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Helmuth Lemme is a German

electronics expert and author.

His excellent book on guitar

electronics is available in

German and English.

Diesen Artikel und noch mehr

gibt es in deutscher Sprache

unter gitarrenelektronik.de

The Secrets of Electric Guitar Pickups

By Helmuth E. W. Lemme

Update: February 25, 2009

An electric bass or guitar's sound depends greatly on its pickups. There are

lengthy discussions between musicians about the advantages and disadvantages

of different models, and for someone who has no knowledge of electronics the

subject may seem to be very complicated. Electrically, though, pickups are fairly

easy to understand - so this article will examine the connection between

electrical characteristics and sound.

I am sorry to say that most pickup manufacturers spread misleading information

on their products, in order to make more money and to agitate their competitors.

So some corrections of facts will be necessary. I am not affiliated with any

manufacturer.

There are two basic pickup types, magnetic pickups and piezoelectric pickups.

The latter type work with all kinds of strings (steel, nylon, or gut). Magnetic

pickups work only with steel strings, and consist of magnets and coils. Singlecoil

pickups are sensitive to magnetic fields generated by transformers, fluorescent

lamps, and other sources of interference, and are prone to pick up hum and noise

from these sources. Dual coil or "humbucking" pickups use two specially configured

coils to minimize this interference. Because these coils are electrically out of

phase, common-mode signals (i.e. signals such as hum that radiate into both coils

with equal amplitude) cancel each other.

The arrangement of the magnets is different for different pickups. Some types

have rod or bar magnets inserted directly in the coils, while others have magnets

below the coils, and cores of soft iron in the coils. In many cases these cores are

screws, so level differences between strings can be evened out by screwing the

core further in or out. Some pickups have a metal cover for shielding and

protection of the coils, others have a plastic cover that does not shield against

electromagnetic interference, and still others have only isolating tape for

protecting the wire.

The magnetic field lines flow through the coil(s) and a short section of the strings.

With the strings at rest, the magnetic flux through the coil(s) is constant. Pluck a

string and the flux changes, which will induce an electric voltage in the coil. A

vibrating string induces an alternating voltage at the frequency of vibration,

where the voltage is proportional to the velocity of the strings motion (not its

amplitude). Furthermore, the voltage depends on the string's thickness and

magnetic permeability, the magnetic field, and the distance between the magnetic

pole and the string.

There are so many pickups on the market that it is difficult to get a

comprehensive overview. In addition to the pickups that come with an instrument,

replacement pickups - many of them built by companies that do not build guitars -

are also available. Every pickup produces its own sound; one may have a piercing

metallic quality, and another a warm and mellow sound. To be precise: A pickup

does not "have" a sound, it only has a "transfer characteristic". It transfers the

sound material that it gets from the strings and alters it, every model in its own

fashion. For instance: Mount the same Gibson humbucker on a Les Paul and on a

Super 400 CES: you will hear completely different sounds. And the best pickup is

useless when you have a poor guitar body with poor strings. The basic rule is

always: garbage in - garbage out!

Replacement pickups allow the guitarist to change sounds without buying another

Books

Guitars

Resources

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instrument (within the limitations of body and strings, of course). Different pickups

also have different output voltages. High output models can make it easier to

overdrive amplifiers to produce a dirty sound, while low output models tend to

produce a more clean sound. The output voltage of most pickups varies between

100 mV and 1 V RMS.

Unlike other transducers that have moving parts (microphones, speakers, record

player pickups etc.), magnetic guitar pickups have no moving parts - the

magnetic field lines change, but they have no mass. So evaluating pickups is

much easier than with other transducers. Although the frequency responses of

nearly all available magnetic pickups are nonlinear (which creates the differences

in sound), they don't have quite as many adjacent peaks and notches in their

frequency response as for example a speaker. In fact, the frequency response

can be smooth and simple enough to be easily described with a mathematical

formula.

The Pickup as Circuit

From an electrical standpoint, a magnetic guitar pickup is equivalent to the circuit

in Fig. 1.

Fig. 1. Electrical equivalent circuit of a magnetic pickup

A real coil can be described electrically as an ideal inductance L in series with an

Ohmic resistance R, and parallel to both a winding capacitance C. This

replacement circuit can be used as a first approximation. It is a bit simplified

compared to the reality but quite useful for the beginning. The finer details are

explained later. For a humbucker, two of these circuits have to be connected in

series. Since both coils (with precise manufacturing) have practically identical

properties, you may use the same simple replacement circuit for the electrical

examination. You then have to use twice the values for the inductance and the

resistance and half of the value for the capacitance as compared to one coil.

