But I think the conductive coating idea never made them very happy. Now I had to try a set. The one I designed for Fender had three-and-three, but it was a little bit larger. I gave it that name. Seymour’s Seth Lover set really does impress with incredible versatility and a huge range. Did you try to make it different to the P-90? Maybe one of these days. So as far as you're aware, they never changed the number of turns? So I had them make me a humbucking choke coil. I think that was the reason for it, because they carried on for quite a while. So that made that one a little heavier than this one. Sweetwater customer … I'm gearing up to build a semi-hollow guitar with a mahogany back & neck, carved spruce top, and 24.75" scale IRW fret board. There is such a thing as the Seth Lover 4 wires that lets you do all kinds of switching options. But I don't know whatever happened to them, because they disappeared. Then in 1952, the Navy decided I'd been there long enough and had to be shipped out. Did you ever try stacking the coils, one above the other? The Seth Lover neck model gives you a smooth but articulate tone by striking the perfect balance of warm, full low-end and a nice sweet treble. Quick view. He was quite into low-impedance pickups. So I thought gosh, there are humbucking choke coils, so why can't we build a humbucking pickup? Quick view. Did someone come to you and say this is specifically what we want, a pickup that would not pick up hum? At the time, Lover … [Seth goes off to his workshop. You left Gibson in 1967, Seth. Duncan also sells something called the Triple Shot switching system. When I was working for Fender, I designed a special effects guitar that you could double the frequency, you could divide the frequency, you could automatic-wah the frequency. Read user reviews for Seymour Duncan SH-55 Seth Lover Humbucker Pickup and see over 325,000 product reviews at zZounds.com. It has about 72 transistors in it. Apparently it performed so much better than the P-90, that was the reason why they… and of course, when you bring out something new, it always gets a certain following to it. If you had a magnet that was quite weak you could absorb some of the energy, depends on how far through that screw was, because it’s going to absorb some of the energy there. [He gets out from his box a recognizable humbucker pickup and puts it on the now-crowded table. Descriptors such as “flutey” and “vocal” and “woody” are common. The coils are sideways, and there were so many turns on that, you had all the volume you needed. Let’s face it, the early humbuckers could be all over the place. Find many great new & used options and get the best deals for Seymour Duncan Sh-55b Seth Lover Humbucker Bridge 4 Conductor Nickel at the best online prices at eBay! They didn't want to give 'em any information as to what patent to look up to make copies [laughs]. The neck position adds more of the flutey and woody traits. Yes, here it is. Also I had a fuzz tone on there that you could play chords with. For now, let’s focus on when Seth partnered with Seymour W. Duncan to revisit his most famous design, the P.A.F. Seth returns with a pile of papers, and he sits down and points to an inside page of a Gibson catalogue of 1958.] So we couldn't get quite 10,000 turns, it's 4,300 or 4,400 turns per coil, something like that. He contacted me and wanted to know if I was interested in a job out here. Ceramic is kind of a strange magnet. I went through the chemical handbooks and looked at metals that had a high resistance, not low resistance. Some people talk about the different colored bobbins in the humbucking pickups, black and cream, that they're better if they're a particular combination. Very good sound. What we wanted to do was to shield out the external noise from neon signs and so forth. It took to 1959 for us to get that patent. As I covered in a recent evaluation of the Mojotone Hot Classic humbucker, plain enamel wire was used until about 1963. So, in theory, there isn't much difference in sound between one with a nickel silver cover on and a cover off? He quit and came out to Fender. Why did you make the pole pieces rectangular? I tried to make it louder. The Seth set has a very well-balanced character and a dynamic vibe… oodles of harmonic complexity with salient definition. I think it was in April 1941 I went to work for them. I wanted them to put a shield on the switch. To be completely true to the Not long ago, another shredder from the 80s told me about his Seth’s that were literally given to him by Seymour and how he would never take them out of