"Warm" bridge pickup for Ibanez 335 clone?

Sascha Franck

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So, as I find myself playing this very guitar more and more (amazing, it had some years where it was only sitting in a case, I own it since 93 already), I finally decided to take the plunge some day soon and redo the electrics.
Now, assembling things is mainly pure horror, so I simply can't swap pickups all the time (thinking about some clever cable extension solution, but still...). And because of that, I need you fine folks' advice.

Before I start, here it is, right here, right now:

Ibanez.jpeg


From all I know, it's built in Sept. '78, everything seems to be the stock parts, the model sticker inside the f-hole says "SA-100 BS".

Now, there's actually two issues with the pickups in this guitar.

(1)

The bridge pickup is very, very bright - or rather "harsh". Lots of high mids (sure, these kinda guitars somewhat lend to that). Apart from the guitar type enhancing that character, I also think the very short distance between pickup and bridge is part of it (note: I'm not gonna fool with the wood, but I know of some folks who have done so successfully, moving the brigde pickup a centimeter or so towards neck direction, which could mean worlds of a tonal difference in bridge position).

Now, this is the main thing I'd like to adress. So I need advice for a very warm, balanced sounding bridge pickup.

Fwiw, one thing I thought about was getting a mini humbucker and drilling some new holes for the screws so it'd fit as close to the "north" boundary of the existing pickup frame and mask the gap in the "south" somehow (a pickup frame for a mini humbucker would of course work but not place the pickup much more "north").
Would possibly not look too great.

So, what pickups should I possibly look for? Any takers?
Note: I'd really like it to be allround-ish, so I could as well use this guitar for some rock riffs and what not (think Malcolm Young).

But then, there's also the second issue...

(2)

The neck pickup sounds just fantastic for what I want. I couldn't imagine this to be improved much (if at all), so I'd really love being able to keep it at pretty much all costs. But then, here comes: It's *insanely* loud. I have lowered it as much as it gets already, and it's still the loudest pickup out of all guitars/pickups I have in my arsenal.
Now, one of the results of that would be that mixing and matching it with other guitars (esp. while possibly using the same patches live) is quite difficult. But that's something I can actually adress in one way or the other.
But something I can't adress as easily (if at all) is the neck pickup's volume to match with the bridge pickup. I don't want to use the volume pots (which I would even like to reduce to one single master volume) to balance them. And I can't imagine that, say, a Duncan Jazz would be able to keep up with the volume of this neck pickup.
In a nutshell: That very bridge pickup I'm looking for needs a certain volume as well, while still delivering a balanced, kinda oldfashioned overall tone.

So, that's that. Thanks in advance!
 
I felt the same about my old Super 80s (flying fingers) pickups in my Artist. Love the neck pickup, it's warm but not too warm and has a special character unlike other pickups. The bridge position was a little thin and bright for my tastes. In my case, the first change (late 90's) was an EMG 85/81 set. It really brought the guitar alive for cleans and dirt tones. That lasted for about 5 years, then I switched to a PAF Pro/FRED set. Very different but still excellent. Although probably too many mids for this guitar since it inherently has a warm, mid character -- so eventually I changed those out to its current set up. Steve's Special and Humbucker From Hell set. Best the guitar ever sounded for me.

Anyways, I ended up using the Super 80s neck pickup in a bolt on Yamaha, and but a PAF Pro in the bridge. The pickups were out of phase with each other so the middle position was unique and even awesome.

Overall I'd recommend you getting a new set that is more balanced. Finding the right match for the Super 80 in your guitar could be trickier with a bit more uncertainty imo.
 
I felt the same about my old Super 80s (flying fingers) pickups in my Artist. Love the neck pickup, it's warm but not too warm and has a special character unlike other pickups. The bridge position was a little thin and bright for my tastes. In my case, the first change (late 90's) was an EMG 85/81 set. It really brought the guitar alive for cleans and dirt tones. That lasted for about 5 years, then I switched to a PAF Pro/FRED set. Very different but still excellent. Although probably too many mids for this guitar since it inherently has a warm, mid character -- so eventually I changed those out to its current set up. Steve's Special and Humbucker From Hell set. Best the guitar ever sounded for me.

Anyways, I ended up using the Super 80s neck pickup in a bolt on Yamaha, and but a PAF Pro in the bridge. The pickups were out of phase with each other so the middle position was unique and even awesome.

Overall I'd recommend you getting a new set that is more balanced. Finding the right match for the Super 80 in your guitar could be trickier with a bit more uncertainty imo.
Btw, I'm not really suggesting those Dimarzio pickups above. I'm inclined to think something in the vintage realm would be more appropriate for your guitar.
 
Overall I'd recommend you getting a new set that is more balanced. Finding the right match for the Super 80 in your guitar could be trickier with a bit more uncertainty imo.
This is the best plan. Changing pickups on of those F-hole guitars kinda sucks so you’re going to want to do it once.

I have a set of BK PG Blues and I know they’d be good for this. It has that out of phase middle that’s actually very useful.
 
Overall I'd recommend you getting a new set that is more balanced.

