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 Like this royalty-free clip-art illustration, the Alternative 8 manages to be both aggressive and round. I was talking to some of the Seymour Duncan dudes the other day about pickups models deserving greater public awareness. One of the first names on everyone’s lips was the Alternative 8, a a high-output humbucker that uses a powerful alnico VIII magnet in lieu of the alnico II or alnico V magnets that fuel the vast majority of non-ceramic pickups.
I was intrigued, so I popped one into the bridge position of my Hamer 20th Anniversary. Yow.
If you’ve been following this blog, you’ve probably noticed that I tend to gravitate toward lower-output, vintage-flavored pickups, generating gain from the amp or a number of sketchy homemade distortion boxes. The Alternative 8, with its blistering DC resistance of 17.68k, is definitely a departure for me, but I found myself captivated by its deft balance of aggression and definition.
Have a listen and see what you think. Post-mortem after the video.
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 Sounds like MONEY! I’ve said it so many times, I feel like the parrot of pickups, but here goes again: These days the weakest links on inexpensive Asian and Mexican guitars are invariably the pickups. Upgrading them often yields a princely axe at a pauperly price.
A perfect example is the Ibanez Art Star archtop I just upgraded for my friend Dusty. These aren’t especially sought-after models — they seem to sell used here in the States for for between $400 and $500.
The guitar looked cool and played well, but the pickups were murky and undistinguished. I replaced them with a pair of Duncan ’59s, and man — a merely decent guitar suddenly became very good.
Dusty’s not really a jazz player — more a cool indie-rock-pop guy — so I figured he’d like the option of a brighter, single-coil sound. I requested the ’59 model with four-connector cable (plus chrome covers to maintain the retro look), and used push/pull pots from StewMac for humbucker/single-coil switching. That was also my rationale for choosing “vintage-style” wiring, which keeps the tone relatively bright, even when rolling back the tone pots. Dusty also wanted to keep the guitar’s flatwound string as a departure from his usual roundwounds, which was all the more reason to keep the tone as bright as possible.
Just one disclaimer before you view the demo: Dusty is left-handed, and I am not. I foolishly bravely recorded the performance playing the guitar upside-down without restringing. So you’re going to have to imagine how it would sound played confidently and comfortably! (It was an interesting experience, to say the least, one I wrote about it here.)
Check it out:
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 “Why is everything upside-down?” You know the origin of the word “sinister,” don’t you? It’s the Latin word for “left,” which, according to etymologists, became associated with evil, thanks to the medieval belief that left-handed people were deceitful and probably possessed. Meanwhile, “dexterous,” which means adept with your hands or brain, is from the Latin “dexter,” meaning “right.”
What are the odds that a right-handed person came up with those ideas? 😉
Lefty guitarists have it tough. They have fewer instruments to choose from, and they usually can’t just pick up any old guitar and start jamming. When I wrote for Guitar Player, we tried hard not to be “side-ist,” and would always refer to the “picking hand” and “fretting hand” rather than the left and right when discussing technique. But still.
I have left-handedness on the brain because I upgraded a left-handed guitar for a friend. I threw caution to the wind and recorded a demo video upside-down, without restringing. It ain’t pretty — but it sure is interesting! I’ve never undergone any sort of neurological testing, even though I look like the sort of person who should have electrodes permanently attached to his skull. But after playing upside down for a few minutes, I could practically feel parts of my brain pulsating with unaccustomed energy. I held a wine glass in my right hand, and it felt wrong. Then in my left, and it still felt wrong. And man, was it tough typing! It was a weird, disorienting mental high.
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 Aggressive on the bass side, sweet on the top. I was talking to Seymour the other day about the types of magnets used in vintage Fender pickups. I knew that Fender used strong, punchy alnico V magnets in most of their models, but I didn’t know that the earliest Teles used softer-sounding alnico IIs, or that the first Strats used even softer-sounding alnico IIIs, a detail confirmed by Fender’s page on the topic.
I recently had a chance to compare the sound of alnico II and alnico V while hacking together guitars for the Mongrel Strat Project. I’d tried an Alnico II Pro in the middle position of this mongrel, and liked it. But as I continued to experiment, I gravitated back to the more traditional alnico V sound — maybe because I play so much in lowered tunings, and in bands without bass, so I really like the strong, defined fundamental you get from an alnico V.
But until now I’d never tried literally splitting the difference via Duncan’s Five-Two, a hybrid that has three alnico V rods for the bass strings and three alnico II rods for the trebles. The idea behind this arrangement is to deliver a bold, snappy sound in the low resister, but with some softening and sweetness on top.
How does it sound? You tell me — here’s a demo video I made. Plus, there’s a micro-contest: The first person to name the tune I’m playing will have their name immortalized for the ages mentioned in an upcoming post. (That might be better than a poke in the eye, depending on whose eye it is.)
Have a listen:
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 Africa’s finest: The eternal Dr. Nico. Looking for some cool new stuff to listen to? Or some cool old stuff that just happens to be new to you? Me too!
This thread’s goal is to share some personal guitar or bass favorites that aren’t as well known as they should be. You know — the sort of stuff you play for your best musician friends after murmuring “Oh man, you are not going to believe this!”
