Aged sound |
Referring
to specific old Strat and Tele pickups wound with Formvar
wire:> The tonal characteristics developed with the passing
of time and the aging process of certain elements within the
structure of a pickup. Usually softened attack, less Ice-pick-in-your-Ear
brittleness and lowered dynamic range which results in earlier
breaking into distortion yielding a creamy distortion when
overdriven and a sweeter treble when played clean. The aging
I'm referring to is not the result of magnets aging. New single
coils cannot be aged artificially in the same way as this
can only happen in the fullness of time. However, certain
things can be arranged in a single coil to approximate Aged
tone BUT usually this results in some unwanted side effects.
My AVn pickups have certain design elements that I have manipulated
to replicate genuine aged tone. Ironic ain't it? That a high-tech
noiseless design can generate authentic aged tone whereas
a single coil has to wait 20 years to age naturally.
See also Degaussing in Technical and Un-aged tone immediately
below.
NOTE:
Kinman pickups are age stable: that is they will not age significantly,
even over a long period of time. |
| |
The
sound of a new single coil that is very snappy with rapid
attack and with the clean high-volume level characteristic
that is known as 'Ice-pick-in-your-Ears' [or brittleness /
glass / breaking glass]. This also makes the plain strings
sound harsh and ragged at high playing levels (clean) and
results in diminished intelligibility. These characteristics
also don't make for a good distortion sound because of the
'chainsaw' effect it has and the consequent harmonic instability.
However, for low to medium level playing (clean) this generous
amount of attack is a desirable quality since it provides
a satisfying response that may not otherwise be forthcoming
from the amplifier. Most recently made single coil pickups
conform to this definition since genuine Aging cannot be artificially
induced. (Kinman AVn excepted...see above)
NOTE:
My Woodstock and Traditional Mk-II sets, although essentially
having the un-aged sound characteristics of regular single
coils, do behave better at elevated (clean) volume levels
and exhibit no Ice pickup tendancies. This is in part due
to the low strength magnets that are used and as a consequence
the distortion characteristics are better than most regular
single coils because the 'chainsaw' effect is dramatically
reduced. |
Aging
covers |
Click here to learn how to remove
covers safetly from Kinman Strat* pickups
You can order your pickups with covers pretinted from my factory for an additional cost. These are moulded with the colour and so are permanent and non-bleachable colours.
No
need to spend thousands of hours in smoke filled clubs to
get that authentically aged look. Kinman's current Strat pickup
covers are moulded in a special plastic that can be semi-permanently
tinted with water based dies such as Tea, Coffee, Curry, Henna
hair dye etc. Some colours that can be made this way are .......
- Mint
(a light green tint seen on early 60's L Series Strat pickguards,
made from Peppermint Tea)
- Parchment
(the now deleted Fender colour) Same as for Cream but less
time.
- Cream
(similar to Gibson P-90 cream covers, made with ground espresso
coffee - Vittoria brand)
- Aged
White (use 2 spoons of instant coffee, International
Roast brand)
- Old
Strat (a mixture of Mint and Cream)
You
simply degrease the covers first with kitchen detergent or
lighter fluid and then soak the White covers in the above
(boiling temperature) food solutions for anything from 10 seconds up to several minutes.
There is no need to keep the solution on the boil. If stronger
colour is desired simply allow more time, up to several minutes.
If the colour is still not strong enough than add more coffee/tea/stain.
If you make a mistake then reverse the process by soaking
the cover in Laundry bleach and start over. The resulting
colours may change with time and exposure to light.
Do
not attempt this with old Kinman covers as they will simply melt.
The old covers can be identified by the notch taken out of
the bottom of the cover, in other words the bottoms of those covers are
split into two planes.
Covers
are Standard with Burgandy printed Ink logo. Covers are also
available without Kinman logo by special request (same price).
Logos
sometimes wear off the covers and will leave a white witness
mark if the covers are tinted.
The
new covers also do not have sharp edges at the top (but it's
not rounded over noticeably), covers the lower coil completely
and is more flexible than the previous cover. These new covers
conform to early Fender specs in every way so it's no longer
necessary to fit old covers to my Strat pickups for that authentic
old look.