Yeah well, that's been my first thought, too. But now that I'm using the guitar more and more (has even seen quite some gigs during the last months, dialed the tone control for the bridge pickup back as an intermediate but sort of insufficient solution when I needed something else but the neck one), I had to realize that the neck pickup is absolutely how I want this position to sound. Incredibly balanced, it's doing anything from jazzy to funky to bluesy in the greatest way I could imagine. I also compared it to quite some other 335-alike guitars (originals included) over the years - and not one guitar was even really close.
Might as well be the guitar, but unfortunately I suspect the pickup to play the bigger role. So I really wouldn't want to exchange it unless I really had to.
 
Yeah well, that's been my first thought, too. But now that I'm using the guitar more and more (has even seen quite some gigs during the last months, dialed the tone control for the bridge pickup back as an intermediate but sort of insufficient solution when I needed something else but the neck one), I had to realize that the neck pickup is absolutely how I want this position to sound. Incredibly balanced, it's doing anything from jazzy to funky to bluesy in the greatest way I could imagine. I also compared it to quite some other 335-alike guitars (originals included) over the years - and not one guitar was even really close.
Might as well be the guitar, but unfortunately I suspect the pickup to play the bigger role. So I really wouldn't want to exchange it unless I really had to.
I've heard this about a lot of 335 style guitars. The pickups are normally the same or similar, but more energy/lows is in the neck position where the bridge is lacking that volume push. Some players like that and make the most of it -- no wrong way to do this stuff though. The only other option in its current form would be to use a boost pedal of sorts when in the bridge position. Probably a bandaid and not always ideal in a live setup, but I guess it depends on your preferences.
 
Changing pickups on of those F-hole guitars kinda sucks so you’re going to want to do it once.

Well, as said above, I may just get me some longer wires that stay connected to the switch (or pots, depending on what switching I decide to go for), so I could pull them out of the pickup frames and easily change the pickups. Sure, there'd be some excess cable length, but as I have no plans to ever split them or whatever, I think it shouldn't matter much.
In other words: Once the switch and pots are done, it should be a whole lot easier to exchange pickups.

Having said that: Maybe I should just rewire everything and then adress the pickup issue. My current plan is to have a master volume pot (yeah, I know, "but the inbetween position mixing options" and all that - but I don't care) and two tone pots. Which would leave me with an empty pot slot that I could possibly use for a rotary C-switch just for the bridge pickup. With the pickup connection points/cables accessible through the pickup frames, I could as well experiment with some resistor/cap combinations, perhaps allowing me to permanently lower the neck pickup volume linearily.
Hm, that actually sounds like a good idea to me...
 
The only other option in its current form would be to use a boost pedal of sorts when in the bridge position.

Nah, while valid, that ain't gonna happen for me. Been through it in a comparable situation (wanted to makle a bridge pickup in a HSS guitar sound fatter) and used a GE-7 for that. Only to find out that this really annoyed me. If anything, I want a guitar working in all pickup combinations using any given sound without any further accessories.
 
And fwiw, while I usually don't really care about the looks of guitars (as long as it's not ending up cheesy), with this one I'd really like to keep the look intact. So, in case I may find a proper bridge pickup, I would try to mount the original cap onto it. Have a look, there's that engraved butterfly stuff:

Ibanez Pickup.jpeg


As said, I usually don't give a damn, but in this case I'd defenitely love to keep the guitar's heritage intact.
 
And fwiw, while I usually don't really care about the looks of guitars (as long as it's not ending up cheesy), with this one I'd really like to keep the look intact. So, in case I may find a proper bridge pickup, I would try to mount the original cap onto it. Have a look, there's that engraved butterfly stuff:

View attachment 43385

As said, I usually don't give a damn, but in this case I'd defenitely love to keep the guitar's heritage intact.
(y)I have the original tarnished gold versions. They are nice looking, but doubt you'd want to do that. My Super 80s were fully sealed with some kind of wax/glue so good luck trying to remove those covers.:grin
 
(y)I have the original tarnished gold versions. They are nice looking, but doubt you'd want to do that. My Super 80s were fully sealed with some kind of wax/glue so good luck trying to remove those covers.:grin

Yeah, I'm afraid you're right.
But then, for now that C-switch plan that just came to my mind is gaining attraction, so maybe I can just get along with such a solution. Have been fooling around with those in the past and I remember liking some results so much I cabled the best cap to a pickup permanently. After all, for this guitar's bridge pickup, I don't need anything "authentic", just nothing shrill yet somewhat "interesting" would be fine.
 
I actually have the bridge version hanging around unused. Might give that a try. I remember it to be rather bright, though.
I like Seth Lovers a lot in a 335 but agree that they are on the bright side.

My Epiphone SG also has a bridge pickup that is slammed up against the bridge and one challenge I have with that guitar is that despite the pickups being balanced electrically, the bridge just has no hope of competing volume wise with the neck without really dramatic pickup height differences -- there's just not as much amplitude to the string vibration that close to the bridge.

Maybe consider doing a 250k tone pot for the bridge instead of 500k?

Edit to add: looking at that pic, the bridge pickup in your guitar is nowhere near as close to the bridge as my SG.
 
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