This is not a contest. There are no rules. You can share anything in any musical style. It can be virtuosic or primitive. It can be new or ancient. It can even be something widely known, so long as you suspect it may be new to some of your fellow readers. Anything cool and inspiring is welcome.
And as if to prove that there are no rules. I’m going to start the ball rolling with two favorite guitarists who were big stars — just not in English-speaking world.
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UPDATE: I’ve added a page listing all the “How To” posts on this site. Just click the cleverly titled How-To Posts Are Here! box at upper-right of each page.
 There’s got to be a better way! Several readers asked for more specific tech advice on how to wire up battery-powered effects inside a guitar or bass, so I created a step-by-step tutorial, which you can download here.
Some historical background: Since the ’60s, many guitar companies have toyed with the notion of installing battery-operated effects inside guitars.
And “toyed” is probably the perfect verb for it. Onboard effects have earned a reputation as cheesy, low-budget products. In many cases this reputation is justified. (And sometimes it’s not — the Electra guitars of the ’80s were never particularly popular, but their simple onboard distortion circuit has generated hundreds of “boutique” clones, not to mention our own Bad-Ass Distortion project).
And why would you want to put an effect inside a guitar or bass? You can use a stompbox with any electric instrument, but an onboard effect is married to one axe till solder-do-they-part.
I have an ironclad rebuttal to such concerns:
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 Kitty power!!! Okay, as promised: One more quick video featuring the Hello Kitty Strat, this time with one of those new Duncan Synyster Gates Invader pickups. I’m told the ceramic-magnet Invader is literally the hottest possible non-active pickup. I’m inclined to believe it.
Take this one with a grain of salt. As much as I love trying to make a pink $99 guitar and a Lunchbox amp sound as heavy as possible, this pickup just might sound a wee bit heavier with a big-ass mahogany guitar and a big-ass tube-dude amp. But still.
FYI, here’s the earlier post I did using a Duncan Phat Cat pickup, plus the same built-in fuzz.
Behold, mortals:
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 Hi there. We changed musical history! Tonefiend reader Scott S. hipped me to a fabulous little article that just appeared in the online edition of The Atlantic: a history of artificial reverb that’s both technically savvy and fun to read. Author William Weir covers all the right gizmos: echo chambers, plates, springs, tape echo, custom convolution reverbs (which I wrote about here), and Duane Eddy’s 2,000-gallon water tank. Plus there’s lots of of fascinating historical speculation: Did Stonehenge draw some of its ritualistic power from its unique acoustic properties? Did the long reverb times of medieval cathedrals hasten the birth of polyphony?
Quick! Can you name the first hit to feature fake reverb? You will after you read this fine piece!
 Would this be anything less than awesome? I think not. As I gloated last week, Jane Wiedlin gave me her Hello Kitty Stratocaster — the most bitchin’ $99 guitar ever conceived! I finally had a chance to destroy/customize it yesterday, in what will no doubt be the first of many desecrations/enhancements.
I’d ordered one of those Synyster Gates Duncan Invaders with the pretty white pole pieces for the guitar, but just couldn’t wait to experiment, so I browsed through the ol’ pickup collection, and found a nice Duncan Phat Cat I’d used in a Les Paul experiment some months ago.
I don’t generally recommend choosing pickups because of their names, but come on! Kitty + Cat? How could I resist?
Turns out it was a lucky choice. I hadn’t planned to install a pickup that was actually lower in output than the stock humbucker, but it lets me get nicer clean sounds, and coughs up more than enough crunch when goosed with distortion. Speaking of which: the other custom feature is a built-in-distortion circuit activated via push-pull pot (I took lots of pics of the process for a DIY built-in-effects tutorial I’ll be posting very soon.)
View the carnage in this little video. Thanks, Jane Weidlin! Sorry, Stevie Nicks!
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 Borders went bankrupt. Now what the heck am I supposed to do with this pretty red card? Behold my latest gizmo acquisition: the mighty Pick Punch!
It may look like a humble office stapler, but it stamps out standard-sized guitar picks from any compatible material.
I made picks from an old credit card, then another old credit card, and then . . . hey, folks, I need more ideas! What else would be a good, but unconventional, material for DIY picks?
FYI, this thing is sturdy, powerful, and sharp. If you stick your hand in it, you can probably make a decent skin-and-bone pick. When working with less self-destructive plastics, the edges are a little rough and furry, but nothing that a few seconds of sanding or playing wouldn’t sort out.
I found this treasure at the wonderfully silly gift site Think Geek, a nerd-toy emporium that specializes in such life essentials as the Zombie Head Cookie Jar and Alien Chestbuster Plush Toy. You can also order it directly from creator Von Luhmann via PickPunch.com. He also sells blank sheets of plastic advertised as similar to the material used in several popular pick types, plus sanders, inks, and so forth. He also sells a version of the Pick Punch that stamps out smaller, pointer “jazz style” picks. Pricing is reasonable: $24.95 for the Pick Punch, and $3.25 for enough plastic stock to 60 or so picks.
One advantage of buying directly from Luhmann rather than Think Geek: You won’t be tempted to outfit yourself with one of these.
Anyone out there in the habit of making their own picks? Show and tell, please!
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