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The Lipstick Lab
New Experiments with Old Pickups

Do you ever get an idea that you just know is going to work out brilliantly? And then discover you were totally wrong?

That’s how it was when I finally reassembled my generic Mexican Strat with Duncan lipstick tube pickups. After I recorded a demoing of it here almost two years ago, the guitar lay in pieces alongside my workbench. I’d stare at decapitated body, feeling guilty and dreaming of all the fantastic mods I’d attempt when I finally got around to reanimating it. I had various ideas for the tone control: Maybe a two-band PTB control? Nope—totally underwhelming results. Perhaps a two-in-one TBX? Meh—even less interesting. I drew a blank, and the guitar wound up with a disappointingly normal tone circuit.

But I did discover some cool twists along the way. Details after the video:

My flatwound string addiction is only getting worse, but this is the first time I’ve combined flats and lipstick tubes. (Has anyone done that since the ’50s?) The results were fascinating. As happens when you put flats on an electric 12-string, you encounter a paradoxical increase in highs, despite the darker-toned bass strings. (Maybe it’s because the treble strings ring truer with less phase-canceling interference from roundwound bass strings.) As you can hear, this instrument doesn’t lack for zing.

The opposite, actually — treble notes explode from the instrument, often more than you’d like. I experimented with various action and pickup height adjustments, but no matter how I set things, it was difficult preventing certain notes from shrieking. The only solution was to play the damn guitar for a few hours and grow accustomed to the touch.

What’s Your Favorite Mod? (Here’s Mine.)

What’s your favorite guitar mod? The kind that changes how you play. One you’ve become so accustomed to that you wince when you pick up an axe that lacks it?

I’ll choose pickup wiring mods as a starting point: During the year that Seymour Duncan sponsored tonefiend.com, I devoted many posts to the under-appreciated wiring schemes I found in the company’s wiring diagram database. Some faves:

“Vintage” Les Paul wiring
“Broadcaster blend” Tele wiring
“Nashville-style” Tele wiring in both Teles and Strats

…and of course, the suicidal soldering mission known as the Pagey Project.

I’ve still got the “advanced” version of the Pagey wiring in my nothing-special beater Les Paul, and I like it so much, I want to fix up the guitar so it feels as nice as it sounds.

But of all the wiring experiments I tried, my absolute favorite is one that doesn’t appear in the Duncan archives: the so-called “PTB” tone control (for “passive treble and bass”). It’s a cliché to call a neglected idea “ahead of its time,” but in this case, it happens to be true. Being able to roll off lows as well as highs is unbelievably useful when sculpting sounds. It makes me want to run into the nearest Bain Capital Guitar Center, grab players by the collar, and shout, “You need to know about this!” (But I probably won’t, ’cause G.C. customers aren’t accustomed to receiving that sort of personal attention, and I wouldn’t want to freak them out.)

Allow me to repost last year’s video, demonstrating the circuit in action:

Over a year later, I remain totally addicted to this circuit, and I recommend it to anyone who doesn’t require a guitar with independent volume controls per pickup. (Everyone, basically.) It seems especially relevant for drop-tuned and 7-string metal players who realize you must sometimes cut a little bass to keep the lowest register tight and articulate. And the circuit is a godsend when used with bass-heavy fuzz pedals (such as vintage-style Fuzz Faces). In fact, I’ve even been building the circuit into the front end of certain loud fuzz pedals for use with guitars lacking this magnificent mod.

But I remembered something interesting this week when I opened up the Hamer 20th Anniversary guitar used in the video: