Originally posted by JGundry
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Here's how I translate that: If you want to know how a pickup sounds, you must also see how it performs as a contact microphone as well as a string movement pickup. There's a whole set of frequency responses, resonances, etc. about the microphonics that need measuring too. And near as I can tell, nobody does.
I'm guessing that this may be about 90% of how a pickup tone changes from guitar to guitar, as well as one of the argument-starters about pickup tone - a pickup sounds good in one guitar and bad in another, and both sides of the argument are dead correct, so no one can win.
Originally posted by JGundry
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Which tensions are good, what amount of traverse? We have the conventional wisdom that laying one wire right next to the next is Very Bad. We have the partial conventional wisdom that guiding by hand so that the position of the wire is chaotically unpredictable is Very Good. Obviously, the two are different, but Mother Nature being the kind of lady She is, the exact placement of wires relative to one another matters, right? Which placements are good and which are bad, and WHY????
I have this sneaking suspicion that there is an uber-pickup winding pattern, and maybe more than one, with repeated wire crossings at very specific angles that is the very peak of pickup goodness, if only we could find that angle. Winding more hand winds is not going to tell us how to make an uber-pickup.
The state of pickup winding today is that we can't even use genetic algorithms to hunt for the good winds, and we certainly can't decide we want X response and have any certainty we'll get there, except by trying to replicate. And replicating a hand-wind is a contradiction in terms, right?
Originally posted by JGundry
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