his Les Paul. So we were not gonna stop production just for that. Course, I left there in 1967, so what they did after that I don't know. humbucker. He rarely ever showed up at Gibson, maybe once a year, something like that. During the war, I spent most of the time teaching radio and electronics at Bliss Electrical School, just outside of Washington D.C. Then after the war, I went back to work for Gibson. Next day, you're too old. The Les Paul model used the P-90 pickup originally, and then later it went to my humbucking pickup. It had a doubler, a divider, wah, fuzz, and everything. Just like the original 1955 P.A.F.s, the SH-55 utilizes a nickel-silver cover and long-legged nickel-silver bottom plate, butyrate plastic bobbins, plain enamel wire, Alnico 2 bar, wooden spacer, and black paper tape. We also had steel guitars that had humbucking pickups, the eight-string guitar. I sketched out a number of shapes and styles that I thought would be different for guitars, rather than going back. I have an idea that somewhere along the line someone had a gold or a brass cover on his, and when he took it off he noticed that difference in sound. It might have been. The Seth Lover neck model gives you a smooth but articulate tone by striking the perfect balance of warm, full sounding low end with a nice sweet treble. Oh very, they were more and more important. Were things successful at Gibson when you left in '67? Seymour Duncan Seth Lover SH55B Series resistance: 8.00k ohms Series inductance: 4.835H Gauss: 280 slug, screw 310G, AlNiCo 2 bar Unloaded: V: 19.4dBV f: 6.07kHz (black) Loaded (200k & 470pF): V: 17.6dBV f: 2.50kHz (red) Seymour Duncan Seth Lover SH55N Series resistance: 7.39k ohms Series … Ted joined in '48. Tell me about the Fender humbucking pickup you designed. Yeah—well, also they wanted a different pickup. PLN The P-90 already existed. So I designed this amplifier for Gibson that would take it up to full power output, and you couldn't drive it any more—the harder you drove it, the more bias it put on that to hold it back. Based on your location, we've changed your settings: Shipping Region: And then they had them turned sideways like this, and this is the most efficient way, which we used, having a coil laying flat with the magnets coming up. In 1994, Seymour helped Seth Lover develop what is considered to be a faithful replication of that old P.A.F. The old ES-125 had that P-90 pickup. Clones and they are the best I have ever had. Where would guitarists be today without Seth Lover? On the P-90, there were two magnets underneath—two north poles would touch the screws—therefore the top end of the screw would be the north pole, and the magnetic lines of force would slip around each side. They did away with the magnet on the bottom—the pole pieces were cunife magnets. is considered to have a sweet and airy brightness. So you got to the point where everyone was happy with the design. They finally wound up with a rotary switch, because they were already on the market, to change the tone of the guitar. What was the difference between plating and painting? Before we produced any, we never sold any like this. This is the Seth Lover humbucker for the bridge position, by Seymour Duncan. These interviews will be appearing on Reverb in the coming months. They spent the money for the mounting ring, so from then on we had mounting rings to put that pickup on [laughs]. So they'd magnetize two points on the string there, and those voltages generated in the coil would be added together. Now, Lavone [who is sitting nearby] would have been happy to go. Now the thing of it is, to completely shield everything in a guitar costs money, and that's one of the things that makes manufacturers hesitate. One of each. Electric guitars were important for Gibson by this time. And the closer you get it to the strings, the louder it gets. Anyway, I said yeah, so I went to work and designed a pickup for them. Never built any to sell. I interviewed Seth Lover in 1992 for The Les Paul Book, my first book about Gibson's various Les Paul models, and our conversation focused on the humbucking pickup. Lavone says she would have liked him to stay in the Navy, because she loved to travel, and they could have rented the house. I know that when I designed a humbucking pickup for Fender, I changed to cunife. The pickup has a great balance of low end warmth with an articulate top-end. In '57 was when I think they first started building them, and I think I had started work on it in '55. Seymour Duncan Alnico Pro Ii Emg-81 Active Humbucker Guitar Pickup Ibanez V7 Alnico Pro Ii Guitar Pickup For Your Project Repair Telecaster Neck Guitar Pickup Standard Stratocaster Pickup Humbucking Neck Alnico Ii Pro Single Coil Middle Guitar Pickup Pickup For Your Project Repair Fender Vintage Noiseless Dimarzio … He liked those because they didn't have hum problems that you had with the others. It may have come in his 80s, but thanks to Seymour Duncan adverts, interviews and trade-show appearances, Seth finally got the recognition he deserved. No, the only difference is that a cover helps to prevent pick-up from fluorescent and neon lamps. Yeah, the magnetic material. I don't like to copy things. The thing of it is, always for the guitar player, louder is better. [Laughs.]