When you mix and match pickups from different manufacturers, you have to deal with their electrical phase. Here’s how to understand what’s going on.
In short, a pickup's electrical phase is based on the direction of its winding, which can be clockwise or counterclockwise. But—alas—it's not quite that simple. To truly understand a pickup's electrical phase, we have to dig a bit deeper into pickup terminology.
But it's worth the effort, and here's why: When you combine pickups, two things control phase relationship. One is magnet polarity and the other is coil-winding direction, and these parameters determine whether two pickups will be in phase or out of phase with each other. We discussed the former in "What's the Deal With Pickup Polarity?," so you might want to take a moment to refresh yourself on that topic. I believe magnet polarity and coil-winding direction should be specified for every pickup that's sold because these specs can save you a lot of time, money, and hassle when shopping for replacement pickups for a multi-pickup guitar. After all, who wants an out-of-phase sound right out of the box?
Before we talk about clockwise and counterclockwise pickup winding, let's get oriented. Imagine that you're looking at a Strat pickup from above, facing the top of the magnets. In other words, we're looking at the pickup from the strings' point of view. From this position, when the wire is wound clockwise from the pickup's starting point—wait for it—we logically say the winding is “clockwise."
This is also considered “non-reversed." I think this terminology stems from the early Fender years, where the factory workers wound all pickups clockwise for several decades. Then later, when reversed-wound middle pickups were introduced to provide hum-cancellation in positions 2 and 4 (bridge plus middle, and neck plus middle), most of these “reverse-wound" pickups actually had a clockwise winding. To change electrical phase, workers simply interchanged the two pickup leads.
From an electrical point of view, this is okay, but there are good reasons to create reverse-wound pickups with a genuine counter-clockwise wind. Many players feel that a reverse pickup with a true counterclockwise wind sounds better than a clockwise-wound pickup with reversed leads. Also, if a string accidentally contacts a pickup magnet, it will short out a clockwise-wound pickup with reversed leads and the pickup will go silent. Or, if you touch the magnets of such a pickup with your finger, you'll be rewarded with a loud humming noise.
But we're not done yet. Things get even more “interesting" as we go one step further and decode pickup makers' speech. Besides the clockwise and counter-clockwise terms, the following also describe a pickup's winding:
• Top right, top going (this is counterclockwise).
• Top right, top coming (this is clockwise).
• Top left, top going (clockwise).
• Top left, top coming (counterclockwise).
At this point, I can imagine you thinking, “What the heck does all this mean?" Unfortunately, “top" indicates two different things. Here's an example to explain this terminology: “Top left" and “top right" describe how the pickup is attached to the winding machine. If the upper part of the pickup—i.e., the top section—faces towards the machine's left side, this is defined as “top left." And vice versa.
Okay, “top going" and “top coming" describe the direction the pickup is moving in the winding machine. When the bobbin is moving away from you, it's defined as “top going," and when the bobbin travels towards you, it's “top coming." (By the way, top coming is typically not used for winding a pickup, but rather for unwinding it when you need to remove the old wire.)
Now that we've waded through our terms, it's time to get back to the main subject—a pickup's electrical phase.
The big question is, how do you determine a pickup's phase? The easiest way is to use an analog meter with a polarity testing option. In the '60s, analog meters commonly had built-in polarity testers—at least those meters in the upper price range. Most of these vintage meters are sought-after items today, and consequently fetch high prices.
We use a late-'60s Philips meter in our shop. If you have a similar vintage analog meter, here's how to use it to determine a pickup's phase. First, connect the pickup wires to the meter. The white (hot) wire attaches to the plus (+) and the black (ground) wire attaches to the minus (-).
Note: For this test, it's essential to connect the wires this way. If the wires on your pickup have different colors, you'll need to connect the colors for hot and ground as defined by the pickup manufacturer.
