from Wikipedia
| P-90 | |
|---|---|
 | |
| Manufacturer | Gibson |
| Period | 1946-present |
| Type | Passive single-coil |
| Magnet type | Alnico 3 (early), Alnico 5 (later); aftermarket pickups with other magnets are available |
| Output specifications | |
| Voltage (RMS), V | 241.1mV at 6.405kHz resonant frequency[citation needed] |
| Impedance, kΩ | 7.5kΩ to 8.5kΩ[1] |
| Sonic qualities | |
| Resonant frequency, Hz | 6.405kHz |
The P-90 (sometimes written P90) is a single-coil electric guitar pickup produced by Gibson Guitar Corporation since 1946, as well as other vendors. Compared to other single coil designs, such as the Fender single coil, the bobbin for a P-90 is deeper but narrower. The Fender-style single-coil is wound in a taller bobbin, but the wires are closer to the individual poles. This makes the P-90 produce a tone seen as a midpoint for pickups: "Sharper" than humbuckers, but with less top-end than single-coils.[2] As with other single-coil pickups, the P-90 is subject to AC-hum unless some form of cancelation is used.
History
[edit]Officially, P-90 pickups were introduced in 1946, when Gibson resumed guitar production after World War II. The name refers to the part number as designated by the company.[3] They were initially used to replace Gibson's original "bar" or "blade" pickup, also known as the Charlie Christian pickup, on models such as the ES-150, and by the end of the 1940s it was the standard pickup on all models.[4] The soap-bar-style P-90 debuted with the Les Paul electric guitar in 1952.[1]
The P-90's reign as the Gibson standard pickup was short-lived, as a new design of pickup, the humbucker, was introduced in 1957. Equipped with double-coils, the new pickup boasted greater output and less hum, although with less high-end-response. This new pickup, occasionally named PAF ("Patent applied for"), very quickly took over as the preferred choice for all Gibson-models, relegating the P-90 to budget-models such as the ES-330, the Les Paul Junior and Special, and the SG Junior and Special, such as those used by Pete Townshend and Carlos Santana for their brighter, rawer sound. This trend continued throughout the 1960s and particularly in the early 1970s, where the P-90 all but disappeared from the entire Gibson-range. By the 1970s, smaller single-coil pickups, mini-humbucking pickups, and uncovered humbucking pickups began replacing the P-90 pickups on Gibson's budget and lower-end models.
In 1968, Gibson reissued the original, single-cutaway Les Paul, one version being a Goldtop with P-90 pickups.[3] In 1972, they produced Limited-Edition-reissues, called the "58 Reissue" though actually based on the 54 Goldtop Les Paul, with a stopbar tailpiece; and the 54 Custom, the "Black Beauty", equipped with a P-90 in the bridge and an Alnico V pickup at the neck. Total production of these guitars was quite small. In 1974, Gibson put the P-90 pickup in their Les Paul '55, a reissue of the Les Paul Special from that era. It was followed in 1976 by the Les Paul Special double-cutaway (DC) model and in 1978 by the Les Paul Pro (which had an ebony fingerboard with trapezoid inlays). Since the 1970s, the P-90 pickup has seen some success in various models in the Gibson line, mostly through reissues and custom versions of existing models. Currently it is featured most-prominently on the Les Paul Faded Doublecut, and certain models in the Historic range.
In the early 1970s, punk rock guitarists such as Johnny Thunders of The New York Dolls began using Les Paul Juniors and Les Paul Specials equipped with P-90s because of the cutting overdriven sound and the inexpensive nature of the guitars. In both The Dolls and The Heartbreakers, Thunders influenced younger punk rock guitarists who adopted his look and choice of guitar. Mick Jones of The Clash and Steve Jones of The Sex Pistols both owned Les Paul Juniors, and the double-cutaway Junior became the first choice for punk rock guitarists.
The P-90 was also marketed by Gibson in the 1970s as the "Laid Back" pickup, as part of a line of "named" pickups.[5][page needed]
For the 2014 model year, the Les Paul Melody-Maker featured a variant of the P-90 pickup called the P-90S, inspired by the original pickup of the Gibson ES-125. This variant possesses six rectangular Alnico-slug-pole-pieces with no individual height-adjustment.
Varieties
[edit]
There are three major varieties of P-90 casing:
- Soap-bar, which have a rectangular shape and mounting-screws contained within the coil-perimeter, is positioned between the pole-pieces of the second and third, and fourth and fifth, strings.[1] The soap-bar nickname comes from its shape and proportions, and that the P-90s shape and white color on the original Gibson Les Paul as a means of distinguishing them and others sharing their basic configurations from latter generation P90 pickups.
