Do you ever get confused trying to interpret pickup specs? Here’s the lowdown on the most ubiquitous pickup parameter.
We all know pickups are the beating heart of our beloved electric guitars, but for many players—even those with strong opinions about tone—the specs used to describe these bundles of magnets and wires remain a mystery. This month we'll start exploring the technical side of pickups, beginning with what appears to be the king of all pickup parameters: the DC resistance (DCR) value. Over the following months, we'll investigate other parameters, too, so if you want a crash course in pickup-speak, stay tuned. To keep project-minded folks happy, I'll intersperse these forays into pickup nerdism with classic mod columns, so don't stash that soldering iron.
A typical pickup description—the kind you find everywhere on the internet—usually starts with endless speculation about how close a given pickup sounds to a vintage one, how it's constructed, and how superior it is to all other pickups. All this is followed by a laundry list of specs. In an effort to cut through the marketing hype, it's worth learning how to interpret individual pickup parameters to understand what they're telling us about a particular model.
Personally, I think a complete and helpful technical pickup description should look like this:
Magnets: Staggered A5 alnico rod magnets with D and G strings raised
Magnet polarity: South (towards the strings)
Magnet wire: Plain enamel AWG 42
Winding direction: Top right, top going
Number of turns: 7,600
Resistance: DCR 6.5k ohm
Inductance: 2.9 H @120 Hz
Quality factor Q: 5.95
Resonant peak: 7.850 Hz
There are even more parameters—including magnet strength (measured in gauss), AC resistance (measured in k ohm), capacitance (measured in pF), output (measured in mV), and resonant frequency (measured in kHz)—but those listed above are the ones I consider important, so that's what we'll be exploring in this occasional series. The physics behind all this can be very complex. In the context of this column, however, we'll keep things basic and player-friendly.
To get a sense of how builders describe their pickups, let's look at five real-world examples:
• alnico 3 magnets for medium output: neck 6.4k, middle 6.5k, bridge 6.8k
• output: 6.5 DCR / magnet: alnico 5 / cables: plastic coated
• neck pickup: DCR 5.8k ohm / inductance 2.4H @ 1 kHz / heavy Formvar wire
• alnico 2 magnets / output mV: 125 / DCR: 6.15k / treble 9.0, mid 3.5, bass 3.5
• alnico 5 magnets / 42-gauge Formvar wire / 5.8k / middle RWRP
One thing we can conclude from these disparate descriptions is that the DCR parameter seems to be the most important because it appears in each one. In fact, it's hard to find a pickup description without it, even though how it's presented is inconsistent.
You might find DCR mentioned this way: “With a DC resistance rating of 8.6k ohm, [insert pickup model] is more powerful than most single-coils, and will give many humbuckers a run for their money."
Ah, I see ... DCR must be the pickup parameter that represents volume, power, and output. Well, at least this is what such descriptions want you to believe, but is this true?
DCR stands for direct current resistance, and it's very easy to measure (which is why I suspect it is always mentioned in pickup descriptions). All you need is a simple digital multimeter (DMM). Set it to ohm and connect the two pickup leads to your DMM. If your DMM doesn't have an auto-range function, set it to 20k ohm. Now you'll get the DCR reading for your pickup (Photo 1).
Incidentally, the DCR reading is affected by such things as temperature, tension of the winding, tolerances regarding the number of turns, wire gauge, and measuring tolerances of your DMM, so the factory value of your pickup description will only be close to what you are reading at home. Don't worry, it's the nature of the beast and doesn't mean your pickup is faulty.
Regardless of the hype, the DCR reading tells us absolutely nothing about a pickup's tone. It's also useless for gauging output, volume, or power—whatever you want to call it. If you think otherwise, here is a nice experiment: Measure the DCR of any given pickup, then remove the pickup's magnet(s) and measure again. Guess what? You'll get the same DCR reading as before, but the pickup's output will be close to zero!
Here's another reason to debunk the idea of equating a high DCR reading with increased output. In one of my personal Esquires, I have a pickup that's loud as hell but has a DCR reading of 3.9k ohm.
To summarize: A pickup's DCR reading doesn't tell us anything about its potential tone or its output. Increased output doesn't come from more ohms, but rather more turns, which create more inductance.
So what does DCR tell us? It's not completely useless: When you know the nominal factory DCR value, let's say 7.5k ohm, and your DMM shows “infinite" or “overload," you know the pickup wire is broken. When you read something around 2-3k ohm, your pickup likely has a short circuit in the winding. So it provides a basic reference point that can be very useful when troubleshooting a pickup.