Next, take a large screwdriver or a piece of steel or iron and lay it gently across the pickup pole pieces, parallel to them. If the polarity meter—the small rectangular window on the right bottom of the main display, circled in red in Photo 1—shows plus (+), it means the wire that's connected to the hot (+) lug of the input jack is, in fact, the hot connection for the pickup. But if it shows minus (-), it means that the pickup wire connected to the input jack's hot lug is actually the ground. You'd be surprised how many times the pickup's white wire is not really the hot one!
I don't recommend using a standard analog meter that lacks the polarity testing function because the needle rests on the left side and is designed to deflect toward the right. When you force the needle on this type of meter to deflect toward the left, chances are good you'll destroy it. So stay away from this. (I should point out there are ways to tweak a standard analog meter for this measurement, using the scale setting or by putting a resistor in series with the pickup to get the needle off zero and nearer to the middle of the scale, but these topics are well beyond the scope of this column.)
It's also possible to use a standard digital multimeter by connecting the pickup to it and using the DC/ohms setting, but you must look quickly to note what happens, because on a DMM polarity is indicated in a flash.
All these alternatives to an analog meter equipped with a phase tester are only recommended for experienced techies. I'm pretty sure not many PG readers will have an old vintage meter handy and most won't be willing to pay top dollar to acquire one and use it only for this measurement. So is there a way around this? Fortunately, yes. In a future column, I'll show you how to build a full-fledged polarity tester for only a few bucks, so stay tuned. (Though they may exist, I've never seen a stand-alone polarity-testing unit for sale, so this will be a fun project.)
Also in an upcoming Mod Garage, we'll bring all the facts together to understand the relationship between magnet polarity and electrical phase and how to control in-phase and out-of-phase sounds. We'll also look at the role reverse-wind/reverse-polarity (RWRP) pickups can play in hum-cancelling configurations, and discover why winding direction and polarity are so important in this context.
But meanwhile, let's give this pickup information a chance to sink in. In the next column, we'll tackle a mod for steel-string acoustics, and I'll show you how to make changing strings much easier while simultaneously enhancing tuning stability. Until then ... keep on modding!
From his first listen, Brendon Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great.
Slayer guitarists Kerry King and Jeff Hanneman formed the original searing 6-string front line of the most brutal band in the land. Together, they created an aggressive mood of malcontent with high-velocity thrash riffs and screeching solos that’ll slice your speaker cones. The only way to create a band more brutal than Slayer would be to animate them, and that’s exactly what Metalocalypse (and Home Movies) creator Brendon Small did.
From his first listen, Small has been a lifetime devotee and thrash-metal expert, so we invited him to help us break down what makes Slayer so great. Together, we dissect King and Hanneman’s guitar styles and list their angriest, most brutal songs, as well as those that create a mood of general horribleness.
This episode is sponsored by EMG Pickups.
Use code EMG100 for 15% off at checkout!
Learn more: emgpickups.com
Katana-Mini X is designed to deliver acclaimed Katana tones in a fun and inspiring amp for daily practice and jamming.
Evolving on the features of the popular Katana-Mini model, it offers six versatile analog sound options, two simultaneous effects, and a robust cabinet for a bigger and fuller guitar experience. Katana-Mini X also provides many enhancements to energize playing sessions, including an onboard tuner, front-facing panel controls, an internal rechargeable battery, and onboard Bluetooth for streaming music from a smartphone.
While its footprint is small, the Katana-Mini X sound is anything but. The multi-stage analog gain circuit features a sophisticated, detailed design that produces highly expressive tones with immersive depth and dimension, supported by a sturdy wood cabinet and custom 5-inch speaker for a satisfying feel and rich low-end response. The no-compromise BOSS Tube Logic design approach offers full-bodied sounds for every genre, including searing high-gain solo sounds and tight metal rhythm tones dripping with saturation and harmonic complexity.
