Innovation. Amplified.

Chapter 5

The Ancient
Order of the
Mystic
Magnetic
Pickup
by
Hartley Peavey
 T he Ancient Order of the Mystic Magnetic Pickup
Interestingly, here in the new millennium there is
still more mystery, BS, and misunderstanding regard-
The Beginning
The invention of the telegraph (in the mid 1800’s)
enabled long distance communication for the first
ing guitar and bass pickups than almost any other as- time. These early telegraphs had no means to make a
The
pect Ancient
of musical Order of the Mystic
instruments. Because Magnetic
pickups seemPickupsound, except through the use of an electromagnetic
“mysterious,” many players tend to attribute “super- “clicker,” that attracted a small metal bar when a current
erestingly,natural
here inabilities”
the new to millennium
what really isthere
a fairlyissimple
still more mystery,
device BS,flowed
(signal) and through the telegraph wire into the
standing regarding
(that can be guitar
madeand bassconfigurations
in many pickups thanand almost
fromany
a other
clickeraspect of these telegraph “receivers” were
coil. Since
nstruments.number
Because pickups seem “mysterious,” many
of different materials). The basic principles re- players tend to
incapable of making any sound, other than The Beginning
a “click”, a
“supernatural
main abilities”
exactly the to what
same really
as the is a fairly
very simple device (that
first pickups. can be
primitive made
“digital format” was invented by Samuel
configurations and from a number of different materials). The Morse. basic principles
Obviously,
The invention I’m referring
of the to what most
telegraph (inpeople
the mid 180
xactly the same as the very first pickups.
The so-called “electric guitar” has been around far lon- know as “Morse code” (consisting of
communication for the first time. These early long and short telegra
ger than most guitar players are aware. Even very few periods of current flow often called “dots and
sound, except through the use of an electromagnetic dashes”).
he so-calledmusic
“electric guitar”
industry has been
veterans around
are aware, that far
the longer than most
first known In guitar
order
metal for this
bar whenlongadistance
currentcommunication
(signal) flowed to through
work, the
re aware. patent
Even very for anfew music guitar”
“electrified industrywasveterans
issued toare aware, that
George both the
the first
sender and the receiver had to know the
Since these telegraph “receivers” were incapable of
atent for anBreed
“electrified
(of theguitar”
United was
Statesissued
Navy)toonGeorge
SeptemberBreed2, (of“Morse
the United
code,” and to be able to send and receive the
“click”, a primitive “digital format” was invented by Sa
avy) on September
1890 (US Patent2, 1890 (US Patent
number number
435,679)! A copy435,679)!
of this pat- A copy of this code
appropriate patent for numerals and the letters of the
referring to what most people know as “Morse code”
The Beginning
ed for your ent
perusal.
is attached for your perusal. alphabet.
periods of current flow often called “dots and dashes
The invention of the telegraph (in theAs communication
midsoon1800’s) to technology
as thisenabled
basic work,longboth the sender
distance
became and the rece
widespread
communication for the first time. These early and
(and to be
telegraphs able to send
had no that
people realized and
means receive
longtodistance the appropriate
make a electrical c
the alphabet.
sound, except through the use of an electromagnetic
communication “clicker,”
was that attracted
possible) a small search
a worldwide
metal bar when a current (signal) flowed throughbeganthe for ways to electrically
telegraph transmit
wire into the the human
clicker voice
coil.
over As
wires. soon
Instead as ofthis
Since these telegraph “receivers” were incapable of making any sound, other than a basic
relying on technology
the “Morse became
code” wid
long
(wherein
“click”, a primitive “digital format” was invented distance electrical
the message
by Samuel Morse. communication
hadObviously,
to be codedI’m was
by the sender possible
ways
and then to electrically
decoded by
referring to what most people know as “Morse code” (consisting of long and short transmit
the operatorthe human
at voice over wi
the receiving
end)
periods of current flow often called “dots and“Morse they
dashes”). wanted
code” to transmit
In (wherein
order for the VOICE
thismessage down
long distance hadwires.
the to be coded
There
by the isoperator
some debate at the about who actually
receiving end) invented
they wanted to
communication to work, both the sender and the receiver had to know the “Morse code,”
what we
There iscode now
somecall the telephone, but most agree that it
and to be able to send and receive the appropriate fordebate
numerals about andwhotheactually
letters ofinvented w
was Alexander Graham Bell (who
most agree that it was Alexander Graham Bell (whopatented the first
the alphabet. practical telephone). He invented the telephone in and w
telephone). He invented the telephone in 1874
1874 and was granted a patent on his invention in
As soon as this basic technology became invention in 1876.(and In order to realized
do this, he had to inven
1876. widespread
In order to do this, people he had to invent athat way to
current and
long distance electrical communication was modulate
possible) a to change search
worldwide this varying
began signal
for into a soun
an electrical current and to change this
ways to electrically transmit the human voicevarying
over signal
wires.intoInstead
a soundof at relying on the
the receiving end.
“Morse code” (wherein the message had to be coded by the sender and then decoded
by the operator at the receiving end) they wanted to transmit VOICE down the wires.
There is some debate about who actually invented what we now call the telephone, but
most agree that it was Alexander Graham Bell (who patented the first practical
telephone). He invented the telephone in 1874 and was granted a patent on his
invention in 1876. In order to do this, he had to invent a way to modulate an electrical
current and to change this varying signal into a sound at the receiving end.
Telephone Carbon Mic
Telephone Carbon Mic

Bell discovered that if he used a flexible diaph

As you might imagine, over the many decades since of carbon particles, the pressure on the diaphragm w
s you might imagine, over the many decades since then, pickupgranules; technology hascausing the current through the conn
thus,
then, pickup technology has gone in many directions
many directions using both magnetic and so-called “Piezo,” pronounced movement pi-Á-zo
of the diaphragm. Essentially, Bell discov
using both magnetic and so-called “Piezo,”
zo!). This type of pickup uses a crystal or ceramic element
pronounced pi-Á-zo (not pie-zo!). This type of pickup
that produces
resistor” controlled by the movement of a thin diaphr
y when the uses
element is “stressed”
a crystal or bent
or ceramic in some
element that way.
produces amplification devices during that time, Bell discovere
electricity when Telephone Carbon
the element isMic
“stressed” or bent in Telephone
of electricity at the “Receiver”
audio
Telephone rate by utilizing a diaphragm
“Receiver”
some way. electrically conducting carbon granules. This was th
2 led to the telephone. It was understood by the 1880s
Bell discovered that if he used a flexible diaphragm pressing
2 against a “capsule”
of carbon particles, the pressure on the diaphragm coil could move
would a piece
variably of magnetic
compress material in direc
the carbon
 patent on this on January 20th 1874. The rest is history, and innovation is continuing to
the present.

