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Single coil guitar pickup
Single coil guitar pickup
Single coil guitar pickup
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A typical single-coil guitar pickup: copper wire wrapped around a bobbin which holds magnetic pole pieces adjacent to a magnet
String effect on a single-coil (electric guitar). The coil is connected to a multimeter that indicates the voltage changes when the string moves. This signal is normally sent to an amplifier.

A single-coil pickup is a type of magnetic transducer, or pickup, for the electric guitar and the electric bass. It electromagnetically converts the vibration of the strings to an electric signal. Single-coil pickups are one of the two most popular designs, along with dual-coil or "humbucking" pickups.

History

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Beauchamp

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Sketch of Rickenbacker "frying pan" lap steel guitar from 1934 patent application

In the mid-1920s George Beauchamp, a Los Angeles, California, guitarist, began experimentation with electric amplification of the guitar. Originally using a phonograph pickup assembly, Beauchamp began testing many different combinations of coils and magnets trying to create the first electromagnetic guitar pickup.[1] His earliest coils were wound using a motor from a washing machine. Later he switched to a sewing machine motor, and eventually used single-coiled magnets.

Beauchamp was backed in his efforts by Adolph Rickenbacker, an engineer and wealthy owner of a successful tool and die business. Beauchamp eventually produced the first successful single-coil pickup, which consisted of two massive U-shaped magnets and one coil and was known as the "horseshoe pickup".[1] The two horseshoe-shaped magnets surrounded the strings that passed over a single core plate (or blade) in the center of the coil.

Gibson

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Main article: Charlie Christian pickup

The Gibson Guitar Corporation introduced the "bar pickup" in 1935 for its new line of Hawaiian lap steel guitars. The pickup's basic construction is that of a metal blade inserted through the coil as a shared pole piece for all the strings. A pair of large flat magnets were fastened below the coil assembly.

In 1936 Gibson introduced the ES-150, its first electric Spanish-styled guitar.[2] The ES-150 was outfitted with the bar pickup. Jazz guitar innovator Charlie Christian began playing an ES-150 in the late 1930s with the Benny Goodman Orchestra. This caused the popularity of the electrified guitar to soar. Due to Christian's close association with the ES-150, it began being referred to as the "Charlie Christian Model" and Gibson's now famous bar pickup as the "Charlie Christian pickup"[3] or "CC unit".

Common designs

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Gibson P-90

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Main article: P-90
Gibson P-90 soap bar

The P-90 is a single coil pickup designed by the Gibson Guitar Corporation.[4][5] These pickups have a large, flat coil with adjustable steel screws as pole pieces, and a pair of flat alnico bar magnets lying under the coil bobbin. The adjustable pole pieces pick up the magnetism from the magnets. Moving the screw closer or further away from the magnet determines signal strength, thus tone as well. There are two variations of P-90 pickup that differ mainly by mounting options:

  • Soap bar casing has true rectangular shape and the mounting screws are contained within the coil perimeter, positioned between the pole pieces, between strings 2-3 and 4-5, thus creating irregular and somewhat unusual pattern. Occasionally, they are mistaken for pole pieces; thus, the P-90 is sometimes erroneously said to have eight pole pieces. The "soap bar" nickname most probably comes from its predominantly rectangular shape and proportions resembling a bar of soap, and the fact that the first P-90s on the original Gibson Les Paul Model of 1952 were white.
P90 dog ear
  • Dog ear is a casing type with extensions at both sides of pickup that somewhat resemble dog's ears. These are extensions of the predominantly rectangular cover that encompass the outlying mounting screws. Dog-ear P-90 pickups were commonly mounted on Gibson's hollowbody 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) and the design is best remembered for its appearance on the hollow body Epiphone Casino of the mid to late 1960s.

Telecaster design

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Two pickups on a Telecaster

The Fender Telecaster features two different single coils. The neck pickup features a metal cover and produces a mellower sound, while the bridge pickup has exposed pole pieces and produces an extremely twangy, sharp tone with exaggerated treble response,[4] because the bridge pickup is mounted on a steel plate. These design elements allow musicians to emulate steel guitar sounds, making it particularly appropriate for country music.

