
This vintage LG120T wasn’t in production long, but its movable neck pickup still might seem like a fresh idea.
So many novel guitar ideas have been forgotten to time. If you’re a guitar designer and you think you’ve come up with some epic concept, chances are that someone somewhere already tried it. This month, I was thinking about a rare vintage Guyatone that featured a design that still seems novel when builders toy with it today: the movable pickup.
This instrument probably wasn’t the first guitar to use something like a movable pickup. It’s worth noting that DeArmond’s famed Rhythm Chief pickups, which debuted in the 1940s for mounting on round-soundhole acoustic guitars and hollowbodies, offered a pole along which the pickup could be slid to different positions beneath the strings. But for some, the LG120T was probably a wild introduction to varied sonic possibilities. Introduced in the Japanese domestic market in May 1966, the LG120T was a bit like those old science kits you could buy as kids. Maybe you remember those old sets where you could connect wires and make lights flash?
“The LG120T was a bit like those old science kits you could buy as kids.”
The body is similar to that of the Kent guitars offered here in the States, but the electronics were unique for Guyatone. Check out those mini switches above the pickups. They offer options such as “cool” and “hot.” But what they really do is select phase, tone cut, and pickup options. Those two switches really provide a lot of sounds.
Then, of course, for even more tones, you have the movable neck pickup, which is attached to the pickguard via two screws, allowing it to rotate. Sliding the pickup around accentuates the bass or treble response. It’s a subtle change in tone, but it’s still cool and innovative for the time.
Look closely and you’ll see the “solo/rhythm” and “cool/hot” switches, plus those fretboard inlays are pretty hip. But the neck pickup is the real showstopper.
There were problems with the design, though. The pickguard on these guitars often cracked due to movement, and the neck pickup wiring is prone to disconnect after many rotations. That was the case with this month’s guitar when I acquired it, so it needed to be rewired at the neck.
Otherwise, the LG120T featured some typical Guyatone design cues of the time, such as a solid wood body and decent tuners. This model clocked in at the lower end of the price range and cost 16,000 yen back in the day. In comparison, the awesome LG180T Telstar was priced at 32,000 yen. The tremolo was somewhat unique on this model. It has a cool-looking arm with a rounded end. It’s a little detail, but I like it! This model also featured the roller bridge found on the much more expensive Guyatone Sharp 5. But man, those old roller bridges can be tough to set up!
There were two types of pickups featured on the LG120T, but they are basically the same. This guitar features the plastic covers with a slit across the front, and some models had a more open design where you could see the magnet slugs.
These LG120T guitars only lasted for a year or two. By 1967, Guyatone was really starting to struggle. Their guitars might have been popular, but they were being relegated primarily to the Japanese market. It’s sort of a bummer, but that’s business, I suppose. It’s no surprise that these days they’re really hard to find—especially in working condition. Every now and then, you can still see a new take on the movable pickup design, even though it’s never caught on en masse.
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Oni’s guitar duo cover 16 strings between them with a pair of Neural Quad Cortexes and some choice patches.
Jared Dines had been writing for Canadian metalcore outfit Oni—fronted by Jake Oni—for a few years before Jake invited Dines to join him onstage. Dines had just two days to learn the entire set before rehearsals began. But Eric Palmer can one-up him. He was teching for the band when Jake conscripted him—with just one day to pick up the set before a performance. Palmer rose to the occasion, and he and Dines have formed Oni’s two-guitar tornado for the past year.
Ahead of their gig at Nashville’s Brooklyn Bowl in December, Dines and Palmer walked PG’s Chris Kies through their spartan, one-guitar rigs—no backups, no mercy.
Brought to you by D’Addario.8 is Great
Eric Palmer is used to playing 7-string axes, so this limited-run 8-string Jackson Concept Series MDK8 HT8 MS Modern Dinky didn’t take long to get used to. The Korea-made flamethrower has a basswood body, a 3-piece maple/wenge/mapleneck, and a compound radius ebony fretboard (12" to 16"). It also boasts a dual scale length—25.5" to 27.5"—and is loaded with Fishman Fluence Modern pickups, which feature two voicings selected by a push-pull switch. Palmer had this one upgraded to a 5-way switch to access split-coil sounds, and he got rid of the tone knob. “All gas, no brakes,” as PG’s Perry Bean would say.
Petrucci Power
Jared Dines also needed an 8-string for Oni, so Ernie Ball sent him this Music Man Majesty 8, a John Petrucci signature model. It’s got Fishman’s Powerbridge piezo system, which sees action on the song “Control.” Dines attached his own string clamp behind the nut to halt noise.
Double Quads
Dines and Palmer both rely on Neural DSP Quad Cortexes on this Oni tour. Their units are mounted on Temple Audio pedalboards, and both guitarists use the Architecture: Gojira X patch for their heavy sounds, and a Roland Jazz Chorus sound for cleans. Both Dines and Palmer employ a MIDI switching system that they pulled from Aaron Marshall’s Rig Rundown, and run their signals from direct to front of house.
In our second installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier takes PG's John Bohlinger through the detailed (and scientific) process of analyzing, shifting and "tuning" the guitar's top before repeating the process when the back and sides are joined, and once again when introducing the neck to the instrument build while focusing on keeping everything harmoniously synergized and "tuned."
Axis, Cutlass, Sting Rays, oh my! There were all those and more new stylings at the Sterling by Music Man & Ernie Ball both this year as we got a tour of all their affordable options that are out or will be coming out in 2025. We saw new stylings on signature sweets for James Valentine, Steve Lukather, Ryan "Fluff" Bruce, Pete Wentz, Tosin Abasi, Jason Richardson and more!
Sterling By Music Man StingRay Plus Electric Guitar - Black
The StingRay Plus takes the classic StingRay guitar to new heights with a roasted maple neck, versatile P90 pickups, and a built-in volume boost. A matching headstock and sleek block inlays complete the polished, old-school look. Experience the next level of tone and performance with the StingRay Plus.
The PRS Standard is one of the two models that started PRS Guitars back in 1985. It has been out of the line up for more than ten years and coming back for the 40th Anniversary.
PRS Standard 24 Satin Electric Guitar - Satin Red Apple Metallic
The PRS Standard 24 features many classic PRS specifications, including a 25” scale length, Pattern Thin neck with a 24-fret, 10” radius rosewood fretboard, PRS Patented Tremolo, and PRS Phase III tuners with unplated brass shafts. Under the hood, the PRS Standard 24 is outfitted with the all-new PRS DMO treble and bass pickups with volume and tone controls and a 5-way blade switch. PRS DMO (Dynamic, Musical, Open) pickups have a “wide open” sound with vocal character, meaning they deliver clear, pleasant-sounding tones across a wide range of frequencies (bass to treble) in each pickup. DMO pickups were personally designed by Paul Reed Smith and the PRS New Products Engineering team. From our own hands-on research into coveted vintage pickup models to advancements in signal analyzation and “tuning” technology, these pickups incorporate every detail of pickup knowledge PRS has gained in recent years of R&D.