Bell discovered that if he used a flexible diaphragm

pressing against a “capsule” of carbon particles, the
pressure on the diaphragm would variably compress
the carbon granules; thus, causing the current through
the connecting wires to vary with the movement of the
diaphragm. Essentially, Bell discovered a way of
making a “variable resistor” controlled by the movement
of a thin diaphragm. Since there were no known
amplification devices during that time, Bell discovered
a novel way of controlling the flow of electricity at the
audio rate by utilizing a diaphragm to vary pressure on
the electrically conducting carbon
The first granules.
speakers Thisjust
were wasa variation of the telegraph “receiver”, except that the
the first practical microphone, which led
moving part of this device was connectedto the to a diaphragm capable of moving air. Once
telephone. It Mr.
was Bell
understood by the his
demonstrated 1880s, that a
“telephone”, inventors realized that sound could be
varying current flow in a coil
reproduced could move
through a piece
electrical of
means. At about the same time, Ernst Siemens
magnetic material in direct proportion to the amount of
(Germany) thought up the idea of a “dynamic” (moving) coil transducer. He filed a US
current flowingpatent
through onthe coil.
this on January 20th 1874. The rest is history, and innovation is continuing to
the present.
The first speakers were just a variation of the telegraph
Most instruments, up until the first part of the 20th Century, were so-called
“receiver”, except that the moving part of this device
“acoustic” instruments (brass and woodwind “horns”, and a wide variety of string or
was connected to a diaphragm capable of moving air.
percussion instruments that depended on natural resonance or “horn loading” to
Once Mr. Bell demonstrated his “telephone”, inventors
achieve their
just aoutput). The reason for the above discussion on the first microphones is
realized The
that first
soundspeakers
could bewerereproduced variation
throughof the telegraph “receiver”, except that the
moving part of this because, the first “guitar pickups” WERE various formsair.
of MICROPHONES attached t
electrical means. At device
about thewassameconnected to a diaphragm
time, Ernst capable of moving Once
Mr. Bell(Germany)
Siemens demonstrated conventional
his
thought up“telephone”,
acoustic instruments (such as pianos
inventors realized that sound could be
the idea of a “dynamic”
or guitars). Breed’s patent utilized
reproduced
(moving) battery
filed aand
through electrical
coil transducer. He US apatent
means. coilAtto energize
about
on the strings
this the same time, themselves
Ernst Siemenswhich were attached to a
on(Germany)
January 20th thought traditional
uprest
1874. The theisidea acoustic
of and
history, resonator
a “dynamic” (since, at that time, there
innovation(moving) coil transducer. He filed wasanoUSsuch thing as vacuum
ispatent on this
continuing tubes
onpresent.
to the to
th amplify the sound generated by the string). The Siemens’ loudspeaker was,
January 20 1874. The rest is history, and innovation is continuing to
the present. likewise, THEN impractical except through the use of a “carbon microphone.”

A Hot Idea

As most people know, Thomas Edison was the first to invent a practical
incandescent light bulb. The so-called “Edison bulb” had a Tungsten filament, and the
glass bulb itself contained a Most
vacuum that enabled
instruments, thethe
up until Tungsten
first parttoofglow “white hot”
the 20th
(without destroying itself through instant oxidation).
Century, were so-called “acoustic” instruments (brass
and woodwind “horns”, and a wide variety of string or
percussion
Most instruments, up until the first part of theinstruments that were
20th Century, depended on natural
so-called
“acoustic” instruments (brass and woodwind “horns”, and a wide variety of stringoutput).
resonance or “horn loading” to achieve their or
percussion instruments that depended The reason resonance
on natural for the above discussion
or “horn on tothe first
loading”
achieve their output). The reason for the microphones is because,
above discussion the first
on the first microphones
“guitar pickups”is
WERE various forms of MICROPHONES attached to
because, the first “guitar pickups” WERE various forms of MICROPHONES attached to
conventional acoustic instruments (such as pianos or
conventional acoustic instruments (such as pianos or guitars). Breed’s patent utilized a
guitars). Breed’s patent utilized a battery and a coil to
battery and a coil to energize the strings themselves which were attached to a
energize the strings themselves which were attached
traditional acoustic resonator (since, at that time, there was no such thing as vacuum
to a traditional acoustic resonator (since, at that time,
tubes to amplify the sound generated by the string). The Siemens’ loudspeaker was,
there was no such thing as vacuum tubes to amplify
likewise, THEN impractical except through the use of a “carbon microphone.”
the sound generated by the string). The Siemens’
Most instruments, up until the first part of the 20th Century,
loudspeaker was,were so-called
likewise, THEN impractical except
“acoustic” instruments (brass and woodwind “horns”, and a wide variety of string
through the use of a “carbon microphone.”or
A Hot Ideaor “horn loading” to
percussion instruments that depended on natural resonance
achieve their output). The reason for the above discussion on the first microphones is
As most
because, the first “guitar people WERE
pickups” know, Thomas Edisonofwas
various3 forms the first to invent
MICROPHONES a practical
attached to
incandescent light bulb. The so-called “Edison bulb” had a Tungsten
conventional acoustic instruments (such as pianos or guitars). Breed’s patent utilized filament,
a and the
 A Hot Idea
As most people know, Thomas Edison was the first to
invent a practical incandescent light bulb. The so-
called “Edison bulb” had a Tungsten filament, and the
glass bulb itself contained a vacuum that enabled the
Tungsten to glow “white hot” (without destroying itself
through instant oxidation)
hot filament and the anode (plate) connected to a high
voltage. These gentlemen created a kind of “electric
valve” which enabled control of the flow of electrons
through the vacuum, just as the earlier carbon
microphone controlled the flow of electrons by varying
the pressure exerted on carbon granules, thus,
changing its resistance in direct proportion to the
pressure applied.