- Dog-ears have mounting-screw extensions on both sides of the pickup.[1] These were commonly mounted on Gibson's hollow-body guitars like the ES-330 and occasionally on solid-body models like the Les Paul Junior. The same pickups were also available on Epiphone-models (since Gibson was building Epiphone guitars in the 1950s).
- Humbucker-style allows a P-90 to be retroactively installed on guitars that came with humbuckers. The existing routing in the guitar-body must be altered to fit a standard P-90; the humbucker-style casing minimizes the effort to install one and any potential alignment-issues. As a result, pseudo-P-90s in a humbucker-style casing are common (see below).
Sound
[edit]Being a single-coil-design, the tone of a P-90 is somewhat-brighter than a humbucker,[6] though not quite as crisp and bright as Fender's single-coil pickups.[citation needed] The tone therefore shares some of the single coil traits, but having large amounts of midrange and often described as “thick". The reason behind the tonal difference between P-90s and Fender single-coil pickups is due to P-90s using bar-magnets set under the pole-pieces, much like a humbucker, whereas Fender single-coils use rod magnets as the polepieces. [7] Popular guitars that use or have the option of using P-90s are the Gibson SG, Gibson Les Paul, and the Epiphone Casino. Fender Jazzmaster pickups are often confused with the P-90; however, their only similarity is cosmetic, since there are many significant visual, dimensional, and electrical differences.
The placement of the guitar pickups by Gibson before World War II emphasized the treble-response to compensate for the low frequencies of the electronics in the bass. The increased output and high end afforded by the P-90 design allowed the company to position the pickup closer to the neck.[3]
All Gibson P-90 pickups (vintage and otherwise) were machine-wound on Leesona coil-winding machines, although their electrical specifications may vary slightly due to variations in the winding. In common with many other modern pickup-types, there are two versions of modern P-90s: Neck and bridge. Their DC resistance tends to be around 8kΩ.[1][6] Early P-90 pickups made before approximately 1974 were manufactured with no difference in the bridge and neck position and were interchangeable. After winding, pickups were hung on a rack holding twenty pickups and assembled according to the model of guitar they were to be used on (Soap-Bar or Dog-Ear). Earlier pickups (around 1952) had Alnico 3 magnets, but in 1957 Gibson switched to the stronger Alnico 5.[8]
References
[edit]- ^ a b c d e Hunter, Dave (2008). The Guitar Pickup Handbook: The Start of Your Sound. Backbeat. pp. 57–58, 60, 69, 78. ISBN 9780879309312.
- ^ "Single Coil vs P90 vs Humbucker Pickups". Andertons Blog. April 5, 2019. Retrieved December 2, 2025.
- ^ a b c Carter, Walter (2007). The Gibson Electric Guitar Book Seventy Years of Classic Guitars. Backbeat Books. pp. 20, 72. ISBN 9780879308957.
- ^ Duchossoir, A. R. (1998). Gibson Electrics: The Classic Years. Hal Leonard. p. 29. ISBN 0-7935-9210-0.
- ^ Brosnac, Donald (1983). Guitar Electronics for Musicians. New York: Amsco Publications. ISBN 0-7119-0232-1.
- ^ a b Lawrence, Robb (2008). The Early Years of the Les Paul Legacy, 1915-1963. Hal Leonard. pp. 114, 184. ISBN 9780634048616.
- ^ "An Extensive Guitar Pickup Primer". Reverb. September 2, 2015.
- ^ Price, Huw (April 11, 2022). "The history of the P-90, the most versatile pickup ever made". Guitarist. Retrieved August 21, 2022.
External links
[edit]- Electric guitar pickup analysis results, a massive load of data on various pickup models, obtained in UIUC Physics 406 "Physics of Music" course.