Pickups are selected with a three-position switch, and two wiring schemes exist:

  • Vintage: 1) neck pickup with treble cutoff for a bassier sound; 2) neck pickup only; 3) bridge pickup only.
  • Modern: 1) neck pickup only, with no treble cutoff; 2) neck and bridge; 3) bridge pickup only.

The Fender Esquire has a variation to the Vintage wiring scheme by using the scheme on a single pickup. This gives a treble cutoff in the first position, normal in the middle position, and a tone control cutoff in the third position.

Stratocaster design

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This image shows three single coil pickups on a Stratocaster guitar. Left to right: bridge, middle and neck pickups.

The traditional Stratocaster design guitar features three single coils.[4] The guitarist can control which pickup or combination of pickups are selected with a lever switch. The pickup positions are usually referred to as the bridge, middle and neck pickups based on their proximity to those parts of the instrument. The neck pickup typically has the highest output, with the most mid-range and bass response, whereas the bridge pickup has the lowest output (because the strings at the bridge move less) and the greatest treble response, with a slight twang to it. The sound of the middle pickup is similar to that of the neck pickup, albeit with slightly less bass and more treble. However many players, such as Ritchie Blackmore, find it somewhat of an obstruction to the picking hand and loosen the mounting screws such that it lies flush with the pickguard.

Modern Stratocasters have five-position pickup selector switch. Positions 1, 3 and 5 activate only one pickup (bridge, middle or neck respectively), while positions 2 and 4 activate a combination of two pickups (bridge and middle, or middle and neck, respectively). Some pickup sets have a reverse wound and reverse polarity middle pickup that when in combination with the normal bridge or neck pickups will cancel electromagnetic interference (noise/hum) which single coil pickups suffer badly from. The sonic effect of positions 2 and 4 is sometimes referred to as a "quack" or "notch positions", and some guitar notation includes directions to use these pickup combinations. One example is "Sultans of Swing" by Dire Straits which is played in position 2 (bridge and middle).

Noise problems

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A number of types of noise afflict magnetic guitar pickups. Hum is caused by magnetic fields due to power frequency currents in electrical equipment, whereas buzz is propagated as radio transmissions and sounds more like static. The sources of buzz are many, but an example is an AC power tool with a brush motor. The brush makes and breaks electrical contact with the commutator segment several thousand times a second at variable frequency dependent on load thus causing radio frequency noise. [6] Other examples may include playing near older fluorescent lamps with magnetic ballasts, or high frequency switching DC power supplied from mains power "wall wart" units commonly provided with consumer electronics, computers and smartphones.

Fender-Lace Sensors are a true single coil designed to magnetically shield from hum rather than utilizing the phase cancelling effect common in later double coil/humbucker designs.

Early pickup designs did not include a manufacturing step known as "potting", wherein at various stages, the bobbin and wrapped coil are immersed in a substance in order to lock the windings in place and prevent microphonic effects of loose strands of wire within resulting in feedback at higher gain settings. Common potting substances include heated beeswax and paraffin, or a combination of the two, and thinned enamel paint, used by some to shield the metallic slugs before beginning the winding process.

The practice of not "potting" pickups persists today in both vintage reproductions as well as more value oriented manufacturers, who may skip the potting step in order to reduce manufacturing costs or provide period accurate reproductions.

Single-coil form factor "humbuckers"

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The search for an acceptable solution to mains hum gained new impetus around 1995 as guitar players became increasingly intolerant of the low-noise environment required for single-coil use.

