Guitarists are always changing pickups. So, what are we searching for?
Everyone knows that tone is in the pickups, right? At least that’s what the prevailing thought seems to be. There must be something to that idea because guitarists are spending a huge amount of cash changing pickups like dirty underwear. Almost daily we hear about a new pickup maker who has “cracked the code” by utilizing materials and techniques that somehow companies with million-dollar R&D budgets missed. I’ve worked with and rely upon a large number of pickup brands, and I truly love a lot of what they produce, but I’ve also learned that it’s easy to get lost in the hype.
For decades, things were different than what we see today. There were almost zero aftermarket choices—you basically played your guitar with whatever pickups it left the factory with. There were exceptions, but musicians, for the most part, didn’t screw around with hot-rodding their pickups. Maybe Les Paul did, but guitarists like Jimi Hendrix, Jeff Beck, Eric Clapton, Roy Buchanan, and even SRV just played what they had. If they could have accessed the smorgasbord of choices we have now, would the music have sounded better?
The shift in the way guitarists thought about pickups started in the mid 1960s, when players began to perceive a loss of quality in new guitars. Taking a page out of the violinist’s book, artists at the vanguard of musical style began developing a preference for older instruments, in this case those made in the 1950s. (This was counterintuitive to the average player, as the emphasis in the “space age” was always on newer equals better.) And then, just as now, it was discovered that pickups had something to do with that change of course.
The fact of the matter is that for both humbuckers and single-coil pickups, there was no single shift in quality. Instead, there were a myriad of small changes. As with any manufacturing concern, guitar companies were somewhat at the mercy of the vendors who supplied the raw materials. The magnets, wire, and steel that were used in these classic pickups all fluctuated depending upon availability. This fact is what also drives a lot of the hype around today’s aftermarket pickups. We can look back at the multiple changes in magnet composition and wire specification (just to name the two most obvious) to gain clues about how there is no single best-sounding pickup to emulate.
“Guitarists like Jimi Hendrix, Jeff Beck, Eric Clapton, Roy Buchanan, and even SRV just played what they had. If they could have accessed the smorgasbord of choices we have now, would the music have sounded better?”
Winding techniques are often referenced as the elixir that makes the difference, but once again, there is a bit of myth involved here, too. Most of the blue-chip pickups were wound on automatic machinery built for precision and repeatability, with the emphasis on creating the same result from part to part. Proper wire tensioning was important to maintain, and impedance and inductance were monitored constantly, confirmed to me by none other than Seth Lover himself. The concept of “scatter” winding is seemingly contradictory to this idea. Hand-winding inconsistencies are neither perfectly repeatable or advisable for a factory brand, but it would be the case for smaller shops who could not afford expensive winding machines. Even so, there are instances of Monday morning/Friday afternoon mistakes in the realm of pickup manufacturing. This isn’t to say that a scatter-wound pickup can’t sound great, but winding by hand is practically impossible to do with 100 percent repeatability, which calls into question its value as a selling point.
From where I sit, I acknowledge that certain pickups sound better to my ears than others. The real test is if the supplier can deliver consistency I can count on. The same goes for the big guitar companies. When I was designing for production, there was no latitude for pickups that didn’t meet specification or failed. In today’s market, most guitar makers want to put their best foot forward, despite the knowledge that the customer may swap pickups for their current favorite.
I’m not suggesting that pickups don’t make a difference or that a good pickup/guitar matchup won’t result in an improvement—of course they do. Just because one pickup sounds great in one guitar doesn’t mean it will in another. That’s why I spend a lot of time testing. I’ve heard enough to know that the right combination of guitar and pickup, mated with just the right amplifier, can make magic. Just be prepared to spend a lot of time getting there.
Nashville luthier and repair tech Dave Johnson from Scale Model Guitars leads you through a simple process to improve your guitar's playability by showing the steps to execute a neck adjustment, dial in your string action at the bridge, improve your nut slots, and lock down stable intonation.
This Tele looks flashy, but its unique wiring scheme is simple and easy to recreate.
Hello and welcome back to Mod Garage. This month, we will explore the Fender John 5 Ghost Telecaster wiring and how you can adopt it for your own Telecaster. Fender recently released this signature Telecaster in a limited edition of 600 pieces, and they quickly sold out. Before many serious musicians could grab one, collectors with big purses bought them all. So, your only chance to get one now is to look for a used one, or hope that Fender will have mercy and build some more. Or, you can read on to learn what’s inside and how to build your own version of this guitar.
