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Calling owners of basses with a pickup *close* to the neck


Ancient Mariner
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[quote name='machinehead' post='1188362' date='Apr 4 2011, 09:29 PM']I've often wondered about pickup positions. Especially when people talk about the "sweet spot" for a Stingray or similar.

Surely all this changes as soon as a fretted note is played? The higher up the neck you play the more the effect is.

Am I missing something?

Frank.[/quote]
Id assume the sweet spot refers to how good the pickup sounds in its position on all strings in all positions.

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[quote name='tommorichards' post='1189041' date='Apr 5 2011, 02:28 PM']Id assume the sweet spot refers to how good the pickup sounds in its position on all strings in all positions.[/quote]


Ah, but then the sweet spot is always moving so then it's sweet [font="Arial Black"]spots[/font], lots of different sweet spots.

Frank.

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[quote name='machinehead' post='1188362' date='Apr 4 2011, 09:29 PM']I've often wondered about pickup positions. Especially when people talk about the "sweet spot" for a Stingray or similar.

Surely all this changes as soon as a fretted note is played? The higher up the neck you play the more the effect is.

Am I missing something?

Frank.[/quote]

You have no idea how right you are - or maybe you have!

:)

G.

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[quote name='machinehead' post='1188362' date='Apr 4 2011, 09:29 PM']I've often wondered about pickup positions. Especially when people talk about the "sweet spot" for a Stingray or similar.

Surely all this changes as soon as a fretted note is played? The higher up the neck you play the more the effect is.

Am I missing something?

Frank.[/quote]

You're right, but there are trends you can pick out. As the pickup moves towards the neck it will always get proportionately more of the fundamental compared to higher harmonics, pretty much wherever you play - until the point at which the pickup is more than halfway along the vibrating portion of the string. Which is only going to happen right at the dusty end of the fretboard, if at all. Similarly, if you think about a bridge pickup then it gets relatively little of the fundamental, and moving across just a few frets especially lower down isn't going to have a massively significant impact on that either.

For the first few harmonics, then there are going to be points on the fretboard where a given pickup is at a null wrt to a particular harmonic. As you move the pickup towards the neck then this is going to lower the harmonics that are affected by this, and I suspect this will lead to a more pronounced unevenness of tone across the fretboard - having the pickup halfway along the vibrating length of the string, ie right in the null of the powerful octave harmonic, could really give an apparent drop in output for that particular fret position across the strings.* The bridge pickup should be comparatively immune to this since the harmonics affected will be higher up.

If you wanted to have a vaguely scientific approach to positioning the neck pickup then I'd guess a good approach would be to calculate the position of the lower (say, octave and octave+5) harmonics for each of the first few frets, and make sure the pickup was 'between frets' for the major null points (and maxima), and ideally have the nulls between a couple of frets that are keys you don't play in all that much! Alternatively, I suppose a fat double pickup allows you more leeway as its sensing field can span either side of a null point.

*edit: assuming you have trouble reproducing the fundamental to similar volume level, which is likely often the case

Edited by LawrenceH
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[quote name='machinehead' post='1189780' date='Apr 5 2011, 10:03 PM']Ah, but then the sweet spot is always moving so then it's sweet [font="Arial Black"]spots[/font], lots of different sweet spots.

Frank.[/quote]
Well, on a stingray, the pickup is in the "sweet spot" to get the best tone when playing whatever note. Its referred to by the pickup, not the sweet spot of the note.

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[quote name='tommorichards' post='1189994' date='Apr 6 2011, 02:17 AM']Well, on a stingray, the pickup is in the "sweet spot" to get the best tone when playing whatever note. Its referred to by the pickup, not the sweet spot of the note.[/quote]

I think you're missing my point.

The relative position of the pickup changes as the string is fretted. See LaurenceH's post above, which I found very interesting. Thanks Laurence..

Frank.

Edited by machinehead
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  • 2 months later...

Well, I did add a second pickup:



The good - It's very interactive with the P type already present, wired like a Jazz without a tone control, resulting in a wider range of tonal textures and a lot more clarity. Plus it looks interesting as long as you don't see the hacked-aboutness of the pickguard.

The bad - it's interactive with the P-type pickup, and it's a little hard to predict compared to a standard tone control, plus if I ever wanted to do a Jaco that's now not such a great idea. Also the original pots are truly pants, and won't shut off the signal from either pickup* & the P-type is >> more powerful than the lipstick job.

But it's done what was needed, which was to provide a greater tonal range and particularly more clarity. Now maybe If I can complete the deal for a duncan replacement I won't need it!

*This explains the complete dark muddiness of the bass originally - the tone pot just doesn't shut off, and so it was continually bleeding a lot of treble off - a simple pot swap would have fixed it. D'oh.

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How about the late 60's re-issue Fender Tele Bass's . . . . they had a big Humbucker pickup right up close to the neck pocket.

I played on of those some years ago and I really liked the tone . . as you can imagine it came across very full bodied ! ! . . . . . I think the humbucker was about half an inch away from the end of the neck.

PS . . . . . really liked LawrenceH analysis above . . . . yea agree with most of that thinking :)

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I prefer the near bridge PU positions. Indeed on my fretless Jazz I only use the bridge PU. Have a look at some of the Warwick basses as they have some less conventional PU positions.

The Jazz PU position feels pretty optimum for me because I also use it to rest my thumb on when I am doing fast runs and want the minimum of string movement.

Davo

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  • 3 weeks later...

[quote name='Grand Wazoo' post='1187499' date='Apr 4 2011, 10:36 AM']You don't get closer to the neck than that, no wonder this bass is the weapon of choice of Mr. Robbie Shakespear thanks to it's deep booming reggae bass sound



[/quote]

Seeing as the thread's been revived, can I just point out that Robbie is clearly playing over the [b][i]middle [/i][/b]pickup in these photos, presumably getting his deep booming reggae bass sound without needing to resort to the neck puckup.

:)

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[quote name='Happy Jack' post='1285024' date='Jun 28 2011, 10:24 AM']Seeing as the thread's been revived, can I just point out that Robbie is clearly playing over the [b][i]middle [/i][/b]pickup in these photos, presumably getting his deep booming reggae bass sound without needing to resort to the neck puckup.

:)[/quote]
But the neck pickup could be on, regardless of where he's plucking.

I'd never pluck that close to the neck, even though I often use pickups that close to the neck.

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