See Humbucker, section Single Coil Form Factor Humbuckers

Notable single coil pickups

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There are several well-known single coil pickups that have a distinctive sound:

"Lipstick"-style single coil pickups on a Danelectro guitar
  • Rickenbacker pickups (including the original 1930s "horseshoe" pickup as used in lap steel and solid-body upright basses, and later 6 string electric guitars, pedal steels, and electric bass guitars; also the "Toaster" and "Hi-Gain")[7]
  • Gibson bar pickup (1935) — later called the Charlie Christian pickup (1938)
  • Gibson P-90 (1946)
  • Fender Telecaster, Stratocaster, Jazzmaster, Jaguar, and other pickups
  • Danelectro Lipstick[8]
  • Gretsch pickups (including the "HiLoTron")
  • DeArmond pickups (found on various '50s and '60s guitars by various manufacturers including Gretsch, Guild, Epiphone, Martin, Kustom, Harmony, Regal, Premier, Silvertone, and others; the trade name is now owned by Fender; single coil models including the 200 aka Dynasonic,[9] 2K, and 2000, "mustache", various "gold foil" types, and many clip on, rail, or screw mount pickups designed for acoustic guitars and other instruments). The Fender "Tele-Sonic" featured large DeArmond single coils.
  • Valco single coil pickups by Ralph Keller (1954) can be found in Airline, Supro, National, English Electronics, Custom Kraft, and a few Gretsch models of guitar from the '50s, '60s, and '70s. The majority of these pickups maintain the physical appearance of a larger, double coil humbucker pickup. Although consisting of a single coil, the pickup contains a second, off-set magnet which cancels hum. Early variations on the Valco-made over-strings "horseshoe" pickup can be found on a number of similarly branded lap steel guitars, such as Oahu.
  • Epiphone "New York" pickups
  • Lace Sensor pickups (1987)

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Single coil guitar pickup

View on Grokipedia
from Grokipedia
A single-coil guitar pickup is a used in electric guitars and basses that converts mechanical vibrations from steel strings into an electrical signal via , based on Faraday's law where a changing induces an in the coil. It features a single coil of enameled copper wire wound around a , often with pole pieces to focus the on individual strings, producing a bright, articulate tone with pronounced treble response but susceptibility to 60 Hz hum from electrical interference. This simple yet effective design has defined the sound of genres from and to rock and since the mid-20th century. The origins of the single-coil pickup trace back to early 20th-century experiments in sound amplification, with patenting the first practical electromagnetic guitar pickup in 1937 for the "" , using a and coil to magnetize strings and induce current. In the 1940s, Gibson developed the as a bar-magnet single-coil design with adjustable pole screws, offering a richer tone for semi-hollowbody guitars. advanced the technology with adjustable pole-piece single coils patented in 1948, debuting on the 1950 for its twangy, cutting sound and evolving into the three-pickup configuration of the 1954 , which allowed versatile tonal combinations including out-of-phase effects. Functionally, the pickup's magnet—typically Alnico for vintage warmth or ceramic for higher output—creates a static magnetic field that magnetizes the vibrating ferrous strings, causing fluctuations in magnetic flux through the coil and generating a voltage proportional to string motion and frequency. The coil's inductance, determined by the number of windings (often 6,000–10,000 turns), wire gauge, and core permeability, shapes the frequency response, with higher turns yielding warmer tones but reduced high-end clarity. While single-coil pickups excel in dynamic, responsive playability, their single coil makes them prone to noise, prompting later inventions like the humbucking pickup to cancel hum while retaining similar tonal qualities. Modern variations continue to refine these principles, maintaining the pickup's role as a cornerstone of electric guitar tone.

Fundamentals

Definition and Principle of Operation

A single coil guitar pickup functions as an electromagnetic , comprising a single coil of enameled wire wound around one or more permanent magnets, positioned beneath the steel strings of an to detect variations in induced by string vibrations. This design converts the of the vibrating strings into an electrical signal that can be amplified. The operational principle relies on Faraday's law of , which governs the generation of voltage in the coil due to changing s. Specifically, the induced (EMF) ϵ\epsilon is given by
ϵ=−NdΦdt,\epsilon = -N \frac{d\Phi}{dt},
where NN is the number of turns in the coil and dΦdt\frac{d\Phi}{dt} is the time rate of change of the Φ\Phi through the coil. The permanent magnets in the pickup create a static that permeates the strings, magnetizing them temporarily. As the strings vibrate after being plucked or strummed, they perturb the lines extending from the magnets to the coil, altering the and thereby inducing an in the coil that mirrors the string's vibrational . This process captures the and harmonics of the string motion, producing a signal proportional to the of the string's displacement in the . Due to the single coil configuration and its sensitivity to high-frequency components, these pickups yield a bright, clear tone with emphasized highs and a distinctive , particularly evident in designs like those used in Fender instruments.