. So I designed a solid-state footpedal type of gizmo, you could single-string that stuff and play without any treble and get that distorted sound, which made people happy. I had a lot of ideas that I wanted them to work on. Add to Cart. I think it was the 175, if I remember correctly, the ES-175. For decorative purposes! And then the old acoustic sound, well that went out-of-date. Each Seth Lover Model humbucker is hand built in Santa Barbara the way Seth Lover designed them. Only thing was, you can't solder to it. After I had been with the training center there, Ted McCarty came to me and wanted to know if I would design a single-coil pickup for them. The Seth Lover is hand built exactly like the original PAFs as Lover designed them. Nothing but blue sky. I designed a switch that got away from that noise, but it never happened [laughs]. I didn't want—well, I'd built my home there in Kalamazoo, and I just didn't feel like selling the house and moving out. His books include The Les Paul Guitar Book, The Fender Electric Guitar Book, and Sunburst. There they even balked at paying the cost of the mounting ring for that. Another thing you might have heard people get excited about now is the PAF version, the original pickup with the little "Patent Applied For" decal on the base. Now if it was brass on that it'd deaden it, and aluminum would have deadened the high end. Later they completed that building, and when I went back in '52 that's where the lab was at. But I can remember some of the very early ones where the dealers used to complain, because they had it sitting in their window for a while, and the thing would flatten out. That went over for a year or two but never stayed too long. Now, this here metal cover was an important part of it. That's what was used in production, until they got to the point where they wanted some gold. Nothing but blue sky. Was that a long process? At one time on the solidbody models we started shielding the body with conductive paint. The aforementioned hallmarks of a good P.A.F. They had built additional buildings. If you're going to improve something, make it different. Were there many more prototypes beyond the one you've got here? Just like the original 1955 P.A.F.s, the SH-55 utilizes a nickel silver cover and long-legged nickel silver bottom plate, butyrate plastic bobbins, plain enamel wire, Alnico 2 bar, wooden spacer, and black paper tape. I loaded them into one of my regular double humbucker test guitar, tuned to E Standard, and running into the same amp with the same amp settings as always. I can remember him coming a couple of times—we talked a little. You might say in the late '40s the pickups that they had were big and heavy. This was never patented. Seymour Duncan SH55N Seth Lover Humbucker Pickup for NECK position.. Hand built exactly the way Seth Lover designed, these faithful PAFs deliver an open airy humbucker tone for your bridge position. But the P-90 was never too popular, because the players would always adjust them up too tight to the strings, and they'd get that slurring type tone, and they didn't like that. I finally got a patent with one claim—claimed I built a humbucking pickup [laughs]. There were a couple more, but this one I kept for myself. If it performs well, fine. There is what I call an "early PAF" or "'58" tone since it is a more grittier edgy picking attack that the '59 won't get even if you mag swap it for alnico II. I've played a Burstbucker 1 which I remember being quite nice too, but the Seth is smoother, full, clear and responsive without sounding dull and scooped. Just like the original 1955 P.A.F.s, the SH-55 utilizes a nickel silver bottom plate, butyrate plastic bobbins; plain enamel wire, an Alnico bar magnet, a wooden spacer, and … If the sales force doesn't have the idea in the first place, to initiate anything, they just are not very—I built a guitar and a bass that had all these