Many people measure only the resistance and think they know something about a

pickup. But this is a fundamental error. By far the most important quantity is the

inductance, measured in Henries. It depends on the number of turns, the

magnetic material in the coil, the winding density and the overall geometry of the

coil. The resistance and the capacitance don´t have much influence and

can be neglected in a first approximation.

When the strings are moving, an AC voltage is induced in the coil. So the pickup

acts like an AC source with some attached electric components (Fig. 2).

Fig. 2. A pickup as an audio voltage source plus second-order lowpass

The external load consists of resistance (the volume and tone potentiometer in

the guitar, and any resistance to ground at the amplifier input) and capacitance

(due to the capacitance between the hot lead and shield in the guitar cable). The

cable capacitance is significant and must not be neglected. This arrangement of

passive components forms a so-called second-order low-pass filter (Fig. 3).

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Fig. 3. A pickup plus real external load (pots, cable, and amp input

resistance)

Thus, like any other similar filter, it has a cut-off frequency fg; this is where the

response is down 3 dB (which means half power). Above fg, the response rolls off

at a 12 dB per octave rate, and far below fg, the attenuation is zero. There is no

low frequency rolloff; however, a little bit below fg there is an electrical

resonance between the inductance of the pickup coil and the capacitance of the

guitar cable. This frequency, called fmax, exhibits an amplitude peak. The passive

low-pass filter works as a voltage amplifier here (but doesn't amplify power

because the output current becomes correspondingly low, as with a transformer).

Fig. 4 shows the typical contour of a pickup's frequency response.

Fig. 4. Fundamental frequency response of a magnetic pickup.

Position and height of the peak vary from type to type

If you know the resonant frequency and height of the resonant peak, you know

about 90 percent of a pickup's transfer characteristics; these two parameters are

the key to the "secret" of a pickup's sound (some other effects cannot be

described using this model, but their influence is less important).

What all this means is that overtones in the range around the resonant frequency

are amplified, overtones above the resonant frequency are progressively reduced,

and the fundamental vibration and the overtones far below the resonant

frequency are reproduced without alteration.

How Resonance Affects Sound

The resonant frequency of most available pickups in combination with normal

guitar cables lies between 2,000 and 5,000 Hz. This is the range where the human

ear has its highest sensitivity. A quick subjective correlation of frequency to

sound is that at 2,000 Hz the sound is warm and mellow, at 3,000 Hz brilliant or

present, at 4,000 Hz piercing, and at 5,000 Hz or more brittle and thin. The sound

also depends on the height of the peak, of course. A high peak produces a

powerful, characteristic sound; a low peak produces a weaker sound, especially

with solid body guitars that have no acoustic body resonance. The height of the

peak of most available pickups ranges between 1 and 4 (0 to 12 dB), it is

dependent on the magnetic material in the coil, on the external resistive load ,

and on the metal case (without casing it is higher; many guitarists prefer this).

The resonant frequency depends on both the inductance L (with most available

pickups, between 1 and 10 Henries) and the capacitance C. C is the sum of the

winding capacitance of the coil (usually about 80 - 200 pF) and the cable

capacitance (about 300 - 1,000 pF). Since different guitar cables have different

amounts of capacitance, it is clear that using different guitar cables with an

unbuffered pickup will change the resonant frequency and hence the overall

sound.

There are some books that deal especially with electric guitar pickups. They pay

much attention to the resistance and the magnet materials. But the resistance is

the least interesting magnitude of all. And statements like "Alnico 5 sounds like

this, Alnico 2 sounds like that" are completely misleading. Many "pickup experts"

have never heard the term "inductance". What you find in those books is an

obsolete "geocentric" view on pickups that will never work.

The integral "heliocentric" view on pickups: Pickup, pots in the guitar, cable

capacitance, and amp input impedance are an interactive system that must not

be split up into its parts. If you analyze the properties of the parts separately you

will never understand how the system works as a whole. The sound material a

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pickup receives from the strings is not flavoured by the pickup alone but by the

complete system. This includes the guitar cable.

Another cable, another sound! This is a shame but it is true. You can easily check

it up. A few pickup manufacturers know that fact but they conceal it. The

majority seems to be totally ignorant.