NOTE: Covers from other manufacturers can not necessarily be tinted this way, and neither can pickguard materials. |
Air |
The
term applied to a pickup that describes how the response of
the pickup feels and sounds to the player. More air means more
expression, more lively, more satisfying to play with. See also
Attack, Dynamic
Range. |
Attack |
The
short-lived instantaneous peak voltage response from a pickup
at the precise moment the string is plucked. A direct equivalent
of dynamic range and Q. More attack means the note will explode
from the speaker with more energy. Excessive attack contributes
to hearing loss because of the spike of power delivered by the
loudspeakers. See Dynamic range,
Air and Presence.
|
Bark |
Combination
of midrange dominance and hard attack. Often associated with
hot pickups and P-90's. A kind of Twang without bite. Like the
bark of a medium sized dog. |
Bass |
Audio
Frequencies below 200Hz. |
Bell Tone |
Ever
really thought what a big church bell really sounds like? Huge,
lots of shimmer, ring and presence but not really a lot of treble
or bass. Bells are midrange dominant. |
Bite |
The
ability of a tone to be noticed by virtue of it's treble/midrange
pleasingly gritty edge. One that bites or cuts through with
a cutting edge of presence derived from Alnico magnets. Like
the bite of a small sized dog. See also Presence,
Attack. |
| Bloom |
Like a flower blooming, the notes or harmonics will OPEN and feel free. And like the colors of petals can be seen the TONE and midrange detail will be heard. Usually this can not happen until the amplifier and speakers are really 'working' allowing the notes to explode. Low volume is simply not conducive to 'bloom'. |
| Brittle |
When there is excessive brightness, bite or ice pick and the sound is causing pain. |
Chime |
The
pleasing result of a specific presence factor of a pickup in
expressing a group of concordant notes particularly in the upper
register on the non-wound strings where the notes 'chime' together
to capture that quality of a large bell. Often associated with
a high quality single coil Fender style pickup using Alnico
magnets. Noiseless alternate magnets deisgns such as Ferrite
and Samarium Cobalt have less chime than regular single coils
or Kinman noiseless. |
Choking |
This
is what happens when a string dies during severe bending in
the upper register. Usually caused by maladjusted truss rod/string
height relationship OR a kink in the neck around the 13th fret.
Caused by lack of internal reinforcing at the critical 14th
fret area. Common on Fender style necks. Needs major surgery
to remedy. |
Clean sound |
Sometimes
applied to sound that is unprocessed, undistorted OR devoid
of noise. See also Noise.
|
Clean Tone |
Tone
that has no distortion content or without excessive midrange
and subsequently a high transparency factor. See also Transparency.
|
Coloration |
Usually
applied to the presence (or abundance) of midrange frequencies
which tend to muddy the tone. See also Transparency.
Alnico magnets do provide midrange complexity but remarkable
this is no muddy. |
Compression |
The
intentional limiting of dynamic range by electronic methods
to control large transients of audio power so as not to exceed
the limits of devices such as recording equipment; also a characteristic
of a guitar pickup when the peak frequency envelope is wide
with the result it drives the amp into slight overload. In the
extreme can also refer to the undesirable strangled feel or
excessive lack of response and dynamic range from a pickup which
is the result of poorly designed hum canceling techniques in
single coil design, but not with Kinman's. |
Creamy
distortion |
Smooth
unvarying (steady) distortion. Not warbling or rasping whish
is typical of Stratitis. |
Creamy tone |
The
quality of sound in relation to treble response and attack.
If the sound is scratchy and thin or overly dynamic it is not
creamy. |
| Crunch |
When picking hard the sound 'crunches' just past the onset of distortion, but less than full-on distortion which tends to rob the sound of it's original individuality. The sonic characteristics (tone) of the notes are only slightly diminished when crunched. |
Cymbals |
The
enemy of Strat sound since it shares a lot of the same frequency
bandwidth making it difficult to distinguish what notes are
coming from the Strat/Tele player with Un-aged sound. See Definition.
|
Chunky tone |
Having
the qualities of a P-90 in sound. Big, fat, loud, good attack
with resonance below the higher region, lower than a traditional
Strat pickup. |
Dark tone |
Tone
that is low in apparent bass and brightness (or attack) but
rich in midrange. Genuine Aged pickups have a darker tone. See
Thick tone. |
Definition |
The
property of a guitar's sound that enables it to be distinguished
from the competing sound of the cymbals. Also the characteristic
that separates and distinguishes notes played arpegio style.