Components and Materials

A single coil guitar pickup is constructed from several key components that form its electromagnetic structure. The core element is a coil made of enameled copper wire, typically 42 or 43 AWG in gauge and wound with approximately 8,000 to 10,000 turns around a bobbin. This coil is supported by a bobbin, often crafted from vulcanized fiber, plastic such as glass-filled nylon, or polycarbonate, which provides the framework to hold the windings in place and maintain the pickup's shape. Above the bobbin sit six pole pieces, usually adjustable steel slugs or blades that align with the guitar strings to channel magnetic flux. A metal baseplate, commonly brass or steel, secures the assembly to the guitar body and aids in mounting. Permanent magnets provide the magnetic field essential to the pickup's function, with common types including Alnico II, III, or V alloys. Magnet configurations vary: some designs feature a single bar magnet positioned beneath the coil, while others use individual cylindrical magnets integrated into or as the pole pieces themselves. Ceramic magnets are also employed as an alternative, offering a stronger field in certain applications. Output connections are made via wiring leads, traditionally cloth-insulated but now often using modern equivalents for durability and conductivity. Material choices influence the pickup's tonal characteristics; for instance, magnets generally produce a warmer response with smoother highs, whereas magnets yield a brighter, more aggressive tone due to their higher magnetic strength. The bobbin material can subtly affect , with fiber options contributing to a feel compared to synthetic plastics.

History

Early Inventions

In the 1920s, , a and inventor based in , conducted extensive experiments to electrically amplify the guitar's sound, driven by the limitations of acoustic instruments in larger ensembles. He explored various configurations, including horseshoe-shaped permanent magnets positioned around the strings to create a , with a single coil of wire wound on a non-magnetic insulating former placed between the magnet's poles. This design captured vibrations from magnetic steel strings by varying the through the coil, generating a usable electrical signal without relying on the instrument's body , which often caused feedback issues in early amplification attempts. Beauchamp's innovations culminated in the formation of the Ro-Pat-In Company (later Electro String Instrument Corporation) with in 1931. In 1934, they filed for a on this electromagnetic pickup system, which was granted as U.S. Patent 2,089,171 in 1937, describing a enclosing the coil and adjustable pole pieces to optimize signal strength from each string. A key challenge overcome was amplifying the inherently faint string vibrations—typically on the order of microseconds in displacement—into a signal strong enough for amplifiers, while minimizing acoustic feedback that plagued earlier designs using microphones or body-mounted transducers. This direct electromagnetic approach provided a cleaner, more reliable output suitable for the era's primitive electronics. Concurrently, , chief engineer at Gibson from 1919 to 1924, pursued similar goals through electric pickup development for string instruments like the viola and guitar. His prototypes incorporated condenser pickups using , which were quieter in initial tests but less efficient for . Gibson prioritized electrostatic condenser pickups, though Loar's later work, patented as U.S. 2,020,557 in 1935, explored designs addressing signal weakness by integrating the pickup directly under the strings to enhance variation without introducing excessive hum. The collaboration between Beauchamp and produced the first commercial single-coil pickup in the 1932 Rickenbacker A-22 "Frying Pan" lap steel guitar, featuring the design mounted near the neck. This instrument marked the practical realization of these inventions, enabling louder projection in Hawaiian music ensembles and overcoming feedback by isolating the signal source from the amplifier's soundboard. The pickup's output, though modest by modern standards (around 1-2 volts peak), was sufficient to drive contemporary amps without the or instability of acoustic methods.

