Tag Archives: world

Gear Talk (6): Squier Stratocaster pickup upgrade – The ‘Tim Higgins’ signature set?

As previously mentioned in a previous GEAR TALK post (read it here), I have had my Squier Vintage Modified Stratocaster upgraded, swapping out the original ‘Duncan Designed’ single coils for ones specially made for me by a sole builder in the USA.

Health warning: This post contains a lot of (potentially guitar-geeky) chat about pickups and the magnets which make them work. You will frequently read the word ‘Alnico’ in this post!

If that’s your bag, read on – and feel free to start a conversation about your preferred Strat pickup choices! If you’re interested, but require more info, please refer to these useful blogs here or here.

Spot the difference

The pickups which came fitted in the Vintage Modified (VM) Strat – ‘Duncan Designed’ (as in Seymour Duncan) SC101S – were nice, but somewhat flat. When I say flat, I do not mean compared to other guitars per se. On it’s own, it sounds great and was a fantastic purchase. However, compared to its gigging partner, my Classic Vibe (CV) Simon Neil signature Stratocaster, they didn’t quite sound ‘stratty’ enough.

So what’s the difference between these two guitars? They feel very similar to play, neck shape (and rosewood fingerboard) are the same; both of them sell in the same price range; finally, they are both set up identically, to make switching guitars mid-performance that much easier.


My two main gigging guitars. Left: Squier Vintage Modified Strat in vintage blonde (before the pickup swap). Right: Squier Classic Vibe ‘Simon Neil’ Strat in fiesta red.

It seems the pickups are the key difference between the two guitars. The red Strat uses special pups which really capture that early 60’s Strat tone. They feature Alnico V magnets in most of the pickups, except for the three treble-end strings (the thinner ones) of the bridge pickup, which are Alncio III. Many might argue there really isn’t much of an audible difference between two types of magnet, but I have to say the bridge pickup feels less ‘harsh’ sounding on these higher strings, while holding onto it’s ‘tight’ sound on the bass strings (where the Alnico Vs remain).

These pickups are officially made in-house for Squier. However, another pickup company, Tonerider, operates within the very same plant, so if you were looking to buy these pickups, I might suggest you search for their Vintage Blues set for Stratocaster. I have another post addressing Tonerider pickups available to read here, if you require more info…

The ‘Tim Higgins’ signature series?

I was all set for installing a set of Toneriders into the blonde Strat, until I started thinking that my guitars should have some differences in tonal quality. Otherwise, I might as well own two Classic Vibe Strats! I ended up talking to Rodhan pickups, a small independent company in the USA. Their owner/founder/designer Brendan was brilliant at helping to shape the sound I wanted for these pups.

I opted for a slightly unorthodox setup for Alnico III magnets in the neck and middle single coils. These magnets were only used in the very first Fender Strats from 1954 and quickly replaced by Alnico Vs by the late 50’S. However, having heard sound samples which still showcased plenty of Start-like snap and bite, I thought they’d make for an interesting tone, one that could be well used with the tone rolled back for warm, jazzy lead lines played clean. Both of these pickups were wound to vintage specifications (5.5k and 5.6k respectively, I believe).

For the bridge single coil, I wished to combine the snappiness of a normal Strat pup, without the harsh treble attack, but also have a similar dark growl as can be found in a humbucker (such as my HSS Strat). In the end, this pup was fitted with Alnico II magnets, wound to around 6.1k. More commonly used in humbucking pickups, these magnets still have plenty of snap and might just be my favourite ever bridge single coil. In fact, I might go for a full set of Alnico II magnets next time I upgrade the pickups on a Stratocaster!

I’ve had the guitar back for a few weeks now, taken it on a few gigs, and I have to say the tone of my guitar has improved. In a word: Strat-tastic! (that might be two words!)

VM Blonde Strat

The Squier Vintage Modified Stratocaster, now upgraded with specially-made Rodhan single soil pickups and a mint green pickguard, for a retro vibe & timeless guitar tone.

As you can see in the above photo, I used the pickup refit as an opportunity to switch the pickguard for one in a more vintage-styled, mint green colour, while changing the control knobs, pickup covers and selector switch tip to a lovely aged white.

For those interested, you can read a very interesting and in-depth analysis of the SC101 set via this link, which allies with my own opinion that these pickups gave my guitar more of a Telecaster tone, rather than the traditional Strat sound. It was a great tone, but not what I needed in my Strat. These new pups are perfect in my new, vintage-styled axe. I also quite like the idea that these are the only set of its kind currently in existence… Thank you, Rodhan!