dison’s bulbs ushered

Edison’s bulbs inushered
electricinlighting and seemed
electric lighting and seemed to work reasonably well
ded periods, with reasonably
to work the exception that
well for these early
extended periods,“lightwithbulbs”
the tended to turn
side the glassexception
bulb) that
overthesetime.early “light bulbs”
Edison’s tendedtried
laboratory to turnmany approaches to
s “blackening” blackproblem
(inside through
the glassthebulb) use over time. techniques;
of various Edison’s one of which was
Although there is some controversy about who actually
a small metallaboratory tried many
rod through the glass.approaches
The Edison to solve this
lab discovered that when this tube triode, most people on this
Although there invented
is some thecontroversy
vacuum
ing rod”bulbs
dison’s
“blackening”
was attached
ushered in
problem
to electric
a POSITIVE through
lighting
the
voltage,
and
use of
electrons
seemed
various
to wouldreasonably
work flowofthrough
side the well
Atlanticthecredit about who actually invented the
of bulbtechniques;
theperiods,into thethe one of which
rod…Not triode,
was inserting
surprisingly, this most
a small
new people on was
metal
phenomenon this side
called the Atlantic creditfor
of “the DeForest that invention.
DeForest for that inven
ded with exception that theseRegardless
early “light bulbs”
of who Regardless
tended
actually to turnof
invented who actually
it first, invented
the vacuum it first, the vacuum
valve made possib
Effect”…What rod they
throughhad the glass. The
created wasEdison lab discovered
a “vacuum diode” that rectifier tube).
(AKA
side the glass bulb) over time. Edison’s laboratory
amplification tried many valve made
approaches possible
to electronic
and thus, opened the way for AM radio, amplified instrumentsamplification and thus,
when this “conducting rod” was attached to a POSITIVE
s “blackening” problem through the use of various
reinforcement, techniques; opened
one of the
and so-called which waywas
“talking forpictures.”
AM radio, In amplified
1911, Ed instruments,
Prindham and
voltage, electrons would flow through the vacuum of
a small metal rod through the glass. The Edison lab discovered sound reinforcement,
that when this and so-called “talking pictures.”
the bulb into the rod…Not surprisingly, inventedthis the new
first practical (and manufacturable) moving coil loudspeaker c
ing rod” was attached towas
phenomenon a POSITIVE
called “the voltage, electrons wouldInflow
“Magnavox”.
Edison Effect”…What
1911, Ed Prindham
through the and Peter Jensen invented the
of the bulbtheyintohad
the created
rod…Not firstwas practical
called (and “the manufacturable) moving coil
wassurprisingly,
a “vacuum diode” this new(AKAphenomenon
rectifier loudspeaker called the “Magnavox”.
Effect”…What they had created was a “vacuum diode”
tube). With the (AKA rectifieroftube).
invention “amplification” and the availability of various typ
microphones, inventors With wasted little of
the invention time in using these
“amplification” and the microphones
availability and s
reproducing devicesoftovarious amplifytypesboth of voice and music.
microphones, The advent
inventors wasted of sound
pictures was the single greatest factor in accelerating
little time in using these microphones and sound the development of s
systems. Obviously,reproducing microphones devices hadtotoamplify
be developed
both voiceinand order to create m
music.
soundtracks and these were quickly utilized to amplify
The advent of sound in motion pictures was the single traditional “acoustic
A minor variation of greatest the microphone
factor in produced
accelerating what
thewas called a “contact
development of m
These devices weresound attached solidlyObviously,
systems. to a guitar or piano soundboard
microphones had to be and th
into amplification and speaker insystems.
developed order to create Thesemovie typessoundtracks
of pickups and were som
nce the “Edison Effect” was described in the literature,
because inventors
the string these
sound wereto
all had
over quickly
thebe transferredutilized to the amplify traditionalof the in
soundboard
gan experimenting. Fleming in the UK and DeForest
then picked in uptheby USA
the“acoustic instruments.”
discovered
so-called A minor variation
“contact microphones,” of the
then amplified.
he same time) that the electron flow could be “modulated” by placing a third microphone produced what was called a “contact
e between the hot filament and the anode (plate) Rickenbacker connected tomicrophone.”awashigh of These
voltage.
one the first devices were attached
manufacturers solidly to with so
to dispense
entlemen created a kind of “electric valve”“contact which enabled microphones” a
control andguitar
of theor piano
flow the
sense of vibrations DIRECTLY frominto
soundboard and then plugged the string
snce
through Once
the the
vacuum, “Edisonjust Effect”
as the was described
earlier carbon in the
themselves. literature,
microphone Many amplification
controlled
(wrongly) the and
believe flow speaker
the systems.
so-called “fryingThese types
pan” lap of
steel to
the “Edison Effect”
inventors all was the
over described
world in the literature,
began experimenting. inventors all
pickups over
were thesomewhat limited, because the string
ons
ganby varying the pressure
experimenting. Fleming exerted
inDeForest
the UK on and
carbon granules,
“electric”
DeForest guitar.
in thethus,
AsUSAwechanging
now know,
discovered its the very first electric guitar (though som
ce in direct Fleming
proportionin theto UKtheandpressure in the
applied. USA discovered
impractical) was sound
invented hadMr.
by to beBreedtransferred
some to 40the soundboard
years of the Rick
earlier (1890).
he same time) thatthe
(about the
sameelectron flowthe
time) that could be “modulated”
electron flow could beby placing instrument,a thirdthen picked up by the so-called “contact
e between “modulated”
the hot filament and the anode guitar
(plate) was certainlytoone
connected a highof the earliest commercial electric guitars utilizing a
voltage.
by placing a third electrode between the microphones,” then amplified.
pickup,
entlemen created a kind of “electric valve” which enabled control the BASIC principle
of the flow of is much the same as the pickups on to
of which
4
s through the vacuum, just as the earlier carbon guitars.microphone controlled the flow
 Rickenbacker was one of the first manufacturers to
dispense with so-called “contact microphones” and
sense the vibrations DIRECTLY from the strings
themselves. Many (wrongly) believe the so-called
“frying pan” lap steel to be the first “electric” guitar. As
we now know, the very first electric guitar (though The process is started by pulling a trigger, which
somewhat impractical) was invented by Mr. Breed “stresses” a Piezo element, thus, causing rapid
some 40 years earlier (1890). Rickenbacker’s guitar The process is started by pulling a trigger, which “stresses” a Piezo element,
generation of electricity, which is fed to a small “spark
thus, causing rapid generation of electricity, which is fed to a small “spark gap” in the
was certainly one of the earliest commercial electric
nozzle of the gasgap” outlet. in Some
the nozzlecigarette of the gasuse
lighters outlet.
the sameSome“Piezo cigarette
effect” (ditto
guitars utilizing a magnetic pickup, the BASIC someprinciple
ignition systems lighters inuse
small thegassame “Piezo effect” (ditto some ignition
engines).
of which is much the same as the pickups on today’s systems in small gas engines).
guitars. In addition to the Piezo effect briefly described above, electricity can be
generated by solar energy or chemically in a battery or in a fuel cell. This type of
In addition to the Piezo effect briefly described above,