Commercial Developments

In 1935, Gibson introduced its first electromagnetic single-coil pickup, known as the "bar" design featuring a large bar magnet with a blade pole piece, on the EH-150 . This pickup evolved into the version installed on the 1936 ES-150 archtop , where it was paired with a volume control for the first time, enabling dynamic expression in performance. The ES-150's pickup, later nicknamed the "" after the guitarist who popularized it, marked Gibson's entry into commercially viable electric archtops and influenced the adoption of single-coil designs in contexts. Following , advanced single-coil technology with the 1950 Broadcaster (rebranded Telecaster in 1951), which featured two single-coil pickups in a solid-body design, establishing a brighter, more versatile tone suited to amplified playing. By 1954, Fender's Stratocaster introduced three single-coil pickups with staggered pole pieces, an innovation that balanced string output without relying on uniform pole heights, standardizing single coils in solid-body guitars and broadening their commercial appeal. These developments were shaped by jazz musicians refining warm, responsive tones on Gibson models and country players leveraging the Telecaster's twangy bridge pickup for rhythmic drive in the emerging . Gibson's 1936-filed U.S. Patent 2,087,106, granted to Guy Hart in 1937, protected its bar magnet pickup design, emphasizing height adjustability for tonal control. In contrast, Fender's staggered poles represented a practical , addressing string balance through fixed offsets rather than Gibson's blade-style uniformity, fostering refinements like adjustable pickup heights for genre-specific applications in and .

Design Variants

P-90 and Similar Soapbar Designs

The Gibson single-coil pickup was introduced in 1946 as a premium design by engineer Walt Fuller, serving as the successor to earlier models like the P-13 and quickly adopted in iconic guitars such as the Goldtop and Junior. This pickup marked a significant advancement in Gibson's offerings, providing a robust single-coil voice that balanced clarity and power. The P-90 is available in two primary housing variants: the dog-ear design, featuring protruding metal ears for direct mounting to the guitar's top, often seen in models like the Junior and ES-125; and the soapbar design, characterized by a flat rectangular cover that resembles a bar of soap, typically installed in higher-end instruments like the Standard and ES-300. Both styles enclose the coil within a metal cover, with the soapbar version secured by screws routed into the guitar body for a seamless aesthetic. Structurally, the P-90 features a coil wound with approximately turns of 42-gauge plain enamel wire around a , powered by two V bar magnets positioned below the coil to create a wide . The magnetizes six individual adjustable hex steel pole pieces for balanced coverage and fine-tuning of each string's output. Tonally, the delivers a distinctive growl with enhanced warmth, punchy lows, and articulate highs, stemming from its higher and broader compared to slimmer Fender single-coils. Its DC resistance measures between 7 and 9 kΩ, contributing to a hotter output that excels in genres like and rock, where it provides dynamic response from clean chime to gritty overdrive. The P-90 features black plastic styrene bobbins, with refinements in winding techniques and magnet grading over time to maintain the pickup's versatility across Gibson's lineup into modern reissues.

