bare ground wire.
Well, that's it. In a future column we'll explore how to integrate and control all these options with the help of a switching device. And, of course, we'll learn how to compensate for possible out-of-phase issues that can occur when you combine several humbuckers or a humbucker with a single-coil. But next month, we'll dig into a project designed to make a Telecaster more sonically flexible. Until then ... keep on modding!
[Updated 9/15/21]
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Nineties-style high-gain heaviness that can be surgically tailored with a powerful EQ.
Excellent variations on high-gain modern distortion tones. Powerful EQ.
Not many low- or mid-gain sounds here.
$199
JHS Hard Drive
jhspedals.com
JHS makes many great and varied overdrive stomps. Their Pack Rat is a staple on one of my boards, and I can personally attest to the quality of their builds. The new Hard Drive has been in the works since as far back as 2016, when Josh Scott and his staff were finishing off workdays by jamming on ’90s hard rock riffs.
During these sessions, Scott’s go-to pedal was the Ibanez SM7 Smash Box. He realized that JHS had never offered anything along those lines, conferred with his then lead engineer, Cliff Smith, and the wheels were set in motion. Over several years of design, the Hard Drive evolved from an SM7 homage to a unique, original circuit.
JHS’ Hardest to Date
The Hard Drive’s control panel is streamlined, consisting of knobs for volume, mid frequency, drive, bass, middle, and treble. Driven by cascading gain stages, the Hard Drive can cop a wide range of modern distorted tones. Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end on muted power chords. Nudging the drive up very slightly transforms the Hard Drive into a roaring Marshall JCM 900. And if you bring the drive all the way up, you’re in for all out chaos. Even with an amp set just louder than bedroom levels, the Hard Drive, with its volume at just 11 o’clock, is very loud and in-your-face. You don’t have to work hard to imagine how this could sound and feel like multiple stacks raging at Madison Square Garden in the context of a recorded track.
Even at the lowest drive settings, the Hard Drive simmers, delivering massive bottom end.
Zoning the Frequencies
Unlike some heavy pedals that concern themselves with mega-gain and little else, the Hard Drive’s EQ controls are very effective and powerful. Moving the treble knob from 11 o’clock to 1 o’clock changes the pedal’s tone and response characteristics completely, opening up and transforming the naturally relatively dark sound of my Fender Super Sonic amp. Turning the treble knob all the way off with the bass and mid knobs at noon gives me a vocal lead tone that’s creamy, warm, and still immediate and responsive.
The middle and mid frequency controls work in tandem. The mid control itself works as a cut or boost. The mid frequency control, however, lets you choose the specific frequency you cut or boost. I found these controls invaluable for sculpting tones that could leverage the copious gain without being abrasive. Meanwhile, adding more high midrange lends clarity to complex chords.
The Verdict
The Hard Drive is an unapologetically heavy pedal—if you’re looking for a dirt box that can double as a clean boost, well, the Hard Drive is not that. It’s meant to slay with gain, and it performs this task well and with a vengeance. There are countless dirt boxes on the market that deliver hot rodded, ’80s-style brown sound. Fewer cater to the subsequent generations of high-gain players that used the ’80s as a mere jumping-off point. The Hard Drive is very much voiced for this strain of heavy music. If that’s your jam, the Hard Drive is hard to beat.
Tailored for Yngwie Malmsteen's signature sound, the MXR Yngwie Malmsteen Overdrive is designd to offer simple controls for maximum impact.
Working closely alongside Yngwie, the MXR design team created a circuit that delivers clarity, expressive dynamics, and rich harmonics—all perfectly tailored for his light-speed arpeggios, expressive vibrato, and big, bold riffs. The control setup is simple, with just Level and Gain knobs.
"Want to sound like Yngwie? Crank both knobs to the max."
“This pedal is the culmination of 45+ years developing a sound that’s perfect in every possible way,” Yngwie says. “I present to you: the MXR Yngwie Malmsteen Overdrive. Prepare to be amazed.”
MXR Yngwie Malmsteen Overdrive highlights:
- Perfectly tailored for Yngwie Malmsteen's signature sound and style
- Simple control setup tuned for maximum impact
- Boost every nuance with superior clarity, expressive dynamics, and rich harmonics
- Dig into light-speed arpeggios, expressive vibrato, and big, bold riffs
The MXR Yngwie Malmsteen Overdrive is available now at $129.99 street/$185.70 MSRP from your favorite retailer.
For more information, please visit jimdunlop.com.
Voltage Cable Company's new Voltage Vintage Coil 30-foot guitar cable is now protected with ISO-COAT technology to provide unsurpassed reliability.
The new coiled cables are available in four eye-grabbing retro colors – Surf Green, Electric Blue, Orange and Caramel – as well as three standard colors: Black, White and Red. There is also a CME exclusive “Chicago Cream” color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The company’s ISO-COAT is a patent pending hermetic seal applied to solder terminations.
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
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For more information, please visit uaudio.com.