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Show us your 3 pickup basses!

...my personal philosophy that the most important consideration for the placement of pickups is aesthetics. If it looks cool, it's gonna sound just fine.
Probably true, but (for example) there is quite a noticeable difference in sound between the 60s- and 70s-spacing of the bridge pick-up on a Fender Jazz - so much so that players have preferences as to which position they want.

So, we can't exactly throw out the idea that pick-up placement is important.
 
I'm a bit premature because it hasn't arrived yet, but I'm happy to say I will have a three pickup bass soon. It's going to be a conversion of a Chinese knockoff Rickenbacker 325 guitar into a sub-short scale (21") bass. Did that to an Epiphone Les Paul Express 22" scale guitar a couple of years ago that came out pretty well.

Rick 325 knockoff:
Rick 325 AliExp.jpg


Les Paul Express conversion:
LP Express guitar.jpg

LP Gotoh.jpg
 
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When a bass has multiple coils, they can either be wired in series or parallel.

A stock Jazz bass with two single coil pickups are wired in parallel to each other. A stock P bass has two single coils which are placed side by side and are wired in series. If you have a bass with a single, dual-coil pickup (such as a Music Man), that one pickup can have a switch to flick between series and parallel wiring between the two internal coils. You can also add a switch on a P Bass to wire the split pickup in parallel, or add one on a Jazz to have the two single coils in series.

Dual-coil pickups can only be wired in series or parallel within the same pickup housing (some can do single coil, but the signal only goes through one of the coils - the second coil is bypassed).

Most soap bar dual-coil pickups and humcancelling inline split-coil jazz pickups are designed to be wired in series, but can be wired in parallel as well. Most MM pickups are wired in parallel, but series is an option.

When the pickups are wired in parallel, there is a mid scoop which takes out some of the overlapping frequencies. There is also a resonant peak in the higher frequencies.

When the pickups are wired in series, the overlapping frequencies are actually boosted as well as the lows, while the highs are muted... Pickup location plays a part in a P Bass's tone, but having that split pickup in series is a larger factor. The is mainly why a Jazz's single coil neck pickup doesn't sound the same as a P Bass.

Now things get crazy... Imagine you have a two pickup jazz bass and install two humcancelling inline split-coil jazz pickups. There are now 4 coils (two coils per pickup). You can wire two switches so that each pickup is either series or parallel (front pickup series/rear pickup parallel; both series; both parallel; and front pickup parallel/rear pickup series), then you can also have a third series/parallel switch to change whether the two front coils (series or parallel) and the two rear coils (series or parallel) are wired series or parallel between them (for instance, each pickup can be wired for series, but you can wire the pairs together in parallel, or series).

Yes, simplest way is separate V/V/V's or switches.

Blend pots can only blend two pickups at a time. You could only allow for two pickups at a time, run the pickups to a switch that decides which two are active, and then run them to the Blend. You could also have a V pot just for the neck pickup, with a Blend to blend between the mid and bridge pickup...However, you would need a separate volume knob if you want the mid/bridge blend to be quieter than the neck pickup.

The way Spock's Beard's bassist does it (with his 4 pickup Rick/Jazz bass) is that he just has a VVT setup with a switch that decides which two pickups (Rick or Jazz) are active. He does not have the ability to just have the two neck pickups on at once for instance, but 4 V pots would certainly allow it.

These multi-pickup basses with a bunch of options are tempting, but you can very quickly come up with a configuration of 5 knobs and 5 switches on a passive bass. This may be great for some people, or a distraction for others... For me, I would setup a test bench with a bunch of knobs and switches and wire the pickups straight to the bench, determine which different options offer the greatest benefits/variety for me and get rid of the extra stuff I'd rarely use (or wouldn't want to get lost in).

Man...simply amazing explanation. I thank you for spending time & effort to explain this to me. It's detailed enough and at the same time clear enough for a layman like me.