electrical “generator” is only capable of producing so-called “direct current” and is not
really useful for any electricity can bedevice
kind of sensing generated
(pickup)by which solar
is theenergy
topic of or the present
discussion. There chemically
are also various in a battery
forms of orgenerators
in a fuel utilized
cell. This type o extremely
to produce
high voltages, which electrical
are also “generator”
totally outside is only thecapable
realm and of scope
producing of thisso- paper.
called “direct current” and is not really useful for any
Almost allkind the electrical
of sensing energy
device created
(pickup)in ourwhich
societyisutilizes
the topicsome ofvariation of
“magnetic generation”. Invariably, this involves magnetic fields. It has been known for
hundreds of years, thethat present discussion.
electricity is generated There whenarean also various
electrical forms (wire)
conductor
moves through aofmagnetic generators field. Itutilized to produce
really doesn’t matter ifextremely
the wire moves high(in relation to
the magnet) or the voltages,
magnetwhich movesare also totally
in relation to theoutside
wire. The the“operative”
realm andword here is
“Frying pan” guitar and pickup MOTION, which scope of this ispaper.
is, of course, an indicator of ENERGY being expended.
Before
Before getting
getting into
into any any meaningful
meaningful discussion of discussion
guitar and bassof guitar
pickups, one
Mostbyofsensing us are aware of the so-called “battery-less” flashlight. These devices
and bass
must understand thatpickups, one must
there are several ways tounderstand that
generate an electrical there area form
signal Almost all the electrical energy created in our society
the motion of an object (be it a string, a microphone diaphragm,incorporate the soundboard of an of electrical generator that creates electricity by converting MOTION
several
instrument, ways
or in fact, to generate
almost any movingan electrical
object). As far signal by sensing
into ELECTRICITY.
as our discussion here, we’re utilizes some there
Essentially, variation are two of types
“magnetic
of these;generation”.
one type is powered by a
primarilythe motion
interested ofkinds
in the an object (be itused
of transducers a string, a microphone
on guitars and basses.
rotary PleaseInvariably,
generator activated bythis involves
a gear mechanism, magnetic which fields. It has
translates been
a squeezing motion
note, that a so-called “transducer” is ANY device that CONVERTS intoone form of energy thus, generating the electricity. Another more common type today, i
diaphragm, the soundboard of an instrument,
into another. A loudspeaker IS a “transducer,” because it converts electrical energy
or
rotary in
motion, known for hundreds of years, that electricity is
Theinto
process is startedpictured
by pulling abelow.
trigger, which “stresses” a Piezo element,
movement fact,
of aalmost any moving
cone/diaphragm, thus, object).
producing As far as ourthe
sound…Conversely, soa called
discussionguitar “forever
thus,pickup generated
causing
flashlight” when
rapid generation ofan electrical
electricity, whichconductor
is fed to a small (wire)
“sparkmoves
gap” in the
here, of we’re
senses motion the strings primarily
and converts interested in the
that into electrical energy,kinds of
thus, itnozzle
is also through
ofathe gas outlet. a magnetic
Some cigarette field. It really
lighters use thedoesn’t
same “Piezo mattereffect”if(ditto
the
“transducer.” some ignition systems in small gas engines).
transducers used on guitars and basses. Please note, wire moves (in relation to the magnet) or the magnet
that alla electricity
Almost so-called “transducer”
is generated by a “magneticis ANYprocess.”device thatthere
Admittedly, In moves
are
addition toin
therelation
Piezo effecttobriefly
thedescribed
wire. The above, “operative”
electricity can word
be
other ways to produce electricity, such as the aforementioned Piezo elements that by solar energy or chemically in a battery or in a fuel cell. This type of
generated
CONVERTS one form of energy into another. or
generate electricity when the Piezo element is stressed (such as being bentelectrical
A twisted).
here is MOTION,
“generator” is only capablewhich is, of course,
of producing is an current”
so-called “direct indicator and isofnot
loudspeaker IS aand“transducer,”
“Frying pan” guitar pickup because it converts really useful ENERGY
for any kind being expended.
of sensing Mostwhich
device (pickup) of us aretopic
is the awareof theof the
present
electrical energy into movement of a cone/diaphragm, discussion. There are also various forms of generators utilized to produce extremely
ng into any meaningful discussion of guitar and bass pickups, one high voltages, so-called
which are“battery-less”
also totally outside the flashlight.
realm and scope Theseof this devices
paper.
hat there thus, producing
are several ways tosound…Conversely,
generate an electrical signal a guitar pickup
by sensing incorporate a form of electrical generator that creates
bject (be itsenses
a string,motion of thediaphragm,
strings and converts that of aninto Almost all the electrical energy created in our society utilizes some variation of
“magneticelectricity
generation”. by converting MOTION magneticintofields.ELECTRICITY.
a microphone the soundboard
Invariably, this involves It has been known for
act, almostelectrical
any moving object).thus,
energy, As far asalso
it is our discussion
a “transducer.”here, we’re hundreds of years, that electricity is generated when an electrical conductor (wire)
Essentially, there are two types of these; one type is
d in the kinds of transducers used on guitars and basses. Please moves through a magnetic field. It really doesn’t matter if the wire moves (in relation to
ed “transducer” is ANY device that CONVERTS one form of energy the magnet) powered
or the magnet by moves
a rotary generator
in relation to the wire.activated
The “operative”by aword gear
here is
Almost all electricity is generated
udspeaker IS a “transducer,” because it converts electrical energy into by a “magnetic MOTION, mechanism,
which is, of which
course, is an translates
indicator of a
ENERGYsqueezing
being motion
expended.
ne/diaphragm,process.” Admittedly,
thus, producing there
sound…Conversely,
Piezo Micare other aways
Pickup guitartopickup
produce into rotary motion, thus,“battery-less”
generating the electricity.
Most of us are aware of the so-called flashlight. These devices
he stringselectricity,
and converts suchthatas the
into aforementioned
electrical energy, thus, Piezo elements
it is also a
incorporate Another
a form of moreelectricalcommon
generator that type today,
creates is the
electricity so called
by converting MOTION
Anthat generate
example electricity
of this type of electricity when the isPiezo
generation element
those “snap into
action” isfire
ELECTRICITY. Essentially, there are two types of these; one type is powered by a
“forever flashlight” pictured below.
starters or candle lighters
stressed (such that ignite a small used to light candles orrotary
gasorjettwisted). fires. generator activated by a gear mechanism, which translates a squeezing motion
lectricity is generated by a as being
“magnetic bent
process.” Admittedly, there areinto rotary motion, thus, generating the electricity. Another more common type today, is
uce electricity, such as the aforementioned Piezo elements that the so called “forever flashlight” pictured below.
y when the Piezo element is stressed (suchAn asexample
being bentoforthis type of
twisted).
electricity generation is
those “snap action” fire 7
starters or candle lighters
that ignite a small gas jet
used to light candles or
fires