- All About P-90s
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from Grokipedia
Design and Construction
Core Components
The P-90 is a single-coil electric guitar pickup characterized by its rectangular bobbin constructed from black styrene plastic, which serves as the core structure around which the coil is wound.[4] This bobbin design provides a stable foundation for the pickup's components, enabling efficient capture of string vibrations across the instrument's scale.[7] Beneath the bobbin, two flat bar magnets, typically made of Alnico, are positioned parallel to each other and connected by a steel keeper bar that helps concentrate and direct the magnetic field upward through the coil.[4][7] The keeper bar ensures the magnetic flux is focused, enhancing the pickup's sensitivity to the ferrous strings above.[8] The pickup features six adjustable steel screw pole pieces, aligned in a single row corresponding to the six guitar strings, which extend through the bobbin to interact directly with the magnetic field and allow for fine-tuning of individual string output and intonation balance.[2][3] Enamel-coated copper wire is precisely wound around the bobbin to form the coil, using 42-gauge plain enamel wire with approximately 10,000 turns in vintage designs, which converts the mechanical energy from vibrating strings into an electrical signal.[4][9] These components interact through electromagnetic induction: the steel strings, vibrating within the concentrated magnetic field created by the Alnico bars and focused by the pole pieces, cause fluctuations in magnetic flux that cut across the coil windings, generating an alternating current proportional to the string's motion.[8] This process captures the fundamental and harmonic frequencies of each string, with the adjustable pole pieces enabling targeted adjustments to optimize response per string.[2]Materials and Specifications
Specifications vary by production era and manufacturer; the following are typical for vintage Gibson P-90s. The P-90 pickup employs Alnico magnets, with early models produced from 1946 to approximately 1957 typically featuring Alnico III, transitioning to Alnico V from around 1957 onward for greater magnetic intensity and brighter output.[4][7] These cast alloy magnets, composed primarily of aluminum, nickel, and cobalt with iron and sometimes copper or titanium, are slotted into steel pole pieces to form the core structure. The coil is wound with 42-gauge plain enamel-coated copper wire to approximately 10,000 turns, yielding a DC resistance of 7.5–8.5 kΩ, which influences the pickup's overall output and frequency response.[7][9] This plain enamel coating on the copper wire provides insulation while allowing for a compact winding density essential to the single-coil design. Key electrical specifications include an inductance of approximately 6–8 H and minimal capacitance inherent to the single-coil configuration without additional shielding components.[7][10] These properties establish the P-90's midrange-focused response.| Specification | Typical Value |
|---|---|
| DC Resistance | 7.5–8.5 kΩ |
| Inductance | 6–8 H |
| Capacitance | Minimal (single-coil design) |
History
Origins and Development
The development of the P-90 pickup began in the early 1940s under Gibson engineer Walt Fuller, who sought to improve upon the Charlie Christian pickup originally introduced in the ES-150 archtop guitar in 1936. The Charlie Christian design, a bulky bar-style single-coil with steel magnets and heavy wiring, produced a robust tone but suffered from excessive weight and inefficiency, prompting Fuller to explore more streamlined alternatives.[4][2] World War II significantly influenced this evolution, as widespread material shortages—particularly of metals like copper and steel—limited Gibson's access to components for larger pickups, forcing a shift toward compact, resource-efficient designs. Fuller's work, initially delayed by wartime production restrictions, incorporated Alnico magnets to reduce size and weight while maintaining output, marking a departure from the blade-style formats of earlier models like the 1940 P-13. This adaptation addressed both practical constraints and performance needs, aiming for a single-coil format that could fit seamlessly into guitar bodies without compromising tonal potential.[4][2][12] Prototyping accelerated in 1945–1946 as postwar recovery allowed Gibson to resume innovation, with Fuller integrating adjustable pole pieces to enhance intonation across strings and a wider magnetic field via Alnico rods for a fuller, more balanced tone. These prototypes were tested on archtop models such as the ES-125, where they successfully mitigated hum susceptibility and inconsistent output issues inherent in prior designs like the Charlie Christian pickup. Internal Gibson documentation from 1946 underscores this phase, positioning the P-90 as the first adjustable single-coil ready for mass production, though no formal patent was filed for the design itself.[4][2][13]Introduction and Early Adoption