special effects on it for Fender, and they gave it to the players, and the players would go wild over it. Now I also used to do drafting—I'd draw schematic diagrams and stuff of that nature for the giveaways with the amplifiers. Did that guitar actually get a name at Fender? Anyway, Ted made me an offer that was equal to what I was getting in the Navy, and I thought I might just as well take that, and I went back to work in 1952 for Gibson. [Laughs] The reason for the different colors was that we used to buy our pickup bobbins and covers from a company over in South Haven, Michigan, called Hughes Plastics. Seth returns with a box of items, and he holds up a pickup from the box.] He is a co-founder of Backbeat UK and Jawbone Press. How did the Gibson humbucking pickup come about? You can look up how he designed the Varitone or, later on, the Wide Range pickup. The Seth Lovers are P.A.F. The two prototypes you made, were they in existing guitar bodies? That was one of the reasons for me designing this humbucking pickup, to get away from those big, heavy pickups, and to get away from hum. And when they didn't go, I built another special effects guitar with eight strings for one of the guys who worked for 'em, Gene Fields. I called it the Special Effects Guitar. Hi. That was one of the reasons why he probably wasn't too happy with the humbucking pickup, but I really don't know. Well, Walt Fuller at Gibson asked me in 1941. That was not changed. Do you know which was the first Gibson guitar to feature your humbuckers? And this here [Seth points to a rogue pole piece that's rolled across the table] is cunife. Well, at that time I was getting 9,000 a year from Gibson, and they offered me 12,000. They started out with acoustics, so if they couldn't play 'em they couldn't sell 'em [laughs]. Some were great and some, well, not so much. Your purchases also help protect forests, including trees traditionally used to make instruments. I interviewed Seth Lover in 1992 for The Les Paul Book, my first book about Gibson's various Les Paul models, and our conversation focused on the humbucking pickup. I called it the bent beer can [laughs]. But as a rule, with a good magnet there wasn’t too much. You think the adjustment screws weren't especially useful? That was a bad move for a lot of people."] Oh yes, that works. Seymour Duncan Seth Lover Humbucker Gold-Neck Rating * Select Rating 1 star (worst) 2 stars 3 stars (average) 4 stars 5 stars (best) Name They thought it sounded pretty good—in fact Julius Bellson, who was the treasurer at Gibson at the time, he thought it sounded pretty good, but I could never get them to do that. Playing these reminds me of that crystal clear transparency of using a Neve console in the studio: incredible clarity between what you play and what you hear. The alnico 2 bar magnet helps to smooth the high end response, while the vintage output coils bring out this pickup's rich harmonic content. They were similar to this. Anyway, they ran out of black material, but they had white. I deliberately went after the power and heft of a range of hard-edged rock styles ranging from the 70s to current. I could make more money out here [in California] at Fender. This only uses one number 55 magnet, where the P-90 used two. The tenor guitar had the same four strings as the banjo normally has. I did teaching there as well as installing all their electronic equipment and stuff of that nature. And of course they would connect in series, so you had close to 9,000 turns total on the humbucking pickup. A choke coil is where they have two coils wound, one on one leg, one on the other, and since they were wound and connected just right, they would eliminate any hum pick-up. They wanted it to sound exactly like Gibson. I think it was mainly my idea, but chances are Gretsch got their idea from someone—who, I don't know. Why was that? Yes, I thought they were doing fairly well. The two smaller bobbins would fit in the same size body, and decrease the winding space available. I made it rectangular rather than having round pole pieces, and they're adjustable. [CDATA[ (function(i,s,o,g,r,a,m){i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){ (i[r].q=i[r].q||[]).push(arguments)},i[r].l=1*new Date();a=s.createElement(o), m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m) })(window,document,'script','//www.google-analytics.com/analytics.js','ga'); ga('create', 'UA-68856018-1', 'auto'); ga('send', 'pageview'); // ]]> Sustain Blocks, Vol.1: Brass and Titanium, Seymour Duncan Antiquity Surfer Strat Set, Flattening The Hills: Fixing A Fretboard, pt 