Piezo Mic Pickup

8
5
e of this type of electricity generation is those “snap action” fire
This unit consists of a coil of wire, a very strong
magnet that is free to “slide” inside the coil, and a
small energy storage device called a CAPACITOR.
This unit generates electricity when the operator
rapidly “shakes” the unit so that the moving magnet
slides through the internal coil of wire. Because the
magnet slides through a coil of wire with multiple
turns, the magnetic field changes at the same rate as
the motion (energy) of the magnet. As the lines of
magnetic force “cut” thorough the coil, electricity is
generated. Simply put, this type flashlight translates
motion into electrical energy by moving a magnetic
field through the coil. It would work just as well if the
coil moved and the magnet was stationary, but this
would cause problems in terminating the coil’s output
leads.
Permanent magnets have been known to science for
many centuries. The first magnets were called
“lodestones.” These were naturally occurring pieces
of iron that had become magnetized in their
environment. These types of materials were the
primary working elements of early compasses. Most
of us know that the Earth itself has an easily detectable
magnetic field, and that utilizing a permanent magnet
mounted to some kind of “pivoting arm” constitutes a
compass (because the magnetized indicator will
always “point” in the direction of the Earth’s North
and South poles). Magnets must have “polarity” in
order to be magnets. Traditionally, the “poles” of a
magnet have been called either North (N) or South
(S). Magnetic “poles” (as with many things in nature)
are attracted to the “opposite polarity.” In other words,
a magnet’s North pole will be “ATTRACTED” to
another magnet’s South pole while, the second
magnet’s North pole is REPELLED from the first
magnet’s North pole. Simply put: “OPPOSITE”
polarities ATTRACT, like polarities REPELL. This
6
attraction/repulsion is the basic principle of operation
of electric motors, loudspeakers, and many other
magnetic devices that we use and encounter in
modern life.
By definition, a magnet has two opposite poles.
Extending from all magnets is a magnetic “force,”
also known as a “magnetic field.” Generally, this field
radiates from the magnet’s North pole and its South
pole as illustrated above. This magnetic “field” is also
called “flux” or magnetic “lines of force.” The field
extends from one pole to the other as illustrated
above.
We’ve already mentioned that an electrical signal
(voltage) is generated when a conductor is moved in
relation to a magnet, or when a magnet is moved in
relation to a conductor (wire). This is also true if both
the conductor and the magnet are STATIONARY
when something “disturbs” (changes) the magnetic
field (which is the equivalent of motion). In the case of
a magnetic guitar pickup, the steel guitar strings are
capable of “disturbing” (changing) the magnetic field
of the stationary magnet. In magnetic guitar pickups,
the steel strings are placed in close proximity to the
magnetic poles and the adjacent coils of wire “sense”
the disturbance of the magnetic field caused by the
vibrating steel strings.
Since the string is activated in some manner (by
being plucked, struck with some kind of hammer, or
“bowed”) the vibration of the string disturbs the
magnetic field at whatever frequency the string is
tuned to. It’s important to note, that the energy
imparted to the string causes the string to move in a
somewhat predictable manner and the motion of the
steel string causes the magnetic field to vary which, in
turn, induces a signal into the adjacent coil of wire at
the SAME RATE that the STRING is VIBRATING.
The energy imparted to the string by the player is
converted into an electric signal by the steel string’s
ability to change the pickup’s “MAGNETIC FIELD.”
As stated above, any device that changes one form of
energy (motion) into another form of energy (electricity)
is called a “transducer.” A guitar pickup changes
motion into electricity. While at the opposite end of the
“audio chain,” a loudspeaker changes electrical
energy into motion (sound) thus, completing the
process that we recognize as “electric guitar sound.”
It should be noted, that so-called “electric guitars”
must have strings made of materials that are capable
of causing a magnetic influence on the pickup’s
magnetic field. Generally, nickel and steel are used for
electric guitar strings. Nylon and bronze are also used
7
for strings; however, these tend to be utilized on
guitars with “non-magnetic” pickups, such as the
Piezo sensors described above or some kind of
“contact microphone” that senses changes in pressure
either under the “bridge” or the soundboard of the
instrument.
As referenced below, the “frying pan” guitar was
among the earliest commercial “electric guitars” to go
in production. Its pickup system utilized relatively
inefficient Tungsten/steel magnets of the period. Two
“U-shaped” magnets enclosed the pickup coil with
iron polepeices AND the STRINGS! In this early
design, the strings AND the coil were “inside” the
magnets; a relatively inefficient and ergonomically
poor approach, since the so-called “horseshoe”
magnets were on top of, as well as, under the strings
that had to pass THROUGH them. Other companies
utilized variations on this “pass through” scheme,
especially on so-called “lap steels.” Later, pickups
were placed under the strings (as opposed to around
the strings) and we still see that configuration on most
electric guitars today.
In the mid 30’s, production of “electric” Spanish gui-
tars was introduced by a major American manufac-
turer using an odd combination of cobalt steel mag-
nets. Though relatively inefficient, this pickup gained
considerable interest and is often called the “Charlie
Christian” pickup. While this was better than the pre-
vious “pass-through” variety that used “horseshoe”
The very simplest form of magnetic pickup utilizes
a single so-called “magnet loaded” coil. Simply put,
this is a coil wrapped around a single “bar” magnet or
multiple “rod” magnets. This type of pickup has been
used on many guitars and is exemplified by so-called
“lipstick” pickups, as well as, numerous other pickups
used on many brands of guitars. Even today, so-called
8
magnets, the efficiency of the “Charlie Christian” pick-
up was marginal and was soon replaced by more ef-
ficient permanent magnet designs. This pickup is sig-
nificant, because it was probably the first truly viable
Spanish guitar pickup to receive market acceptance
(which is the only reason we mention it here).
“single coil” pickups are widely available on electric
guitars from many manufacturers. These pickups do
a reasonably good job of picking up the signal from
the strings, but often exhibit excessive “hum” when
in proximity to magnetic devices such as fluorescent
lighting, neon signs, and even the magnetic field from
the power transformer in guitar amps.
 “We Have Always Done It That Way”
An interesting note here is that the guitar and pickup
industry is unfortunately “plagued” by many “tradi-
tions” handed down from the guitar pioneers. Sadly,
these traditional practices are often NOT “good engi-
neering” and SHOULD be changed!
As stated above, every magnetic pickup has a coil.
Every coil has a “start” and a “finish” as it is wound on
the coil former (sometimes called a “bobbin”). Many
of the early single coil pickups used “sandcast” mag-
nets that had a fairly rough texture on their outside. For
economy’s sake, many of these single coil pickups
created the coil form itself by utilizing two “punched
fiber” pieces (often called “flatwork”) as the “ends”
of the coil former with the magnets themselves form-
ing the central portion. Then, small gauge wire was
wound DIRECTLY on the magnets. Because the mag-
nets themselves were crudely produced by a simple
“sandcasting” process, the outside of the magnets
were somewhat rough and could cause problems
when winding the old type “plain enamel” magnet
wire around the magnets themselves. In the early
days, it was thought that the “ground side” of single
coil pickups should be at the “START” of the coil, so
that IF the wire “shorted out” to the rough sides of the
magnet, such a “fault” would be “close to ground”
and therefore, minimally objectionable. Incredibly,
this early tradition has “lingered on” until today.
9
Today’s magnets are almost universally processed
using what is called “centerless grinding.” This pro-
cess produces a fairly smooth and uniform surface,
ELIMINATING the desirability of using the beginning
(start) of the coil as ground. As mentioned above,
single coil pickups suffer from “noise problems” from
external devices, which is recognized as a very unmu-
sical “buzz” at the frequency of the electrical mains.
A very simple way to minimize this involves changing
the traditional method of “polarizing” single coil pick-
ups that need all the help they can get in “shielding”
the coil. Substantial improvements over “traditional”
methods can be gained by making the OUTSIDE (fin-
ish) of the coil GROUND and taking the OUTPUT off
the INSIDE (start) of the coil. By doing so, the OUT-
SIDE of the coil is literally at ground potential (i.e.,
shielded), while the INSIDE (start) part of the coil is
“shielded” and is the output. With today’s “centerless