So what do you think? As always, feel free to post replies and comments, especially your own experiences in this situation. I look forward to speaking with you all!

Until next time…





R.I.P. Chris Cornell (1964-2017)

The music world faced another sad loss with today’s news. Chris Cornell, lead singer and songwriter with three great rock bands, namely Soundgarden, Temple of the Dog & Audioslave, passed away on Wednesday.

In all of these groups his voice rings out & grabs your attention. The video in this post is one of Audioslave’s best songs, performed live.

Back in 2005, Audioslave were playing in Stockholm while I was visiting a friend there, and by chance I ended up catching their show. Cornell played Soundgarden’s ‘Black Hole Sun’ as a solo acoustic number, then followed on with ‘I Am The Highway’ in the same style as this video. It was a brilliant performance which I don’t expect to forget anytime soon.
Rest in peace, Chris Cornell (1964-2017).

Pitching the argument: The reality of 432 Hz vs. 440 Hz tuning

I recently noticed a post on my Facebook page arguing in favour of what is called Scientific Tuning. This is where A4 (just below ‘middle C’) =432 Hz. as opposed to 440 Hz, the modern standard to which all tuners automatically calibrate, and most of the music you hear is tuned to.

The post itself was of a kind I had seen before, and it featured the popular tuning of the universe argument. The idea that as our brains vibrate at 8 Hz, and the solar system vibrates at a perfect multiple of this, music pitch based around a=432 Hz has ‘greater resonance’ with the spheres and our own physiology. Some even use ‘representations’ of how water molecules and snowflakes look based on varying frequencies. What is especially interesting about some of these sites, other than some highly dubious arguments which often have little scientific backup, is their connection to a product – the invariably wish for you to ‘see the light’ about the ‘truth’ of 432 pitch, then buy their music recorded at this frequency! (Quick – it’s for the good of your wellbeing!)

I agree that we are tuned into the universe’s vibrations. As creatures which have evolved on this planet, based on matter being constantly recycled for thousands of millennia before humans appeared, it could only ever be so. But our ears are incredibly complex and amazing instruments, capable of discerning minute pitch differences. We also have an in-built system for relative pitch (the sequencing of one sound connected to the preceding and following sound).

This is not only how we appreciate and enjoy music, but how we developed speech patterns as a species across the globe. It stands to reason, therefore, that the pitching of music is entirely relative. An out-of-tune guitar (with itself as opposed to any other sounds) would sound unpleasant. This is because while one note in isolation is always on set pitch, a chord will include several pitches which are not quite correctly aligned, and therefore out-of-tune. The overall tuning of the instrument only matters when performing with another, and even then they only have to be in tune with each other to produce pleasing-sounding harmonies.

Another classic argument propagated by those opposed to the A=440 Hz tuning is that is was first proposed by Joseph Goebbels, Hitler’s propaganda chief. It is true that Goebbels commented on the effects of 440 tuning, but many had done so before. Several orchestras were already tuning closer to 440 than 432. The general tuning of ‘middle C’ seems to have risen slowly since the 18th century, highlighting the benefits of standardisation in pitch across the globe. This had already begun to happen before WWII, and was only officially standardised in the 1950’s, after the war had ended (and Goebbels’ suicide). It was also increasingly commonplace for instrument manufacturers to use 440 tuning by the 1920’s as this blog states.

In terms of inducing ‘mass hysteria’, or even attempting to illicit a greater emotional response from a populace through music, 440 tuning would only work at large-scale events, with hundreds of people present, if not more. It could then be argued that the hysteria comes from the crowd (consider the almost war-like ‘crowd mentality’ witnessed and experienced at sporting events) rather than the music’s pitch itself. As social animals, we are designed to be ‘swept along’ by crowds and emotions. It is how we connect. Once again, everything is relative, and I can’t see any proof that the tuning of the music to a specific pitch is the cause of social control, unrest of poor human wellbeing.

Finally, there comes the acid test: Use a controlled experiment, playing listeners the same clip of music but tuned to different pitches. Professor in sound and acoustic research Terry Cox did this very experiment. His results found no preference whatsoever in listeners hearing music played at 432 Hz, compared to 440 Hz. You can hear the clips he used and read his full explanation and results here.

In conclusion, I agree there are good physic-based reasons that music pitched at A=432 Hz. should sound better. However, I strongly encourage you to worry about the bigger problems in life and enjoy music for what it is: the organisation of pitch and rhythm. These pitches, like physics, and indeed like the human condition, are all relative: They are not only what you make them, but what you interpret them to be.