The idea of us having the liberty to wire individual pickups in series or parallel is great because I never give much thought about this before. I always thought that each pickup is independent of each other and turning on both pickup simply blending the sound that we get from both pickup (ex: turning on both P-pickup & J-pickup in P-J bass gives you deep tone with a bit of upper midrange gritty tone)

These multi-pickup basses with a bunch of options are tempting, but you can very quickly come up with a configuration of 5 knobs and 5 switches on a passive bass. This may be great for some people, or a distraction for others... For me, I would setup a test bench with a bunch of knobs and switches and wire the pickups straight to the bench, determine which different options offer the greatest benefits/variety for me and get rid of the extra stuff I'd rarely use (or wouldn't want to get lost in)

I would like to build a custom bass with multi pickups in my quest for that "tone". That is why I asked a lot if information about pickups & how electronics works. But I think your idea of having a test-bench is better to test out which pickup + electronics combination will actually work best for me. But then, how do you actually build this so called test-bench? Is it basically a beat-up bass which is customized with various pickups for experimental purpose?

...A stock P bass has two single coils which are placed side by side and are wired in series...

If I set to wire an inline split-coil J pickup in series like a P-pickup, will it sound like P? I think there might be a difference in sound due to the placement of P-pickup coils (ie. coils for E & A strings are placed closer to neck area)

Edit:
Yes, simplest way is separate V/V/V's or switches.

Blend pots can only blend two pickups at a time. You could only allow for two pickups at a time, run the pickups to a switch that decides which two are active, and then run them to the Blend. You could also have a V pot just for the neck pickup, with a Blend to blend between the mid and bridge pickup...However, you would need a separate volume knob if you want the mid/bridge blend to be quieter than the neck pickup.

Looks like blend pots complicate things for 3 pickups basses. Easier to go for V/V/V for flexibility & practicality purpose. And maybe a mute toggle switch to easily silence everything during a gig (Possibly a fade-out system? so sound does not just abruptly turn off)
 
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Bizarrely, I've been thinking about buying a cheap P or preferably a P/J with the idea of adding a third pickup at the neck.

Was considering using a split coil P pickup or a Motherbucker style pickup.

The big question I'm wondering about is, how do they sound?
 
This is a very comprehensive answer. I am getting more than I expect. I take it this way: placement of pickup is dependant on whether we want to get more treble, mid, or bass sound. I guess, disregarding the type of pickup we use pn thise for this placement, those are the type of sound we would expect for each location.

"...pickups are wired in parallel.."
Normally is this how 3 pickups are being setup? I am under the impression that each pickup is independent of each other. They're not wired in correlation of each other but each pickup might have their own wiring (ex: series/parallel/single for dual-coil)

Now this gets me thinking. How do you add blend pots to 3 pickup combination? The easiest way of choosing which pickup to sound is using 3-way toggle switch or individual volume pots V/V/V.

To me, series across 3 or 4 pickups gets way too complicated (I can't believe I actually said that any wiring approach is too complicated - must be mellowing in my old age). My normal approach is to have an on/off toggle switch for each pickup or coil. Usually I also have a blend pot between the bridge and the middle+neck pair. I pair the middle and the neck for blending because I usually don't have both on at the same time and because the middle and neck are closest to each other in terms of tone.

Some guys use three volume controls, but then you will want to have a master and at that point you have four knobs just for volume.

My personal collection all have the toggle and blend arrangement described above along with a four band Audere preamp (because overkill is my middle name). The one with the koa top has parallel wind dual coils - similar to having six jazz pickups, so each coil (rather than pickup) has its own switch. Same with the BigMan bass - three pickups wired as if there are four big singles.

IMG_0736 (2).JPG IMG_0592.JPG
 
Man...simply amazing explanation. I thank you for spending time & effort to explain this to me. It's detailed enough and at the same time clear enough for a layman like me.

The idea of us having the liberty to wire individual pickups in series or parallel is great because I never give much thought about this before. I always thought that each pickup is independent of each other and turning on both pickup simply blending the sound that we get from both pickup (ex: turning on both P-pickup & J-pickup in P-J bass gives you deep tone with a bit of upper midrange gritty tone)



I would like to build a custom bass with multi pickups in my quest for that "tone". That is why I asked a lot if information about pickups & how electronics works. But I think your idea of having a test-bench is better to test out which pickup + electronics combination will actually work best for me. But then, how do you actually build this so called test-bench? Is it basically a beat-up bass which is customized with various pickups for experimental purpose?