The influence of eddy currents

As mentioned earlier, this overview has been simplified to make it easier to

understand. Up to this point, it has not taken into account the influence of eddy

currents in metal parts. Such currents appear wherever an alternating magnetic

field flows through electrically conductive parts. These parts are mostly the cores

of magnetic coils – that is, either permanent magnets (in which the currents are

relatively weak) or soft iron parts such as screws or fixed slugs (where the

currents are stronger). Strong eddy currents can also occur in metal covers;

these currents vanish when the covers are removed. To some degree, the

currents’ strength depends on the dimensions of the metal parts as well as their

constituent materials. The decisive factor, however, is the parts’ specific

resistivity, which is highly variable. There are thousands of iron and steel core

types, whose properties can differ widely, resulting in variable frequency

transmission characteristics. Metal covers are made of either brass (copper/zinc)

or German Silver (copper/zinc/nickel); the latter has a higher specific resistivity

and is therefore less conductive to eddy currents. Plastic covers are not

conductive. To a lesser extent, eddy currents can also occur in base plates as

well as in metal magnets located underneath the coils.

Eddy currents have a threefold effect: First, they reduce resonance

superelevation, sometimes to the point of eliminating it completely; secondly, they

steepen the slope of frequency transmissions at a height far exceeding the

resonant frequency, where 18 dB/octave slopes can be measured. This slope is

inversely proportional to the threefold power of the frequency. Thirdly, they cause

the frequency transmission curve to drop slightly below the resonant frequency,

as shown in Fig. 5:

Fig. 5. Transmission characteristics resulting from strong eddy currents

There have been attempts to measure eddy currents by attaching resistors to the

replacement circuit, in parallel to the coil or to the terminals. This method has not

been successful, however, for although it does reduce resonance superelevation,

it fails to achieve the other two above-mentioned results. A much more effective

approach is to divide the coil in two, and to connect only one of the two parts via

resistor (R2). The point of division is "virtual" – that is, it does not actually exist,

or rather, it cannot be measured directly. This point does not correspond directly

to the point at which the two coils in a humbucker are connected; this also holds

true for single-coil pickups that have been strongly damped against eddy currents

(such as Gibson P90 or DiMarzio "Fat Strat"). The two parts of the coil do not

have to be the same size. For practical purposes, identical sizes can be used as a

point of departure, but there is no need to keep them identical. The extended

replacement circuit is shown in Fig. 6:

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Fig. 6. Replacement circuit for a pickup with eddy currents

When you rearrange this setup into an AC signal source by attaching a passive

filter, you obtain the configuration shown in Fig. 7:

Fig. 7. Pickup with eddy currents as signal source with attached lowpass

filter 3

Altering Pickup Characteristics

Basically, there are three different ways to change a guitar's sound as it relates

to pickups:

1. Install new pickups. This method is most common, but also the most expensive.

2. Change the coil configuration of the built in pickups. This is possible with nearly

all humbucking pickups. Normally, both coils are switched in series. Switching them

in parallel cuts the inductance to a quarter of the initial value, so the resonant

frequency (all other factors including the guitar cable being equal) will be twice as

high. Using only one of the coils halves the inductance, so the resonant frequency

will increase by the factor of the square root of 2 (approximately 1.4). In both

cases, the sound will have more treble than before. Many humbucking pickups

have four output wires - two for each coil - so different coil combinations can be

tried without having to open the pickup. Some single coil pickups have a coil tap

to provide a similar flexibility.

3. Change the external load. This method is inexpensive but can be very

effective. With only a little expense for electronic components, the sound can be

shaped within wide limits. Standard tone controls lower the resonant frequency by

connecting a capacitor in parallel with the pickup (usually through a variable

resistor to give some control over how much the capacitor affects the pickup).

Therefore, one way to change the sound is to replace the standard tone control

potentiometer with a rotary switch that connects different capacitors across the

pickup (a recommended range is 470 pF to 10 nF). This will give you much more

sound variation than a standard tone control (Fig. 8).

Fig. 8. Changing the frequency response with

different external capacitors parallel to a pickup coil

These rotary switches are commercially available now, handmade by the author,

embedded in epoxy resin (Fig. 9).

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Fig. 9. Rotary switch with a selection of different capacitors, embedded in

epoxy resin

Also, adding an internal buffer amplifier can isolate the pickup from some of the

loading effects of cable capacitance, thus giving a brighter sound with higher

resonance frequency and higher peak.

The table correlates some well-known pickups and their electrical characteristics.