ground” magnets and vastly improved electrical insu-
lation for the wire, the old problems with wire shorting
out against the rough magnets are long past …YET,
most of Peavey’s competitors STILL do it the old way
and most STILL don’t use SHIELDED WIRE for the
output of the pickups or to wire up
the controls, etc, etc…Go figure???
While on the topic of “strange old habits” that seem-
ingly won’t die, another of our major competitors
STILL wires their guitars so that when BOTH pickups
are selected, turning down the volume on one pickup
causes the volume on the OTHER pickup to go down
too…Dumb! But after more than 40 years, they’re
STILL doing it that way! Another example of “tradi-
tion” winning out over “common sense” and good
engineering practice. Again, one can only wonder
WHY!
To Hum or Not to Hum
As referenced above, single coil pickups (the least
expensive) are prone to picking up extraneous nois-
es buzzes, hums, electrostatic interference, etc, etc.
These problems plague nearly all single coil pickups
to some degree. There have been numerous methods
used to shield pickups from the two major forms of in-
terference “MAGNETIC” (as we’ve discussed above)
and another troublesome type of interference
called “ELECTROSTATIC” (which is usually gener-
ated by some type of gas discharge lighting such as
florescent lights or neon signs). Electrostatic noise
can be effectively blocked by properly shielding the
pickup with a conductive substance such as a non-
magnetic metal (such as brass) or even a conductive
paint. Magnetic hum on the other hand, is somewhat
more difficult to prevent. One of the best methods yet
found, is to use very low impedance pickups (having
as little as one turn) which unfortunately require use of
a matching transformer (which in many cases defeats
the advantages of low impedance pickups both from
a technical and a cost standpoint).
Early guitar amplifiers were relatively low powered,
used inefficient speakers, and featured just enough
gain to allow the guitar to function. Though noise,
hum, and buzz were problems; these negative effects
were not big problems. Later, as music demanded
louder performances, amplifiers became larger, more
powerful, and had more gain. Guitar builders were
searching for ways to make their product better and
they learned about “hum canceling” techniques uti-
lized for decades by the telephone companies; who
used so-called “balanced coils” to cancel (buck) hum
induced into their telephone lines by adjacent electri-
cal power lines. The so-called “hum canceling” guitar
pickup was introduced in a major way in the 1950s.
Incredibly, most players (and even most dealers)
don’t understand the basic principles of the so-called
“hum canceling” pickup. Balanced lines have been
used in the telephone industry (and in the broadcast
and recording industry) since their beginnings. The
same techniques were applied to guitar pickups and
this is why “hum canceling” pickups generally have
at least two coils. These coils are usually arranged so
that each coil is directly out of phase (180°) from the
other.
It is important to understand the concept of “phas-
ing.” The simplest explanation is to think about flash-
light batteries. If you have two flashlight batteries and
you connect the positive of one to the negative of the
other; then connect the negative pole of the second
battery to the positive pole of the first battery, each
battery will “cancel” the other (since they are 180° out
of phase). A voltmeter placed on these connected ter-
minals (on either side) will read ZERO VOLTAGE sim-
ply because one battery is CANCELING the other! A
10
“hum canceling” guitar pickup works in a somewhat
similar manner, using two coils that are 180° out of
phase.
If two pickup coils are mounted in a guitar, any mag-
netic interference coming in from the OUTSIDE will in-
duce the SAME interference in BOTH coils! Because
the coils are connected out of phase, the interference
coming in will be canceled simply because the coils
are connected (180°) out of phase. I.e. if the interfer-
ence induced into each coil is one volt, one of the
coils will produce 1 volt positive (+1V) while the other
produces 1 volt negative (-1V). When you add a posi-
tive 1 to a negative 1, the sum is ZERO! While this is
an overly simplistic explanation, it is exactly what hap-
pens in a “hum canceling” pickup. Because the coils
in most “hum canceling” pickups are arranged in se-
ries, the hum cancellation is not total (but is far better
than single coil pickups). Given that the coils for the
“hum canceling” pickups are out of phase and there-
fore, cancel each other out, one would naturally ask
how the pickup could work given that the coils cancel
each other…Good question, and one which very few
understand. The answer is fairly simple, but somehow
seems to “escape” many players and “guitar buffs.”
As described above, “hum canceling” pickups have
coils that are out of phase canceling any kind of EX-
TERNAL interference (magnetic fields, etc, etc.) which
comes into EACH of the two coils “in phase” or, as
engineers put it, in a “COMMON MODE.” This means
that the interference is COMMON (i.e. the same) in
both coils. Since the coils themselves are out of phase,
any “COMMON MODE” interference is canceled. En-
gineers call that effect “common mode rejection.”
Understanding the way this works is “half the story.”
The other half is simply that the MAGNETIC FIELDS in
each coil of the pickup are ALSO 180° out of phase.
If you look at the diagram on the next page, you will
see that the magnet in one coil has its NORTH pole at
the TOP, while the other coil has its SOUTH pole at the
TOP (i.e. the magnets are 180° out of phase also).
If the coils are out of phase, they CANCEL any inter-
ference coming in from the OUTSIDE. Because the
magnets are ALSO 180° out of phase, the result is
that 180°+180°=360° or 0. This simply means if you
reverse polarity once and then you reverse it again,
you end up EXACTLY WHERE YOU STARTED with
everything back IN PHASE as far as the INTERNAL
ACTION of the pickup (which is the only thing you’re
interested in feeding to your amplifier). Simply put, a
hum canceling pickup functions by combining TWO
180° out of phase systems. If you’re walking NORTH,
do a 180° turn, walk south, and then do another 180°
turn; you’re walking North again, just like when you
started walking North. That’s it! Nothing fancy, just
common sense. There are MANY VARIATIONS on
this theme however.
11
Total Tonality
Most of us recognize that different pickups produce
different tonalities. Almost everything about a pickup
influences the sound picked up from the strings. Be-
cause this is such a complex and contentious topic,
we’re going to discuss only the general principles.
Magnetic pickups “do their thing” using magnets
with an adjacent coil of wire. So far, we’ve seen sev-
eral different configurations of pickups and the only
things common to all of these are magnets and a coil
of very fine wire; so before going further, we need to
understand a little bit about what happens when wire
is wound into a coil.
Most guitar players understand and accept that pick-
ups produce different sounds; not only from single
coil and dual coil (hum canceling) but that the sound
also varies within these categories based on a num-
ber of factors. A most obvious factor is that a single
coil “senses” the string motion at one point (where the
pickup is located). It’s equally obvious (but not gen-
erally recognized) that a dual coil pickup senses the
vibration of the string at TWO locations on the string;
thus, contributing to the significantly different sound
of a hum canceling (dual coil) pickup from the tonality
of a single coil pickup.
While guitar pickups are actually fairly simple devic-
es, the variations in design and manufacture of guitar
pickups (and the reason that they sound the way they
do) is a most complex topic that we won’t attempt to
get into in this basic discussion of guitar pickups. It
is important to understand some of the “language of
electronics” to grasp the basic concepts. Essentially,
you should know that a coil of wire is (by definition)
an “inductor.” The schematic representation of an in-
ductor is shown as figure A. In guitar circuits, induc-
tors are usually used in conjunction with magnets or
polepieces, which are indicated in a schematic by the
inclusion of parallel lines next to the inductor symbol
(B). A capacitor is noted on a schematic diagram by
C (see below).
Luckily, the only other component encountered in
most guitars are resistors, both fixed and variable
which are indicated by the symbols below, showing a
variable resistor (pot) and a fixed resistor. Obviously,
a variable resistor is nothing more than a fixed resis-
tor arranged so that a sliding contact can change the
resistance as the center contact is moved. These con-
trols are usually rotary, but can also be in a “linear”
form (slider).
Before going further, it’s important to know that the coil
of a guitar pickup is BOTH inductive AND capacitive.
This fact drastically influences the tonality of pickups.
Many people don’t understand impedance or con-
12
fuse it with resistance. Without getting too complex,
suffice to say that impedance is “AC RESISTANCE”
and is measured in ohms. Resistance is DC and is
also measured in ohms. Inductance and capacitance
have virtually no effect in DC circuits, but have drastic