If I set to wire an inline split-coil J pickup in series like a P-pickup, will it sound like P? I think there might be a difference in sound due to the placement of P-pickup coils (ie. coils for E & A strings are placed closer to neck area)

Edit:


Looks like blend pots complicate things for 3 pickups basses. Easier to go for V/V/V for flexibility & practicality purpose. And maybe a mute toggle switch to easily silence everything during a gig (Possibly a fade-out system? so sound does not just abruptly turn off)
I don't have the time for a very detailed response now, but I will elaborate more later on...

Regarding the test bench, I would go to an electrical hobbyist store. They have all sorts of terminal strips and switches and pots. A Terminal strip is a length of plastic that has many different channels in it, where you can screw a wire into the different channels.

Basically take the terminal strip and pre-wire a bunch of series/parallel switches, maybe some switches to change capacitator values on tone pots, wire some volume knobs, and run two #22/4 conductor (or thermostat cables) from each pickup to the right terminals on the external terminal strip.

Fiddle away and re-wire as required and record your results so your mind doesn't play tricks on you as to what sounds better. This way, you can also match up recordings to A/B between different settings to see which ones sound different or more similar.

An inline split J pickup in series won't sound exactly like a P pickup, but it will be closer than a single coil J pickup or if it was wired in parallel....

I'll get into more detail later, but essentially those pickups are designed to sound like single coil jazz pickups even when wired in series, not a P bass. However, since it is two coils wired in series it will never be as bright as a single coil and thus be a bit rounder sounding. Also, they're thinner in width than a P pickup and see less string area. This leads to a brighter tone with a sharper attack. A wider pickup, such as a P pickup (even just the EA coil) sees more string length and has a rounder tone, generally speaking of course.
 
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Probably true, but (for example) there is quite a noticeable difference in sound between the 60s- and 70s-spacing of the bridge pick-up on a Fender Jazz - so much so that players have preferences as to which position they want.

So, we can't exactly throw out the idea that pick-up placement is important.

I didn't mean to imply that pickup placement is irrelevant. As was mentioned earlier, in general terms, the closer to the bridge you get, the more twangy and nasal the sound gets; the closer to the neck you get, the more boomy it is. My point was that trying to place a pickup with regard to the location of harmonic nodes is an exercise in futility, for the reasons I mentioned.

I will note that the degree of influence that specific pickup placement has on the tone reduces as you get closer to the neck. The difference between the 60's and 70's bridge pickup is noticeable, but a shift of that same distance at the neck pickup would be less noticeable.
 
I didn't mean to imply that pickup placement is irrelevant. As was mentioned earlier, in general terms, the closer to the bridge you get, the more twangy and nasal the sound gets; the closer to the neck you get, the more boomy it is. My point was that trying to place a pickup with regard to the location of harmonic nodes is an exercise in futility, for the reasons I mentioned.

I will note that the degree of influence that specific pickup placement has on the tone reduces as you get closer to the neck. The difference between the 60's and 70's bridge pickup is noticeable, but a shift of that same distance at the neck pickup would be less noticeable.
Agreed.
 
Bizarrely, I've been thinking about buying a cheap P or preferably a P/J with the idea of adding a third pickup at the neck.

Was considering using a split coil P pickup or a Motherbucker style pickup.

The big question I'm wondering about is, how do they sound?
My beef with most PJ basses is that the J pickup is a single coil. This means that since the split coils of the P pickup cancel out each other's hum, there is nothing to cancel out the single coil hum of the single coil J pickup, so as soon as you add it to the signal (even only 10%), you introduce single coil hum.

Buying a matched set of PJ pickups (typically a P pickup is louder than a J pickup, so a matched set will usually have an over-wound J pickup to match) with a split coil jazz pickup is the way to go... Such as DiMarzio'a Area PJ pickup set.

I also prefer Reverse P pickups, but they aren't as common (well, if you stick with Fenders anyway).
 
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ok, let me see if this would work

@line6man @Doner Designs

if I had 3 pickups
one volume
one tone
two three way switches

one pickup selector switch between the bridge and middle for

1. bridge only
2. bridge/middle
3. then a bridge to the neck

then other three way
1. neck only
2. bridge/neck
3. neck/middle


does that work?
 