The Gibson P-90 single-coil pickup was officially introduced in 1946 as the company's new standard for electric guitars, marking a significant upgrade from the earlier Charlie Christian-style blade pickup used on models like the ES-150.[4][2] It debuted on semi-hollowbody instruments such as the ES-125 and ES-350, providing a brighter, more versatile tone suited to the post-World War II resurgence in amplified music.[4][14] By 1952, the P-90 had been integrated into the newly launched Les Paul Model, appearing in both neck and bridge positions on the original goldtop variants, further solidifying its role in Gibson's lineup.[1][4] Following its launch, the P-90 saw rapid adoption in jazz and early electric blues scenes, becoming the go-to pickup for Gibson's electric guitars through the 1950s due to its raw output and dynamic response.[4][3] It powered amplified guitars in big band settings, contributing to the evolution of electric guitar tones in ensemble contexts.[14][4] Production scaled up significantly in the late 1940s as Gibson capitalized on the postwar demand for electric instruments, with the P-90 fitted across a range of models from premium jazz archtops to entry-level student guitars.[1] In 1948, Gibson introduced the dog-ear variant of the P-90, featuring protruding mounting ears for easier installation on lap steels and other non-standard bodies, expanding its utility beyond traditional guitars.[1][4] The P-90 remained Gibson's flagship single-coil design until the 1957 debut of the humbucker pickup, which offered reduced hum and smoother highs, leading to a decline in its use on higher-end models like the Les Paul as rock music gained prominence.[1][4] However, it persisted in budget-oriented instruments, such as the Melody Maker introduced in 1959, where its bold, gritty character continued to appeal to beginners and blues players into the early 1960s.[4][1]Varieties
Original Gibson Variants
The P-90 pickup, introduced by Gibson in 1946, was produced in several distinct variants during its classic era through the 1970s, each adapted to different guitar body styles and mounting requirements while sharing the core single-coil design with adjustable or fixed polepieces and Alnico magnets.[4] These variants emphasized physical form factors suited to Gibson's lineup of solidbody and archtop instruments, with the soapbar serving as the foundational rectangular model.[1] The soapbar variant featured a compact, non-protruding rectangular housing that resembled a bar of soap, making it ideal for flush mounting on flat-top solidbody guitars such as the Les Paul Goldtop, Custom, and Special models from the late 1940s through the 1950s.[4] This design included six adjustable slotted polepieces aligned under the strings, a black styrene bobbin wound with 42-gauge wire, and two Alnico magnets secured by a steel keeper bar, all encased in a plastic cover.[4] Early soapbar units from 1946 to the early 1950s predominantly used Alnico III magnets, transitioning to variations of Alnico II, IV, and V by the late 1950s.[4] Introduced alongside the soapbar in 1946 but refined for archtop applications by the late 1940s, the dog-ear variant extended the baseplate with two protruding "ears" or tabs featuring screw holes, allowing secure attachment to the f-holes of hollowbody and semi-hollowbody guitars like the ES-125, ES-225, ES-330, and Les Paul/SG Juniors.[1][4] These extensions enabled direct screwing into the guitar's top without additional hardware, while height adjustments were achieved using shims, foam, or springs beneath the pickup.[4] The dog-ear shared the soapbar's internal components, including adjustable polepieces and Alnico magnets, but its extended form provided better stability on curved surfaces common to archtops and lap steels.[14] For cost-effective production in budget-oriented models during the 1950s, Gibson developed the staple variant, which replaced adjustable polepieces with six non-adjustable rectangular Alnico rod magnets of uniform height, resembling metal staples.[4] This design, used primarily on jazz-oriented ES models and pre-1957 Les Paul Customs, simplified manufacturing and reduced costs while maintaining a similar coil structure, though minor height tweaks were possible via small adjustment screws.[4] The staple's fixed poles contributed to its adoption in entry-level lines, where precise adjustability was less critical.[4] Cover options for these variants evolved to balance aesthetics, shielding, and functionality, with most original Gibson P-90s featuring enclosed designs for electromagnetic protection. Soapbar and dog-ear models typically used molded plastic covers in cream (early 1940s-1950s) or black (from mid-1950s onward), fully enclosing the coils and polepieces while allowing lead wires to exit via a baseplate notch.[4][14] In contrast, staple variants employed nickel-silver metal covers for enhanced shielding, often with a chrome or nickel finish that echoed contemporary DeArmond designs.[4] Open-coil configurations, exposing the bobbin and polepieces for a raw, utilitarian appearance, appeared sporadically in 1950s production on select models but were less common than covered versions until later decades.[4] Mounting configurations varied by guitar type and variant, with soapbars generally secured directly to the body wood using two screws inserted through holes in the baseplate between specific polepieces, promoting tight acoustic coupling for solidbody resonance.[4] Dog-ears, by design, mounted via the extended tabs screwed into f-hole edges on archtops, avoiding body penetration.[14] Some setups, particularly on models like the SG series in the 1960s, attached pickups to a pickguard or mounting ring for easier adjustment and installation, though direct body or top mounting remained standard for vintage Les Pauls and ES instruments.[1] Wiring for dual-P-90 setups was conventionally in series, connecting the pickups end-to-end to increase output and midrange emphasis, with braided output wires soldered to the baseplate and routed through the guitar's control cavity.[4]Modern and Aftermarket Options
