Illustration courtesy Singlecoil
Let’s have a deep look into what can be done to get rid of single-coil hum, which can be very annoying, especially when playing live. I’m sure you all know the situation: Your band managed to get an important Friday night gig at, let’s say, Bob’s Country Bunker. You and your bandmates arrive in time to set up your equipment, naturally with everything plugged into the same circuit as Bob’s popcorn machine, dishwasher, and sandwich maker. You plug in your Strat, turn up your amp, and there’s a loud humming noise coming out of it.
A single-coil pickup has one coil with six magnet rods and two bobbins holding everything together. It not only picks up the strings, but also all kinds of external magnetic fields generated by transformers and other electromagnetic devices. But when two coils are wound in opposite directions and are working together, the hum will get canceled. This is an old principle dating back to the beginning of the 20th century, and it’s how a humbucker pickup works. In the past, guitarists had to struggle with radio stations, fluorescent tubes, transformers, and the like; today, it’s more digital fallout and, of course, digital power supplies of all kinds.
The pickup industry created all kinds of hum-canceling pickups in single-coil shape, most commonly stacked and double-rail-style pickups. So, a humbucker pickup can be the ticket out of such unpleasant live situations. But all of these options generate a different magnetic field compared to a single-coil pickup, resulting in a different tone. The resonant frequency is shifted downwards a little bit because the ohmic resistance and inductance of the two coils are added together. The tone gets milder and warmer, with more midrange—you all know this tone. Splitting such a humbucker will sound more single-coil-like, but it will pick up hum again. Connecting both coils in parallel rather than in series will also sound more single-coil-like and is hum-canceling, but it’s not a real single-coil tone.
Using a reverse wound, reverse polarity (RWRP) pickup such as a Strat’s middle pickup will get you at least two hum-free switching positions (bridge+middle and neck+middle), but even this sounds different. Going active is another way to fight humming noises, and these special pickups sound more or less like a real single-coil, too.
But what if you don’t want to compromise? Is pure single-coil tone with no hum possible? Yes and no! It is possible to come close, but one day, a digital gremlin may find a way to annoy you to a certain degree. And there are extreme situations where only a humbucker will work.
One step in the right direction is shielding the pickups and cavity of your guitar. Shielding the compartment of a guitar the right way is a challenge on its own, and I will cover this in a future installment of this column. But even if all the shielding is done the right way, the sound of the pickup will be altered to a certain degree, which is the nature of the beast. And the shielding is always there, so you can’t switch between pure single-coil and shielded single-coil tone.
So, what about switchable hum-canceling for your guitar? This way you could have both: pure single-coil tone and hum-free operation when needed. And if this could not only be made switchable but also controllable, you could balance your tone between the two.
Here is a solution based on principles from Bill Lawrence, which my dear friend Bernd C. Meiser from the BSM company has refined in order to make it more controllable: a variable dummy coil.
“But what if you don’t want to compromise? Is pure single-coil tone with no hum possible? Yes and no!”
In simple terms, a dummy coil is an additional pickup that is identical to the other pickups but without magnets. It has a phase, but no polarity. A dummy coil accepts the electric signal created by the magnetic single-coil pickup and reverses it, which will remove a large portion of the hum. In the process, a very small amount of the treble signal is lost as well. However, this treble loss is far less compared to stacked or dual-rail humbuckers.
The specs of the dummy coil need to be close to the pickup you are complementing. So, any universal dummy coils advertised to work with all single-coil pickups will only work to a certain degree but not perfectly. Instead, it’s best if you order a dummy coil that matches your pickup. The company who made your pickup will know the formula, and a dummy coil from them will be super effective. If that pickup is from a larger manufacturer, you’ll need to find out specific parameters—wire gauge, wire type, number of turns—so a custom pickup company can make a matching dummy coil for you.
The simplest way to set up a dummy coil would be to connect it permanently, so it’s 100 percent active all the time. For more flexibility, you can add a switch to turn the dummy coil on and off. But the most flexible way is to use a pot to control the dummy coil, so you can dial in pure single-coil tone, 100 percent dummy-coil hum-removing, and everything in between—in other words, so you can balance tone and hum-free-ness depending on the certain playing situation.
To do so, connect a 0.01 uF capacitor in parallel to the dummy coil. The high-end frequencies will no longer pass the dummy coil and its inductance; they will be drained low-resistance to ground. For the bass frequencies, the capacitor is still high-resistance so the dummy coil is active. This way you will have humbucking functionality for the bass frequencies, but pure single-coil tone in the high frequencies—what a perfect and clever solution from Bill Lawrence. If you now connect the capacitor and the dummy coil to a pot, you have a controllable dummy coil as described above.