Katana-Mini X features versatile amp characters derived from the stage-class Katana amp series. Clean, Crunch, and Brown amp types are available, each with a tonal variation accessible with a panel switch. One variation is an uncolored clean sound for using Katana-Mini X with an acoustic-electric guitar or bass. Katana-Mini X comes packed with powerful tools to take music sessions to the next level. The onboard rechargeable battery provides easy mobility, while built-in Bluetooth lets users jam with music from a mobile device and use the amp as a portable speaker for casual music playback.
For quiet playing, it’s possible to plug in headphones and enjoy high-quality tones with built-in cabinet simulation and stereo effects. Katana-Mini X features a traditional analog tone stack for natural sound shaping using familiar bass, mid, and treble controls. MOD/FX and REV/DLY sections are also on hand, each with a diverse range of Boss effects and fast sound tweaks via single-knob controls that adjust multiple parameters at once. Both sections can be used simultaneously, letting players create combinations such as tremolo and spring reverb, phaser and delay, and many others.
Availability & Pricing The new BOSS Katana-Mini X will be available for purchase at authorized U.S. Boss retailers in December for $149.99. For the full press kit, including hi-res images, specs, and more, click here. To learn more about the Katana-Mini X Guitar Amplifier, visit www.boss.info.
Snark releases its most compact model ever: the Crazy Little Thing rechargeable clip-on headstock tuner.
Offering precise tuning accuracy and a super bright display screen, the Crazy Little Thing is approximately the size of your guitar pick – easy to use, unobtrusive and utterly dependable.
Housed in a sturdy shell, the Crazy Little Thing can be rotated for easy viewing from any angle, and its amazingly bright display makes it perfect for the sunniest outdoor stages or the darkest indoor studios. You can clip it to the front of your headstock or on the back of your headstock for extra-discreet usage – and you can easily adjust the display to accommodate your preference.
As the newest addition to Snark’s innovative line of headstock tuners, the Crazy Little Thing is rechargeable (no batteries!) and comes with a USB-C cable/adapter for easy charging. Its display screen includes a battery gauge, so you can easily tell when it’s time to recharge.
The Crazy Little Thing’s highly responsive tuning sensor works great with a broad range of instruments, including electric and acoustic guitar, bass, ukulele, mandolin and more. It also offers adjustable pitch calibration: its default reference pitch is A440, but also offers pitch calibration at 432Hz and 442 Hz.
Snark’s Crazy Little Thing rechargeable headstock tuner carries a street price of $21.99. For more information visit snarktuners.com.
Trey Anastasio unveils plans for a special solo acoustic run starting in March, 2025.
The tour gets underway March 8, 2025 at Springfield, MA’s Symphony Hall and then visits US theatres and concert halls through early April. Real-time presales begin Wednesday, December 4 exclusively via treytickets.shop.ticketstoday.com. All remaining tickets will go on sale to the general public on Friday, December 6 – please check venues for on-sale times. For complete details, please see trey.com/tour.
TREY ANASTASIO - SOLO ACOUSTIC TOUR 2025
MARCH
8 – Springfield, MA – Symphony Hall
9 – Boston, MA – Wang Theatre at Boch Center
11 – Wilkes-Barre, PA – The F.M. Kirby Center
12 - Rochester, NY - Kodak Hall at Eastman Theatre
14 – Columbus, OH – Mershon Auditorium
15 – Milwaukee, WI – Riverside Theater
16 – Nashville, IN – Brown County Music Center
18 – Chicago, IL – Orchestra Hall
19 – Kansas City, MO – Uptown Theatre
21 – New Orleans, LA – Saenger Theatre
22 – Birmingham, AL – Alabama Theatre
23 – Nashville, TN – Ryman Auditorium
26 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
28 – Clearwater, FL – Ruth Eckerd Hall
29 – Savannah, GA – Johnny Mercer Theatre
30 – Charleston, SC – Gaillard Auditorium
APRIL
1 – Knoxville, TN – Tennessee Theatre
2 – Greenville, SC - Peace Concert Hall
4 – Washington, DC – Warner Theatre
5 - Red Bank, NJ - Count Basie Center for the Arts
More info: TREY.COM.