Telecaster Bridge and Neck Pickups

The Telecaster bridge pickup, introduced with the 1950 Fender Broadcaster, features an asymmetrical copper-plated baseplate designed to fit snugly under the guitar's unique three-saddle bridge, along with six height-staggered pole pieces and III or IV magnets for . This construction yields a DC resistance of approximately 6.5k ohms, contributing to its signature bright, twangy high-end response that emphasizes articulate treble and midrange bite. The staggered poles compensate for varying string gauges and tensions, ensuring balanced output across the strings while the baseplate's plating enhances tonal clarity by influencing eddy currents. In contrast, the neck pickup, added to the 1951 Telecaster model, employs a flat steel baseplate with six adjustable steel slugs covered by a nickel-silver cap, paired with magnets to produce a milder output suited for playing. Its DC resistance typically measures around 6k to 7k ohms, resulting in a warmer, fuller tone with rounded lows and smoother mids compared to the bridge position. The adjustable slugs allow for fine-tuning of individual volumes, accommodating player preferences for balance in cleaner, chordal applications. Wiring configurations for these pickups have evolved from the vintage three-way switch setup—which selects the bridge alone, both pickups in , or alone—to modern four-way switches that add a fourth position wiring both in series for increased output and thickness. The parallel wiring in the traditional three-way preserves the pickups' inherent clarity, while the series option on four-way switches provides a humbucker-like drive without altering the single-coil form. Tonally, the bridge pickup delivers a cutting, percussive snap iconic in country and genres, driven by its proximity to the bridge and overwound coil for aggressive highs. The neck pickup offers a contrasting softer, bell-like warmth ideal for leads and rhythm work, with its position yielding more fundamental frequencies for a rounded sustain. Together, they create the Telecaster's versatile duality, where the bridge's cuts through mixes and the neck provides melodic depth.

Stratocaster Position Pickups

The features three single-coil pickups positioned at the neck, middle, and bridge, each contributing to the instrument's signature tonal versatility through their strategic placement and design differences. The neck pickup, located closest to the guitar's neck joint, uses standard staggered pole pieces to compensate for varying string heights above the pickup, ensuring balanced output across the six strings; it typically employs V magnets for a warm, rounded response. The bridge pickup, positioned near the string saddle, also features standard staggered poles for similar height compensation but delivers a brighter, more aggressive tone due to its proximity to the bridge. The middle pickup distinguishes itself with reverse-wound, reverse-polarity (RWRP) construction and reverse-staggered pole pieces, which enhance string balance—particularly strengthening the A string while smoothing the B string—and pair with Alnico V magnets to provide a neutral, balanced tone that complements the other positions. This RWRP design enables hum-canceling operation when combined with the or bridge pickups, reducing in certain configurations. A five-position selector switch allows players to access various combinations: position 1 selects the bridge pickup alone for sharp, cutting tones; position 2 combines the bridge and middle pickups in parallel, producing an out-of-phase "quack" sound due to the RWRP middle; position 3 isolates the middle pickup for a clean, articulate voice; position 4 blends the middle and neck pickups in parallel, again yielding an out-of-phase quack with enhanced clarity; and position 5 selects the neck pickup solo for mellow, singing leads. Position 3 offers the only single-pickup selection without phase interaction, emphasizing the middle's balanced character. Introduced with the Stratocaster's 1954 launch, the original pickups used magnets and fiber bobbins, but by the 1960s, shifts such as the adoption of fretboards with a 7.25-inch radius necessitated adjustments to pickup height to maintain optimal string-to-pickup distance and tonal consistency, as the flatter radius brought middle strings closer to the pickups. These pickups exhibit a DC resistance of approximately 5.8 kΩ per coil in vintage-inspired designs, contributing to their low-output profile and bright . The configuration enables a broad tonal palette, from glassy, bell-like cleans in position 4 ( and middle) to funky, scooped-mid quack in position 2 (bridge and middle), making the Stratocaster adaptable across genres.

Technical Characteristics

Electrical Output and Frequency Response

Single coil guitar pickups typically exhibit a DC resistance ranging from 5 to 10 kΩ, which serves as an indicator of the coil's wire length and gauge but does not directly correlate to output strength. values for these pickups generally fall between 2 and 4 Henries, influenced by the number of wire turns and core material, contributing to the overall signal generation. Output voltage under standard strumming conditions produces peak levels of approximately 100 to 300 mV, varying with string gauge, playing dynamics, and pickup position, with higher outputs from hotter-wound variants. The resonant of a single coil pickup arises from the interaction between its (L) and (C), primarily the coil's self- and any added loading from cables or tone circuits. This peak typically occurs between 8 and 12 kHz in unloaded conditions, imparting a characteristic brightness to the tone. The resonant can be calculated using the formula for an : f=12πLCf = \frac{1}{2\pi \sqrt{LC}}
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