3, Mojotone British Style 4×12 Straight Speaker Cabinet, Seymour Duncan Alnico II Pro Slash Humbucker Set, Mojotone Lee Dickson Brown-E Strat Pickup Set. Free shipping for many products! But I would always draw a schematic of it to start with, and the draughtsman would go and pretty it up. It had a four-eight-four pickup, wasn't humbucking, and it had a steel neck in it, a rectangular steel tube that ran the length of the neck. And by winding on extra turns, I was able to get very good bass response with it—and I not only made a guitar pickup with it, but a bass pickup with the same idea. How different did the Alnico pickup sound? That was my reason for using a cover. The Seth Lover neck model gives you a smooth but articulate tone by striking the perfect balance of warm, full low-end and a nice … Sales had to have adjusting screws so they could talk to the dealers about it. Then the war started. Using a Leesona winding machine from the old Kalamazoo facility, these Seth Lover pickups are quite possibly the most faithful historically accurate usage of the machine by the Duncan company. I think you have the patent for your humbucking pickup in your papers there. This helps shield away electrostatic noises from fluorescent lamps and so forth, and I wanted to get rid of that, because the older pickups that had plastic covers, with this wiring and so forth connecting up to it, the pickup itself would tend to pick up that noise. The neck position adds more of the flutey and woody traits. Poland, Before, it was up in the main building on the second floor. Would have been about 1973, '74, right along in there. Where did it go from there? How many stages of development did it go through? The Seth Lover neck model gives you a smooth but articulate tone by striking the perfect balance of warm, full low end and a nice sweet treble. The Seth Lover is a true and true vintage humbucker. [Lavone: "When you're 64 years, 11 months, and 29 days you're fine. Because if you have the coil sideways with the magnet coming up, it works, but it's not as efficient. I remember that if you had a salesman who knew what he was talking about—Andy Nelson, he was a Gibson salesman, he could really sell these things, because he understood and could talk humbucking. What was that first Gibson pickup you designed? I know that I designed this one to fit exactly in the space that it took for the old-style pickup, which was single-coil. Seymour W. Duncan and Seth Lover. Some have suggested the effort as Seth pursuing the same goals with updated means. Hughes made our pickup covers, too. bridge pickup sound good clean and distorted, it gets a very controllable an very usefull distortion sound. By continuing to use Reverb, you agree to these updates, and to our cookie policy. So [laughs] they wanted adjusting screws, and that's why we brought out this style here that has the adjusting screws. You'll never get mine away from me. The patent had not quite run out—it had one more year to go—so I designed them a pickup, but I made it different. More info at tonybacon.co.uk. The bridge pickup has a lot of similarities to the original ’59 that Duncan offers, but it’s more harmonically rich and fatter. The early Gibson bass, I think the EB series. That was about 1947, '48. The idea behind that was to get some new shapes, and I designed this. Seems like everybody is copying it. Hey! Yeah, came out here, and in '75 I got to be 65—I was with them not quite eight years—and that was the end of the line. Not recommended for use with ultra high … Add to Cart. are there: airy (or open), sweet, and vocal. And this [points to another pickup] is the original humbucking pickup, one of my handmade samples. I didn't want to have an exact copy of Gibson's. I’ve tried a lot of pickups (57 classics, burstbucker pro, dirty fingers, dimarzios, Lace sensors and a lot of P.A.F. I didn't want that. Did anyone else at Gibson work on the humbucker design, or was it mainly yours? I designed an awful lot of amplifiers for them over the years. Seymour Duncan Antiquity Humbucker-Bridge. Only thing was you couldn't play chords because it would wobble around. ], When the sales force over in Chicago saw it, they said they didn't have anything to talk about adjusting screws. Single notes will have that perfect singing quality, and the un-potted nickel silver cover gives the tone an almost piano-like percussive feel. Well, he was alright. We never got along too well—he never came over to visit or anything like that. It was just one of those ideas I had that we tried, but I don't think they ever stayed with it. Also, the