The next pickup parameter we'll discuss in a future column is polarity. But next month, I'll pull the curtains back on the world of hidden or “stealth" pickups and show you what it takes to convert such antique technology to modern specs. Until then ... keep on modding!
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Our columnist stumbled upon massive success when he shifted his focus to another instrument. Here, he breaks down the many benefits you can get from doing the same.
A while back, I was doing a session for the History Channel at Universal in Hollywood, California. After the session, I sheepishly admitted to some of the other session players that I was really getting into bluegrass and specifically the square-neck resonator, or dobro guitar. Now, as a progressive-jazz guitarist, that was quite a revelation. After some classic lines from the Burt Reynolds movie, Deliverance, another friend said he also was getting into mandolin and banjo.
Long story short, we put together a band, Honeywagon (which is the vehicle that cleans out the toilets under actors’ trailers on movie sets), started playing bluegrass around L.A. (up and down the Sunset Strip), and three months later, we had a record deal. We sang three-part harmony, made “deranged” covers of songs by famous artists, produced it ourselves, and sold well over 1.5 million albums and counting, and played all over the world.
What started all of that was my love for Jerry Douglas’ dobro playing. It’s so vocal, and his timbral range! You see, music is a universal language that transcends cultural, social, and linguistic boundaries. And learning another instrument is a gateway to unlock levels of self-expression, creativity, and emotional exploration you might not even be aware of.
I don’t believe in “mastery”—there are always deeper levels to discover—so let me say that while gaining significant proficiency on one instrument is a huge achievement, the benefits of learning to play at least one other instrument are immense. It will enhance your musical skills, cognitive abilities, and personal growth. Tighten up your belts, the Dojo is now open.
Enhancing Musical Skills and Understanding
Learning multiple instruments can profoundly deepen a musician’s understanding of music theory, composition, and performance. Each instrument has its unique challenges, techniques, and approaches that require you to adapt and learn new skills. For instance, a guitarist transitioning to the piano will need to understand new techniques, two-hand interdependence, chord shapes, and different ways of producing sound.
New instruments also allow you to appreciate different timbres, textures, and roles within an ensemble. A drummer who learns to play the bass, for example, will gain a deeper understanding of rhythm and timing, as they experience how their drumming interacts with the bassline. This cross-instrumental knowledge can lead to more creative compositions and more nuanced performances, as musicians become adept at thinking from multiple musical perspectives.
Cognitive Benefits
The cognitive benefits of playing an instrument are widely documented. Learning to play an instrument can improve memory, enhance coordination, and increase cognitive flexibility. When a musician learns to play an additional instrument, these cognitive benefits are amplified. The process of learning new fingerings, reading different clefs, and adapting to various physical requirements engages the brain in unique ways, promoting neuroplasticity and cognitive growth.
“Music is a universal language that transcends cultural, social, and linguistic boundaries.”
Moreover, playing multiple instruments can improve problem-solving skills and adaptability. We often face challenges when learning a new instrument, but successfully navigating these challenges builds resilience and perseverance—skills that are valuable both in music and in other areas of life.
Emotional and Personal Growth
Music is not just a technical skill, it is also a deeply emotional and expressive art form. Learning to play multiple instruments can enhance your ability to express and connect with your rich emotions. Each instrument has its own voice and character, offering different ways to convey those emotions and tell stories. A violinist who learns to play the flute, for instance, may discover new ways to express lyrical melodies or subtle nuances in phrasing. In addition, taking on another instrument can boost confidence and self-esteem.
Expanding Musical Opportunities
It can also open you up to a wide range of musical opportunities. Musicians who can play multiple instruments are often more versatile and in-demand for various musical projects. The more you’re able to adapt to different genres, styles, and ensemble settings, the more valuable a collaborator you’ll be in bands and recording sessions.
Which One?
Ultimately, I’ve found that the instruments I can play besides the guitar have helped me deepen my connection with music and discover new ways to express myself. If this article is resonating with you, I would suggest choosing your new instrument based around what excites you the most. Is it bass, keys, pedal steel (one of my personal faves), or modular-synth programming? The possibilities are as wide as your mindset. In “Song of Myself, 51,” Walt Whitman said, “I am large, I contain multitudes.” Namaste.John Mayer Silver Slinky Strings feature a unique 10.5-47 gauge combination, crafted to meet John's standards for tone and tension.
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