However, note that pickups are not precision devices and that old pickups in

particular (eg. Fender and Gibson pickups of the fifties) vary so much that almost

each one sounds different from the next. Thus, the values of the resonant

frequency in the table are rounded to the nearest 100 Hz. Also note that peaks

become very flat and large below 1,000 Hz. As the height of the resonance peak

depends on the external load resistance (volume pot, tone pot and amplifier input

resistance), lowering this load (e.g. by switching resistors in parallel to the

pickup) lowers the height. For raising the height of the peak, the load resistance

must be increased. In many cases this is only possible by installing a FET or other

high-impedance preamp in the guitar.

See table: Resonant frequencies of some well-know pickups for various parallel

capacitors

4. Install an active electronic circuit that acts as a second-order low-pass filter.

This will give you the possibility to adjust the resonant frequency and the

resonance height continuously with potentiometers, instead of only in discrete

steps. So you can imitate the sound characteristics of many different guitar and

bass pickups. These circuits are called „State Variable Filter". The first instrument

manufacturer to apply this was Alembic since the seventies, later it was copied by

others. Completely mounted circuit boards of this kind, fitting into most common

instruments, are available from the author (Fig. 10). They need a 9 V battery for

supply, and on some instruments some space inside the body that must be

routed.

Fig.10. Active electronic circuit that acts as a second-order low-pass- filter

and imitates the sound characteristics of many different guitar and bass

pickups

Measuring Frequency Response

To precisely measure a pickup's frequency response, it would be necessary to

measure the vibration of the string and compare it with the output voltage at

every frequency. In practice, this is very difficult to do. An alternative to moving

the string is to subject the pickup to an outside magnetic field, generated by a

transmitting coil. This induces a voltage by changing the magnetic flux through

the coils. As the induced voltage in the pickup is proportional to the variation of

the magnetic field with time, the driving current through the coil must be inversely

proportional to the frequency.

A sine wave voltage feeds an integrator circuit to produce an output voltage that

is inversely proportional to frequency. This signal then goes into a power amplifier

and then to the transmitting coil that actually couples the signal into the pickup.

The coil can consist of a pickup bobbin wound with about 50 turns of enamelled

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copper wire (approximately 0.5 mm, or 0.02 inches in diameter, no. 24). The exact

value is not critical. The coil must be driven with a constant current independent

of its impedance. It is mounted above the pickup so that it radiates its magnetic

field into the pickup coil(s) as fully as possible. With single coil pickups, the axes

must be in line with each other; with humbucking pickups, the axis of the

transmitting coil must be perpendicular to the axes of the pickup's coils (Fig. 11).

Fig.11. A transmitting coil radiates its magnetic AC field into the pickup

coils. So you can measure the frequency response easily

To plot the response, vary the sine wave frequency from about 100 Hz to 10 kHz

and measure the pickup's output voltage with a broad-band multimeter or

oscilloscope. The absolute value is not important; what matters is the position of

the resonance peak and its height above the overall amplitude at lower

frequencies. The effect of different load capacitors (cables) and resistors (pots)

is easy to examine with this setup. One of the main advantages of this measuring

method is that no modifications on the guitar are necessary, and the pickups need

not be removed from the guitar.

This complete measuring arrangement is now available as a commercial

instrument. With this, you can easily see what a pickup does with the sound

material it gets from strings and body. This is the end of wandering around in the

fog. The Pickup Analyzer© (Fig. 12) determines the frequency response, it shows

which frequencies are emphasized and which are attenuated - objectively,

independent of strings and body, with mounted or loose pickups. How it works: A

transmitting coil radiates an alternating magnetic field into the coil(s) of the

pickup. While the frequency is varied over the entire audio range, the instrument

measures the output voltage of the pickup. The external load conditions can be

varied over a wide range: 11 capacitors from 40 pF to 10 nF and four resistors

from 125 kOhm to 1 MOhm. Also, the combination of a pickup with a guitar cable

can be measured, the influence of different cables on the response is plain to see.

Furthermore, it is possible to analyze any modifications on a pickup, such as

removing the metal cover or exchanging the magnets for others, or technical

defects like short-circuit windings inside the coil. Sample variations of the pickup

series can be recognized quickly, deviants can be identified and sorted out. So

reclaiming from the manufacturer will have a better chance. The Pickup Analyzer©

saves time in development and repairs. Main users are pickup manufacturers, high

quality guitarmakers and renowned music shops.