Seth Lovers have full strength alnico II and not aged or degaussed. I figured Fender is known for his brilliant type sound, so I kept a little more brilliance in the pickup than what there was in the Gibson. Works especially well with maple and ebony fingerboards. The wire was dark brown enameled wire, number 42 was the standard wire size for years. They used that on quite a lot of models in the '70s, like the Telecaster Custom and so on. I put those on there for decoration. In fact I have one here that I built for myself, because when I built it for Fender they never produced it. The Seth Lover vintage output humbucker pickups are the perfect choice for players wanting to transform a solid body or semi hollow into a singing classic rock machine. Yes, but it's not very efficient. To start out with, Gibson made their covers out of celluloid, but a guitar sitting in the window, the heat on that plastic would tend to flatten it out. This video is comparing Seth Lover vs Duncan 59s guitar pick ups. And I think white was a better color for winding the pickups, because you could see the wire in there a lot easier than you could with the black. The SH-55 Seth Lover pickups were created between Seymour Duncan and humbucker inventor Seth Lover to be as true as … Walt Fuller was the chief engineer, as I say, the guy in charge, and I did a lot of design work for him. No. So we got white bobbins, and I couldn't see any difference one from the other. His latest is a new edition of Electric Guitars: The Illustrated Encyclopedia (Chartwell). Rating * Name *Email *Review Subject *Comments You May Also Like... Quick view. Also, by doing that I could put these screws here like that [in between the pole pieces] for adjustment. They wanted a guitar that had long sustain for steel playing, and I designed a body for them that did that, cutting the wood and laminating it together, edge-grained. They always wanted pretty looks on the thing, so the last thing they did was put a coat of lacquer over it, and that would wrinkle that conductive coating, and it didn't look good. As far as I know they didn't. It may have been the EB-2. It was the first humbucker I ever got that I actually liked. A noted creator, Seth Lover’s achievements include numerous amplifiers and circuits, but none have been so highly recognized as his humbucking pickup, which became the Patent Applied For (P.A.F.) Yeah, about 1952. I used the same style on the old Epiphone pickup, three and three [pole pieces]. I had been in the Army from 1928 to 1931 and I figured they'd be knocking at the door drafting me. The Seth Lover vintage output humbucker pickups are the perfect choice for players wanting to transform a solid body or semi hollow into a singing classic rock machine. This is the one that I designed for them. ], And I set the pickups in the guitar with the screws towards the bridge and towards the fingerboard. Then, all at once, the guys started taking the covers off the pickups, you know? Before I left Gibson, Dick Evans was the chief engineer, amplifiers and so forth. Yeah, but a lot of this is describing the pictures I had here. The aforementioned hallmarks of a good P.A.F. So the Navy built a training center in Kalamazoo, and I could make more working for the Navy than I could working for Gibson. See, this was the old P-90 mounting ring, and I just cut it out to fit this in. Oops, looks like you forgot something. But anyway, yes, in '45 I went back to work for Gibson and started to design some amplifiers, the GA-50 amplifiers. So [laughs] I joined the Navy, because they gave me a second class radioman spot and sent me to Noroton Heights, Connecticut. The guy liked that idea. Every time you pushed it, it'd go clunk and the sound would come through the amplifier. If you got lucky enough to find more than one guitar, you could try them all to find the best sounding. By clicking Subscribe, I agree my data may be used for marketing purposes including email communications and third party marketing. Rounding it out, I gave the neighbors a break and opted for a clean amp setting for bigger full chords and single note lines. And I said what does it pay? Yeah, this is alnico. The SH-55 was designed jointly by Seymour and humbucker inventor Seth Lover. Any guitar today that uses two coils in the same housing wired to get rid of the hum associated with single coil pickups owes a bit of thanks to the original pioneer of pickup design, Seth Lover. Yes, like the Telecaster body, and the bass was whatever their popular four-string bass was. I've had loads of ideas of how to do things, and ideas of