You can experiment with the capacitor value for fine-tuning your system; 0.01 μF is a pretty good value to start. With a smaller cap, you shift the humbucking effect toward the high frequencies and vice versa. A smaller cap means more overall humbucking (bass and highs) and a larger cap means less overall humbucking, with the high and middle frequencies staying untouched.
A Stratocaster is perfect for this mod because it has two tone controls. One will be converted to a Telecaster-style master tone control, while the other will become the new dummy-coil controller.
For a Stratocaster with three vintage flavored single-coil pickups, I recommend the following pot configuration (all audio taper): 250k volume, 500k tone, 500k dummy-coil controller. This way, in humbucking mode, the two coils are connected in series rather than in parallel, so the resonance peak will be dampened. The two 500k pots will help compensate for this. The 250k volume is always the way to go in a passive guitar system to ensure the best and most even control. The 500k tone pot can be a little bit over the top in pure single-coil mode, but simply roll it down a little and you are in the 250k ballpark—problem solved!
Here we go for the wiring. It’s not hard to do and mostly uses the parts that are already there:
Illustration courtesy Singlecoil
That’s it! Next month, we will talk about some alternative ways to service a Stratocaster that can be real time savers, so stay tuned.
Until then ... keep on modding!
To most people, WWJD spells out “What Would Jesus Do?” But in the case of sworn shred disciple Diamond Rowe of Tetrarch, it stands for “What Would James (Hetfield) Do?”
“The longer you talk to me, you’re going to find out that I’m super old school with my rig,” admits Rowe. “We’ll go on tours and play festivals and people will approach us and ask, ‘why aren’t you doing this’ or ‘why aren’t you doing that’ and I’m just like, I don’t know … because Metallica did it this way [laughs].”
Tetrarch was founded in Atlanta during 2007 by friends (and guitarists) Diamond Rowe and Josh Fore. (Fore is also the band’s lead singer and handled drums for their 2013 EP Relentless). Ryan Lerner has been locked in at bass since 2009 and drummer Ruben Limas has been onboard since 2015.
The band hustled and self-released three EPs and their debut album Freak over the course of 10 grinding years. During that time, their thrashy roots broadened to incorporate nu-metal sounds delivered in a polished, more melodic, hook-laden package. That growth resulted in a deal with Napalm Records, where they released a LP (Unstable) and EP (Addicted) last year. The evolution of their sound and songcraft also saw a progression in gear.
“On the [early] EPs, I never did anything with delay pedals, phasers, or whammys—nothing—and I really wanted to try it,” Rowe told PG in 2017, around the recording of Freak. “Some of my all-time favorite bands have textural stuff like that. A lot of it came out sounding cool and we kept it. I was pretty happy about that. It’s fun to do live, too.”
Ironically, as the size of stages they played grew, Rowe’s gear footprint decreased. “I am one of those types of people,” she told PG. “I get emotional connections to my gear. The idea of switching my rig around gives me so much anxiety.”
The simplification of their rigs has only helped sharpened Tetrarch’s collective blade. And, specifically, Rowe’s reduction in pedals onstage has allowed the young flamethrower to torch crowds with a more immediate, powerful, direct punch to the gut.
Before Tetrarch’s opening slot for Sevendust at Nashville’s Wildhorse Saloon, PG’s Perry Bean stopped by to inspect the condensed-but-crushing setups of guitarists Rowe and Fore. Rowe shows off a sneaky upgrade—you’ll get plenty of clues in these captions—to her ESPs, allowing them to handle severely dropped tunings. Fore reveals how straight-forward his setup is so he can pull off riffing and singing. And both pile on the praise for their EVH bedrocks of gain.
[Brought to you by D’Addario XPND Pedalboard.]
Import Incinerator
Diamond Rowe has been a longtime endorsee of ESP guitars. She typically locks in with their single-cut 6-string models, but for Freak she went even heavier.
“The 7-string I liked was the Carpenter,” Rowe told PG in 2017. “It’s a beautiful guitar. It has a big body. It is heavy weighted like I like guitars to be. It’s a perfect fit for me. I love that guitar.” Since then, the band has evolved into using drop-A and drop-B tunings while shifting back to the standard 6-string format. The above shred machine (ESP LTD Deluxe EC-1000ET) helps facilitate familiar tension thanks to its EverTune bridge. Its voice comes to life with a set of EMG 81/60 active pickups. She puts on either Ernie Ball Skinny Top Heavy Bottom (.010–.052) or EB Skinny Top/Beefy Bottom (.010–.054) strings. She attacks the strings with Dunlop Jazz III and Tortex 1.14 mm picks.