In the late 20th and early 21st centuries, Gibson revived production of P-90-equipped instruments through reissues that captured the essence of earlier designs while incorporating modern manufacturing techniques. The 1968 Les Paul Standard Goldtop Reissue, first introduced in the Custom Shop lineup, features dual P-90 pickups in a single-cutaway mahogany body with a goldtop finish, paying homage to the brief 1968 production run of the original model.[15] In 2014, Gibson released the Les Paul Melody Maker with P-90S soapbar pickups, which use slug magnets for a balanced tone suitable for blues and rock, marking a return to the Melody Maker's P-90 heritage in a more affordable Les Paul-style body.[16] During the 2020s, Gibson's Custom Shop expanded its P-90 offerings with aged-finish variants, such as relic'd soapbar pickups in models like the 1950s Les Paul Special, where the aging process simulates vintage wear on covers and bobbins for authentic aesthetics and subtle tonal warmth. In 2025, Gibson's Certified Vintage program released additional P-90 models, including an Ebony ES-330 with Dogear pickups, and Custom Shop introduced Murphy Aged P-90 Soapbar variants.[17][18] Aftermarket manufacturers have developed P-90 alternatives that replicate or enhance vintage specifications for contemporary players. Seymour Duncan's Antiquity P-90 series employs Alnico 2 bar magnets and aged bobbins with scatterwound coils to emulate the gritty midrange and sparkle of 1950s Gibson soapbars, available in both dog-ear and soapbar formats.[19] Lollar Pickups' Novel 90 is a humbucker-sized design with low-wind coils around Alnico magnets, providing P-90-like output with increased clarity and reduced muddiness in high-gain settings.[20] Mojotone's '56 Quiet Coil P-90 uses Alnico V magnets in a wax-potted construction for a bold, rock-oriented tone with enhanced sustain and lower noise compared to unpotted vintage replicas.[21] Humbucker-sized P-90 designs allow drop-in replacements in instruments originally routed for humbuckers, preserving the single-coil character without body modifications. The Tonerider Rebel 90, introduced in the early 2010s and updated through the 2020s, features twin Alnico 2 bar magnets in a humbucker footprint, delivering tight bass, crisp highs, and the raw edge of a traditional P-90 while fitting Les Paul-style cavities seamlessly.[22] Recent advancements in P-90 production from 2022 to 2025 emphasize durability and performance refinements. Many aftermarket and OEM P-90s, such as those from Seymour Duncan and Mojotone, now incorporate full wax potting as standard to minimize microphonics and feedback, allowing higher gain without unwanted squeals while retaining dynamic response.[19] Fishman Fluence series includes the Gristle-Tone Signature P-90, released in 2021, an active multi-voice pickup with hybrid coil configurations that switch between vintage P-90 warmth and humbucker-like punch, powered by dual voicings for noise-free operation in modern rigs. Production trends reflect growing interest in P-90s for boutique and offset guitars, with increased integration in models like the Fender Player Mustang 90, which pairs MP-90 pickups with a 24-inch scale for versatile indie and alternative tones, continuing into 2025 lineups.[23]Modern Boutique Reproductions
Modern boutique pickup makers produce high-quality dogear P-90 reproductions tailored for hollowbody guitars such as the Epiphone Casino, often aiming to replicate or enhance the vintage 1960s sound associated with the Beatles' Casinos.Lindy Fralin Dogear P-90
Fralin's traditional dogear P-90s use USA-made Alnico 4 bar magnets as standard. They offer winding options: 5% underwound (for clearer, less muddy neck tones in resonant hollowbodies), stock, and 5% overwound (for thicker mids and faster breakup in the bridge). Approximate DC resistance:- Stock: Neck ~7.8–8.2 kΩ, Bridge ~8.2–8.6 kΩ.
- 5% underwound: Neck ~7.4–7.8 kΩ (recommended for clarity in hollowbodies).
- 5% overwound: Bridge ~8.7–9.1 kΩ (adds growl for overdriven tones like "Revolution").
Lollar Dogear P-90
Lollar offers dogear P-90s with explicit magnet choices:- '50s Wind: Alnico 2 magnets for softer, bloomier, more chimey vintage tone (closer to original 1960s Beatles P-90s). Neck ~7.7–8.0 kΩ, bridge hotter.
- Standard/Low/High Wind: Alnico 5 for more mid-forward growl and output.
- Casino-specific set: Often Low Wind neck (for clarity) + Standard Wind bridge.
Comparisons for Hollowbody/Casino Use
- Fralin Alnico 4 (underwound neck + stock bridge): Balanced, refined, musical; good dynamics and less risk of mud in resonant bodies.
- Lollar '50s Wind (Alnico 2): Softer, more vocal and chimey; closest to original Beatles neck warmth with bloom.
- For Beatles tones: Underwound or Alnico 2 neck for chimey rhythms; standard or lightly overwound bridge for thicker overdrive without excessive brightness.