You want a switching nightmare, consider what Jim Burns could have done with the three-pickup Ampeg/Burns Vista Sonic I posted on the previous page. Each pickup is actually split into two. I once started figuring out how many possible combinations there are and gave up somewhere around two dozen. But how many combinations did he give us? Four, one of which ("Wild Dog") is nearly unusable. If the damned thing wasn't so rare (I've not seen another Ampeg-branded Vista Sonic) I'd be tempted to wire something up to get some more switching capability.
 
You want a switching nightmare, consider what Jim Burns could have done with the three-pickup Ampeg/Burns Vista Sonic I posted on the previous page. Each pickup is actually split into two. I once started figuring out how many possible combinations there are and gave up somewhere around two dozen. But how many combinations did he give us? Four, one of which ("Wild Dog") is nearly unusable. If the damned thing wasn't so rare (I've not seen another Ampeg-branded Vista Sonic) I'd be tempted to wire something up to get some more switching capability.

i want simple
passive
and the option of 3 pickups
 
To me, series across 3 or 4 pickups gets way too complicated (I can't believe I actually said that any wiring approach is too complicated - must be mellowing in my old age). My normal approach is to have an on/off toggle switch for each pickup or coil. Usually I also have a blend pot between the bridge and the middle+neck pair. I pair the middle and the neck for blending because I usually don't have both on at the same time and because the middle and neck are closest to each other in terms of tone.

Some guys use three volume controls, but then you will want to have a master and at that point you have four knobs just for volume.

My personal collection all have the toggle and blend arrangement described above along with a four band Audere preamp (because overkill is my middle name). The one with the koa top has parallel wind dual coils - similar to having six jazz pickups, so each coil (rather than pickup) has its own switch. Same with the BigMan bass - three pickups wired as if there are four big singles.

View attachment 964515 View attachment 964516

4 volume control including the master volume seems overkill. But looks like that's the only way to avoid killing the sound abruptly. In gigging situation, I try so much to avoid any sudden or abrupt volume shock.

In situation of having 2 pickups, let's say 2 humbucking pickups, is it possible to have 3 toggle switches? 2 for series/parallel/single for both humbuckers and 1 to do series/parallel switch between the 2 humbuckers.
 
i want simple
passive
and the option of 3 pickups
I will recommend to you what I did on my avatar bass. I have volume controls for each individual pickup, then the signal goes through a six position rotary switch, of which one position is manual control of all volume controls. The other five positions are tone pre-sets (created for me by Michael at Turnstyle Switch). From there, it goes through a master volume/tone, and out.

The advantage of doing it that way is that I can play around with the individual pickup volumes all I want, but I don't have to worry about mucking it up onstage because I'm only a click away from a good usable tone. It's a very versatile system.
 
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ok, let me see if this would work

@line6man @Doner Designs

if I had 3 pickups
one volume
one tone
two three way switches

one pickup selector switch between the bridge and middle for

1. bridge only
2. bridge/middle
3. then a bridge to the neck

then other three way
1. neck only
2. bridge/neck
3. neck/middle


does that work?
Seems like a 5-way switch (like on a Strat) would be best:

1) neck only
2) neck/middle
3) neck/bridge
4) middle/bridge
5) bridge only

Edit to add: or follow @BlueTalon 's advice. That's the way I'd go.
 
ok, let me see if this would work

@line6man @Doner Designs

if I had 3 pickups
one volume
one tone
two three way switches

one pickup selector switch between the bridge and middle for

1. bridge only
2. bridge/middle
3. then a bridge to the neck

then other three way
1. neck only
2. bridge/neck
3. neck/middle


does that work?

Not sure, but it would be much simpler and more intuitive to simply have one on/off switch per pickup.
 
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4 volume control including the master volume seems overkill. But looks like that's the only way to avoid killing the sound abruptly. In gigging situation, I try so much to avoid any sudden or abrupt volume shock.

In situation of having 2 pickups, let's say 2 humbucking pickups, is it possible to have 3 toggle switches? 2 for series/parallel/single for both humbuckers and 1 to do series/parallel switch between the 2 humbuckers.

I think that should be possible.
 
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