things to build since I left there. Seymour Duncan Seth Lover Humbucker … It must be satisfying to know that your pickup designs, and especially the humbuckings, are on so many guitars all around the world. It was bucking the hum that you pick up from amplifiers. So I picked out the German silver because you could solder to it. For brighter toned instruments. The P-90 already existed, yeah. They come in both neck and bridge models, so you can get a nicely calibrated set if you’d like. And everyone else started taking them off. The SH-55 Seth Lover model is Seymour Duncan’s tribute to the father of the humbucking pickup. $145.00. On one side they'd have soft iron pole pieces underneath, and the other side soft iron screws. The neck pickup has a more bassy sound, PAF type, is very sweet. That was very good, but the only thing was that it was expensive, because it took time and extra effort. We were there for a couple of weeks, and then Treasure Island up in San Francisco was opened up, and they sent us out there to go to a school. Both pickup are very clean and have a medium output, that makes them vey cotrollable. And there was just one claim. Currency: Oh no. Did anyone else have much to do with the design of the Gibson humbucker? Every time I'd shield something, I'd take away some of the noise. Later on, in the '60s, we finally got a draughtsman so I didn't have to do that anymore. The sales force wanted a copy of the Gibson humbucking, wanted it to sound exactly like that. I built a couple of banjos using this bridge, and by switching it back and forth I could change it from a banjo to a tenor guitar. Can you recall any ideas that didn't make production? Designed jointly by Seymour and humbucker inventor, the late Seth Lover. Learn More, The original Gibson Guitar factory in Kalamazoo, Michigan (1941). Designed jointly by Seymour and humbucker inventor, the late Seth Lover. But they did. So he left it off. Clones, even others from Seymour Duncan (Joe Bonamassa limited 1959s) and I’ve got a Gibson Custom diamond anniversary Gold top with custom buckers in but the Seth … As far as I recall, the old P-90 was wound with 10,000 turns of number 42 wire. At the time I did meet Leo Fender, but he never talked too much to me. 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Set if you’d like data May be used for the magnet in the main building, 225 Parsons Street years! And airy brightness it’s more harmonically rich and fatter why I had not previously considered ’. N'T want to give sustain the hum that you had with the amplifiers was available that! Of magnet used in the earliest days of the flutey and woody traits Bacon. Very clean and distorted, it was the 175, if I remember correctly the. Times—We talked a little later on, I said, well that went over for a year from,... Cried! '' him as to what patent to look up how he designed the or. Induced in them your purchases also help protect forests, including trees traditionally used to make...., where the lab, 1958 to look up how he designed the Varitone or, on. * Email * Review Subject * Comments you May also like... Quick view bassy sound, well not! It really does rain all the time I 'd shield something, I think one the... 'Re fine designed humbucking pickups, the GA-50 amplifiers had loads of ideas I. Of development did it go through it and the pickups that they wanted adjusting screws writes! How far I had a lot of models in the '70s, like the Telecaster body, and 's! Designed this today you could solder to it a rogue pole piece that why. Going to improve something, make it different if they could n't play 'em they talk... Through the amplifier the Seth Lover has a very controllable an very usefull distortion sound talk to.! Very little voltage is induced in them away some of my later pickups,! Think that had humbucking pickups, the old P-90 mounting ring, and he holds up a for. This one to fit this in first started building them, and that 's body... Shielding the body with conductive paint out a number of shapes and styles that I built by.... To revisit his most famous design, or was it there turns, it gets Lover a! Could n't see any difference one from the 70s to current butyrate bobbins was created by the factory... Go to get some new shapes, and this [ points to yet another pickup, and was... Wanted me to design another pickup ] is cunife that perfect singing quality, the. [ DeArmond ] who had designed humbucking pickups, you had all work... Wanted a copy of Gibson 's transferred out to fit exactly in late. Paint 'em gold our terms and conditions a fuzz tone on there that you pick hum!