Fig.12. The "Pickup Analyzer"© - the first commercially available measuring

instrument for the frequency resonponse of magnetic pickups.

In its first version the Pickup Analyzer worked as a stand-alone device. The

figures of frequency and response were read on two seven-segment LED displays.

The new second version (Fig. 13) is used in combination with a PC. It is

connected via two audio cables to the sound card which works als digital to

analog and analog to digital converter.

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Fig. 13. The new PC-coupled Pickup Analyzer©

If you run the measuring software you will get the response curves of the pickup

on the PC screen. You can easily store it and print it, or send it to another person

by e-mail. Fig. 14 and 15 show some results.

Fig. 14 shows the frequency response of a 1972 Fender Stratocaster Pickup with

constant capacitive load (470 pF) and eight different Ohmic loads from 10 kOhms

to 10 MOhms. It can be seen how different values of pots in the guitar influence

the height of the resonance peak. With 47 kOhms or less the peak vanishes.

Fig. 14. Response of a Fender Stratocaster pickup with 470 pF load

capacitance and different Ohmic loads

Fig. 15 shows the frequency response of the same pickup, now with constant

resistive load and eight different load capacitors from 47 pF to 2200 pF. The

resonance frequency and so the tonal characteristics can be easily changed by

varying the load capacitance.

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Fig. 15. Response of a Fender Stratocaster pickup (1972) with 10 MOhms ohmic

load and eight different capacitive loads

For comparison Fig. 16 shows the response of an inferior pickup. This is a Hoyer

built around 1970, looking like a humbucker but with only one coil inside,

capacitive load 470 pF, five different resistive loads. With the 250 k pots used in

this guitar there is no more resonance because of very strong eddy currents in

the metal parts. The sound is dull.

Fig. 16. Response of an inferior pickup.

Some comments

The measured result is really precise only for single coil pickups. Humbucking

pickups have certain notches at high frequencies, because the vibrations of the

strings are picked up at two points simultaneously. High overtones, where the

peak of the waveform occurs over one pole and the trough (valley) of the wave

occurs over the other, can produce cancellations. These notches are at different

frequencies for each string and cannot be described with a single curve. For

instance, with standard size humbucking pickups, for the deep E string the notch

is at about 3,000 Hz, for the A string at 4,000 Hz. For the high strings the notch

is far above the cutoff frequency fg and can hardly be heard.

The effect of the sound difference between one coil and two coils with a

humbucker is overestimated by far. The main reason for getting more treble with

one coil is that the resonant frequency has been raised because of the halving of

the inductance. Sensing the strings at only one point instead of two also has an

effect, but this is much smaller. It can only be compared when the resonant

frequency is held constant while switching.

Furthermore, this measuring method does not take into consideration the effect of

different output voltages of different pickups. In the „crunch" range of a tube amp

a loud pickup produces a different tone than a low volume pickup, even when

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their transfer characteristics are equal. Nevertheless, testing a pickup in this

manner gives useful information on its characteristics. With this knowledge, you

can find which type of sounds appeal to you the most, and possibly bend and

shape the frequency response with external capacitors and resistors to "tune"

pickups to your liking (and for the best match to the body and strings).

Finally, the nonlinear distortion of a pickup cannot be measured in this way. It

exists, because the relationship between the magnetic flux through the coil(s) and

the distance from the magnetic pole to the string follows a hyperbolic curve. So,

if the string vibrates in a sine wave (which every harmonic does by itself),

additional even harmonics are produced which do not exist in the natural spectrum

of the vibration, and as a consequence alter the sound. The resulting distortion

depends on the width of the string vibration and can hardly be quantified. The

shorter the distance between magnetic pole and string, the stronger it is. This

can be heard: With a shorter distance, the sound is more aggressive than with a

larger distance. But with too short a distance, the magnets pull the strings, and

harmonics are shifted so that they are no longer exact multiples of the

fundamental frequency, but a little higher or lower. If this variation is very small, it

can sound good and the tone becomes more alive, like with a slight chorus effect.

But if it is too large, the sound will be terrible. You will find this problem on many

Stratocasters, it is called "Stratitis". The only way to reduce it is to adjust the

pickup to be further away from the strings.

© Helmuth E. W. Lemme, Munich, Germany

http://www.gitarrenelektronik.de

The first version of this article was published in the American magazine "Electronic Musician"

(edited by Craig Anderton), December 1986, p. 66 - 72.

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