Flamethrower
Here’s another one of Diamond’s ESP LTD Deluxe EC-1000ETs. This one is rocking a pair of EMG (57/66) active pickups, too. It rides in drop-B [B–F#–B–E–G#–C#] for the song “Take a Look Inside.”
Go for the Gold
Diamond started her playing career on a Gibson Les Paul Standard. All the guitars that followed had to pass her “toy test.”
“It’s probably because my first main guitar was a Gibson Les Paul Standard and it’s a heavy-weighted guitar,” Rowe admitted to PG. “Anytime I pick up anything lightweight I feel like I’m playing with a toy. It’s just a preference. I like feeling like I have something around my neck.”
The above ESP LTD Deluxe EC-1000T CTM is the heaviest, mightiest single-cut on tour with her. The gold-capped EMGs are still her preferred 81/60 combo. This sees the stage for songs from the band’s earlier EPs, when they lived in drop-C or D-standard tunings.
Mean Green
Rowe’s latest acquisition is this ESP E-II Eclipse Full Thickness that came to her stock with a set of EMGs (57TW/66TW) that offer coil-splitting for each pickup with individual push-pull controls on each volume knob.
Super-Smooth Smasher
Rowe had done several tours with her reliable Mesa/Boogie Triple Rec. However, whenever the band hit the studio, they’d track with a Peavey 6505.
“[For Freak] we used a Peavey 6505, and that’s the secret to studio tone for metal,” stated Rowe. “That or an EVH. That’s the tone that’s flawless for metal records and that’s predominantly what we used on this record. I think that’s on every recording we’ve ever done.”
So, when she was approached by EVH/Fender to try out some amps, she already knew things would get cooking. She tested the 50W EVH 5150 III alongside her Boogie for a few tours. But her world got rocked once introduced to the 100W EVH 5150 III 100S EL34. “I started playing it and immediately loved it,” said Rowe. “It has a smooth, saturated, high-gain tone that just meshes with Josh’s 50W 5150 III.”
Dirt and Dive Bombs
Diamond keeps things succinct on her pedalboard. For now, she only has two effects living in her stage setup: an always-on Ibanez TS9 Tube Screamer and a DigiTech Whammy for pure fun and note obliterating. A pair of Boss utilitarian stomps—NS-2 Noise Suppressor and TU-3 Chromatic Tuner—keep the guitars clean. Voodoo Lab has her pedals running and organized with a Pedal Power ISO-5 and Ground Control Pro MIDI switcher.
“Freak Tone”
Diamond has a rack that holds the pieces that make up her “freak tone” patch. It engages a Boss RV-6 Reverb, Boss DD-7 Digital Delay, Boss CE-5 Chorus Ensemble, and a MXR Uni-Vibe. Around back she has a pair of MXR Carbon Copy delays, too. The rack goodies are juiced with a Voodoo Lab Pedal Power 2 Plus.
Simple Screamin’ Demon
“I’m so simple as a guitarist, man” concedes Tetrarch frontman Josh Fore. “I never use the neck pickup and I might have tried the coil-split once [laughs].” Josh Fore’s go-to stage ace is an ESP LTD Deluxe TE-1000 EverTune that has a duo of EMGs (60TW-R and 81) and is finished with stealthy charcoal metallic satin. This one stays in drop-A tuning. All of Fore’s instruments take Ernie Ball Mammoth Slinkys (.012 –.062).
The Bee’s Knees
His first T-style from ESP was this honeycomb burst LTD Deluxe TE-1000 EverTune that barks with EMGs (57/66) and typically lives in drop-B tuning.
Bonded in Blood
Fore’s newest score is this slick ESP E-II Eclipse EverTune that is loaded with passive Seymour Duncans—Pegasus (bridge) and Sentient (neck)—and decked out with 22 jumbo frets, Dunlop Straploks, Gotoh locking tuners, and a graphite nut. If you look closely down by the controls, you’ll notice a darkened smudge on the binding that’s actually Josh’s blood from a rowdy show in Santa Ana. He sliced his finger during the second song of the set and, with a true showman’s attitude, continued playing while also personalizing his new prize. The bloody bomber hunkers down in drop-C tuning for Tetrarch’s earliest material.
Take Your Pick
Matching Rowe’s sonic swarm, Fore totes around a couple of EVH heads. Currently, he’s been preferring the 50W EVH 5150 III, but when additional sting is needed, he’s got the 100W down below. The only pedals in his entire chain are a duet of Boss NS-2 Noise Suppressors—one in front of the amp and one after—that kills any unwanted buzz and hiss.