effect in AC circuits.
Coils of wire exhibit several important characteristics
that act together to influence the tonality of a pickup.
Everyone knows that wire has some amount of DC
resistance and many pickup manufacturers actually
specify the DC resistance of their coils (since this is
a very easy parameter to measure). When a wire is
wound into a coil, it creates two additional parame-
ters that greatly effect tonality. A coiled wire exhibits
both INDUCTANCE and CAPACITANCE. The amount
of wire in the coil, the size of the wire, as well as the
coil’s geometry, greatly affect the inductance. Gen-
erally speaking, the more turns of wire in a coil, the
higher the inductance.
Another parameter, called capacitance, occurs when
conductors (wires) are placed in close proximity to
each other separated by an insulator. A coil (such as
used in a guitar pickup) exhibits both inductance and
capacitance, both of which play a big role in deter-
mining the pickup’s tonality.
Most of us understand, that speaker systems use so-
called “crossover networks.” These frequency divid-
ing networks utilize the bandpass characteristics of
both inductors and capacitors. Typically, capacitors
like to favor (pass) high frequencies, while induc-
tors favor (pass) low frequencies. Most crossover
networks in speakers utilize combinations of capaci-
tors and inductors to route the low frequencies to
the woofer and the high frequencies to the tweeter.
A “crossover network” does this by taking advantage
of the different bandpass characteristics of inductors
and capacitors.
In a guitar pickup, many turns of small diameter wire
are utilized in order to generate enough signal (from
the vibration of the strings) to feed the amp. Every
magnetic pickup has a certain amount of inductance,
which is generally a “series” type phenomenon. Be-
cause the coil has a number of conductors wound
together, separated by the insulation on the wire, the
coil also has some amount of capacitance (which is a
parallel phenomenon).
As in a crossover network, the inductance and the
capacitance work together to shape the frequency
response (bandpass) of the pickup. Inductors like to
pass lows, but not highs. Most pickups tend to have
some amount of high frequency degradation (rol-
loff) from its own inductance. The more inductance
(turns of wire) the more high frequency loss. At the
same time, the pickup coil’s capacitance also tends
to “shunt” (rolloff) high frequencies. Most players un-
derstand that if you put more turns of wire on a pickup
bobbin, you will get more output, but lose more high
end. The reason for this, is that more turns simultane-
ously gives you HIGHER INDUCTANCE AND HIGHER
CAPACITANCE (both of which tend to roll off the high
end).
Inductance is greatly affected by the physical struc-
ture of the pickup and adjacent magnetic metals,
polepeices, etc, etc. This is a major reason that pick-
up designers have come up with so many different
configurations of magnetic structures.
Most players recognize the distinctly different tonali-
ties available from single coil pickups compared to
the dual coil (hum canceling) variety. There are nu-
merous reasons for this, but it is generally true that
so-called “magnet loaded pickups” tend to have ex-
tended high frequency response with an initial “edge”
on the attack that socalled “induced magnet pickups”
simply can’t produce.
If you compare a typical magnet loaded single coil
pickup to a typical induced magnet single coil pickup,
you will find that the induced magnet has a fuller “bell
like” quality, while the magnet loaded pickup tends
to have an “edgier” Hi-Fi type response. There are
reasons for this, which are complex and probably too
technical for this “primer” on guitar pickups. Gener-
ally speaking, magnet loaded pickups tend to have
13
“higher fidelity” and have more “bite” or edge than
so-called “induced magnet” pickups. Most hum can-
celing pickups tend to be of the “induced magnet”
type, while most single coils, tend to be of the “mag-
net loaded” type.
As with most engineered products, there are usually
some exceptions and magnetic pickups have been
made in many, many different ways and have been
the subject of hundreds of patents. Generally speak-
ing, most guitar pickups try to minimize excessive
inductance and “inter-winding” capacitance with dif-
ferent construction techniques in order to maximize
performance and minimize the detrimental qualities
of the inherent inductance and capacitance present
in all magnetic pickups. An example of this approach
is Peavey’s magnet loaded hum canceling pickup,
where we tried to maintain the “edge” or “bite” of a
single coil while maintaining the fullness and hum
canceling benefits of a dual coil pickup. These char-
acteristics are further enhanced in Peavey’s magnet
loaded hum canceling pickup through the use of
Peavey’s patented pickup control system (US Pat-
ent number 4,164,163). This unique circuitry allows
the pickup to be operated in single coil mode or con-
tinuously changing to dual coil/hum canceling mode
through the unique use of a single pot (control).
This circuitry was developed by Or-
ville (“Red”) Rhodes, an old friend
of mine from California. This circuit
is exceptional because it doesn’t
use any active devices, batteries,
etc, etc; just a single capacitor and
a potentiometer put into the circuit
in a new and different way This circuit was so sim-
ple that most guitar builders (including myself) never
thought of it. Below are examples illustrating how a
single “pot” (control) changes the MODE of OPERA-
TION from single coil continuously to hum canceling
(dual coil) to a high frequency rolloff. This circuit pro-
duces the WIDEST TONAL RANGE of any circuit we
have found, not using batteries.
The advantage of this circuit (when used with Peavey Pickup Circuit Diagrams
Peavey’s magnet loaded humbucker) is that in the
single coil mode, the “bite,” “edge,” and “attack” of
a magnet loaded single coil is easily obtained. As
the tone control (actually a mode control) is rotated
counter-clockwise, the “wiper” of the control (which
is grounded) moves further away from the “center
tap” of the pickup and therefore, the pickup gradu-
ally and CONTINIOUSLY becomes more and more of
a hum canceling dual coil pickup. Further rotation of
the tone/mode control results in high end rolloff simi-
lar to conventional guitar tone controls. Simply put,
in one unique pickup (accompanied by our patented
tone/mode control) we’re able to get the best of the
magnet loaded single coil sound through to (and in-
cluding) the best hum canceling sound, using ONE
CONTROL that CONTINUOUSLY varies between
these operational modes. Many players resort to us-
ing different guitars to achieve these different tones,
but Peavey has succeeded in achieving this with a lot
of engineering and a little ORIGINAL thinking! This,
sadly, is somewhat rare in the field of guitar pickups.
Most pickup manufacturers (as well as guitar manu-
facturers) apparently concentrate most of their ef-
forts on trying to duplicate “vintage” pickups from the
1950s. Peavey’s unique system has the best of the
old combined with the best of the new. We provide
this without batteries and without complications, while
allowing a smooth and CONTINUOUS change from
single coil to dual coil to high end rolloff. We believe
this system is the best available without having to use
on-board preamps, batteries, etc, etc. and is yet an-
other reason we believe our guitars are the best! Figure A shows the tone/mode pot in the single coil
mode. Please note, that the “center tap” between the
Although this system is very simple, I’ve found that it two coils (5) is effectively “grounded” by the wiper of
helps greatly to explain how this simple circuit is able the tone/mode pot. With the “center tap” grounded, it
to continuously vary the pickup from singe coil to can be seen that coil “I” is essentially out of the circuit,
humbucking with a single pot. As you already know, since its output is grounded, as is the bottom side of
hum canceling pickups have at least two coils. These the coil “II,” which is now operational in the SINGLE
two coils are almost always connected in series, COIL MODE because one end is grounded while the
which means there is always a connection (jumper) other end provides the output. As the tone control is
from one coil to the other. Since this “jumper wire” rotated COUNTER-CLOCKWISE, the grounded wiper
is present in virtually every hum canceling pickup, it moves further away from the center tap essentially
provides an easy connection to the center of the two “un-grounding” that point; thus, PROGRESSIVELY al-
coils often referred to as a “center tap.” lowing the coil “I” to operate as its output “sees” less
and less “loading” from the tone/mode pot. Because
Peavey’s system utilizes the “center tap,” which is the resistance of the tone/mode pot is high in rela-
brought out to one end (3) of the tone/mode pot. The tion to the impedance of the pickup, the LOADING
“wiper” (1) is grounded while the other end of the pot EFFECTS are continuously REDUCED as the pot is
(2) is connected to one side of a capacitor that is con- rotated. At midpoint, the tone/mode pot ceases to
nected to the output. “load” the pickup and it becomes fully hum cancel-
ing (because both coils are now connected as a nor-