I have to confess that this is a matter of heart for me because I’m a John 5 fan. I’m really fascinated with his playing style. This guy can play it all. No matter if he’s picking country swing or shredding death metal, his playing is very close to the traditional tones and techniques, but is always in his own style. Besides this, he’s a very humble guy with a great sense of humor, so I’m really happy to write a piece about his new signature Telecaster.
Fender worked very closely with John 5 on this model. At its core, this guitar is a standard HH Telecaster in arctic white—including the neck and fretboard—with red accents that include the binding, nut, knobs, pickups, and more. It’s a matter of taste, if you like this flashy aesthetic or not.
Let’s have a look at the basic features, so you have a shopping list if you want to build your own:
- alder body with HH pickup routings and binding
- maple neck with a medium C shape, 9.5" radius, and 22 narrow tall frets
- 42 mm synthetic bone nut
- string-through Tele bridge with humbucker pickup cutout and six block steel saddles
- sealed locking tuners
- 1-piece pickguard/control plate combination in mirrored chrome
- .009–.042 nickel-plated steel strings
What makes this guitar really stand out besides its appearance is the wiring, which I think is very special but also minimal. You can put this wiring inside any Telecaster, as long as it accepts two humbuckers. It consists of:
- two DiMarzio D Activator humbucker pickups
- master volume control (most likely 500k audio) without treble-bleed network
- Gibson-style 3-way pickup-selector toggle switch
- momentary kill switch
That’s all John 5 needs to sound like no one else, so let’s go through the pieces step by step and see what is under the hood.
Pickups
The DiMarzio D Activator humbuckers are passive mid-output pickups with ceramic magnets that have been available since 2006. In the John 5 Ghost Telecaster, both pickups are permanently wired to run as full humbuckers with both coils in series. For the wiring diagram, I used the DiMarzio color code: Green and bare wire are going to ground, black and white are connected and taped off, red is the hot output. If you want to use different humbuckers, you will have to transfer the colors of the wires using one of the numerous color code charts on the internet.
On the Ghost Tele, the pickups are red, but they are available in many different colors, too.
Pots
There is only a single master volume control, without a treble-bleed network. I haven’t had an opportunity to look at one of these guitars in person, and Fender has not released a wiring diagram, but I’m pretty sure they choose a 500k audio pot together with these pickups, so that’s what I also recommend using.
John 5 chose a Gibson-style “speed knob” in red, but any knob will work.
Selector Switch
The John 5 model uses a standard Gibson 3-way pickup-selector toggle switch (with a red tip, of course) mounted to the upper bout for swift pickup switching. It should be wired like this:
- bridge pickup as full humbucker alone
- both pickups as full humbuckers in parallel
- neck pickup as full humbucker alone
Kill Switch
Instead of a tone control, there is a kill switch beside the master volume pot (in red ... what else?) that Fender calls “arcade style.” And yes, it reminds me a lot of the hardware of the ’80s game consoles .... Space Invaders or Donkey Kong, anyone?
A kill switch is a momentary switch that is usually used for machine gun sounds or stuttering effects. (A momentary switch only cuts off your guitar’s signal against ground while being pressed and resumes normal sound when released.) For a kill switch, you only need a basic on/off 2-position switch. An SPST (single pole-single throw) switch is ideal. SPST switches have only two contacts on the bottom and the switch simply connects (or disconnects) these two terminals to each other when the switch is pressed.
“What makes this guitar really stand out besides its appearance is the wiring, which I think is very special but also minimal.”
Be sure to buy a good quality switch, and make sure it’s a momentary and not a latching type. The type you need is a “normally open” (off) switch. When you are pressing the switch, you make a connection between the two contacts. The switch returns to the off position when you release the button.
There are special high-quality, all-metal kill switches for guitars available. There are also models with an LED inside if you are looking for a cool look. But keep in mind that you will need a battery for the LED, plus space inside the guitar to install it.
Here we go for the wiring. As usual, I substituted all ground connections with the international symbol for ground to keep the diagram as clean as possible. The wiring itself is very easy to do and is also a good beginner’s project.
Fig. 1
Illustration courtesy of singlecoil.com
That’s it! Next month, we will take a deep dive into something I received many email requests for, because it’s always confusing and not easy to understand: phase and polarity, and the difference between these two pickup parameters. So, stay tuned!
Until then ... keep on modding!