14
mal hum canceling pickup would be). Further rotation
of the tone/mode control brings the grounded wiper
closer to the tone cap (connected to the output) which
decreases high frequency response as in a conven-
tional guitar tone control.

If you examine the operation of our tone/mode con-

trol, you can see that this fairly simple circuit has the
unique capability of continuously and incrementally
varying this unique pickup from a single coil, through
to a dual coil, to a high end rolloff. Previous circuits
have merely used a switch to ground the center tap,
enabling operation EITHER as a single coil OR a dual
coil. Our patented approach allows the player the op-
tion of singe coil, dual coil, high end rolloff, OR any-
where in between!

Incredibly, hundreds of books have been written about

guitars and dozens of books about amplifiers, but I’ve
never seen more than the most elementary discussion
about magnetic guitar pickups. Hopefully, this BASIC
DISCUSSION will be helpful in understanding how
pickups work. For reasons that I’ve never been able
to understand, guitarists want to believe that there is
“magic” in guitar pickups…Anything that we don’t
understand SEEMS to be “magic.” I wound my first
guitar pickup back in 1958, and long ago lost count of
how many since then. In all my years in this business,
I have NEVER encountered any “MAGIC”…Maybe a
fair amount of engineering, some art and science, but
no “magic.” Once you understand what a magnetic
pickup is (and how it works) you’ll be much better able
to get the sound that you’re looking for. Nobody has
ALL the answers (not yet anyway) and here at Peavey
we’re still continuing to look to the future instead of
spending all our time trying to “recreate the glories of
the past.” In any case, I hope this helps.

Hartley

P.S. A new book is available on the history of guitar

pickups. It is “Pickups” By Mario Milan and pub-
lished by Centerstream/Hal Leonard Publications.
ISBN-10:1-57424-209-1
SAN 683-8022

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 Innovation. Amplified.

Peavey Electronics Corporation • 5022 Hartley Peavey Drive • Meridian, MS 39305

Phone: (601) 483-5365 • Fax: (601) 486-1278 • www.peavey.com • ©2006 Printed in the U.S.A.