Balanced presence and dynamic range are key factors in achieving
this difficult performance. Not always easy to evaluate unless
in the context of a band in full tilt. 1970's Strats had a very
thin sound that was low in off-stage definition simply because
the sound was so thin and piercing. Sometimes hearing loss figures
in player-perceived low definition. Also see Presence
and Punch. |
Distortion |
When
a signal is intentionally or unintentionally driven beyond the
transient limits of the amplifier and results in a square wave-form
as distinct to a sine wave-form. See Overdrive. |
Dynamic range |
The
difference in output of a pickup from the softest to the loudest
upon the instant of attack, without distortion. See Attack
and Presence. |
| Fat
sound |
Opposite
to a thin weedy sound, a fat sound is more like a wall of sound
without the excessive volume. A sound with a big girth. One
with a broad range of midrange frequencies. |
Feel |
The
way a pickup responds (or doesn't respond) to various stimulus
of the strings. A direct function of dynamic range or attack
that imparts desired expression to the players performance.
|
Fluid response |
A
function of abundant dynamic range and attack that allows the
player to string a sequence of notes in a seamless progression.
Jimi used it to good effect in several more restrained, undistorted
pieces. Other notables use distortion to achieve it. Kinman
Woodstock's are designed to do this effortlessly. |
| Girth |
The
overall dimension to a sound. Often used to imply a BIG, fat
sound. |
Glass |
Another
term for excessive brightness of single coil pickups especially
the Fender genre. The characteristic of Fender sound that imparts
a brittle or an Ice-pick quality. The enemy of high sound pressure
level definition. See Ice-pick. |
Graduated |
see
Technical Dictionary. The gradual increasing of the power
of a pickup typically intended to refer to the bridge pickup
which needs to have output compensation because of it's handicapped
position next to the bridge. Resulting in more or less balanced
output levels from all pickups. |
Growl |
When
the amp is turned up and the low (wound) strings are picked
close to the bridge twang gives way to growl, especially on
the bridge pickup. |
Harmonic |
The
multiplying of the fundamental frequency of a sine wave. Example;
Assuming a 100Hz fundamental then 200, 400, 800, 1.6KHz, 3.2KHz
etc etc would all be harmonics. Guitarists often refer to string
harmonics. These are node points along the length of the string
(Eg above the 12 fret) where harmonics of the fundamental coincide
and the string will divide into multiple sections with each
section vibrating at it's own harmonic frequency but the total
string section is completely devoid of the fundamental. You
will notice the absence of movement on strings because the fundamental
is not vibrating. Playing a harmonic does not require the string
to be fretted, the mere touch of a finger tip at the right node
point is enough to prevent the fundamental from sounding but
set the harmonic ringing. |
Hearing loss |
After
exposure to high pressure sound for extended periods the ears
suffer irreparable damage. Ringing in the ears after a concert
is a sure sign of partial hearing loss. High frequencies are
affected first and progresses to the lower frequencies with
repeated exposure. Loss of speech intelligibility is a symptom
of it. Speech sounds like it's muffled. |
Ice-pick |
The
term applied to the excessive treble edge of a single coil pickup
which results in a harsh or brittle quality. Make the ears ring
and causes hearing loss with prolonged exposure. Also makes
the instrument less intelligible to, and therefore less appreciated
by, the audience. Is not a function of the body wood or the
acoustic properties of any guitar. |
Intelligibility |
The
ability of a sound to be discerned and understood by the audiences
ears. Excess treble brittleness can reduce it in electric guitars.
Cymbals sometimes have the same effect by masking the guitar
sound in acoustically difficult venues. Alnico magnets help
by encouraging complex midrange detail that helps distinguish
the guitar sound from the clatter of cymbals, snares etc. See
Definition, Hearing
loss and Presence. |
Midrange |
Any
frequency in the audio spectrum between 300Hz and 3kHz. Below
300Hz is considered to be Bass and above 3Khz is treble. Midrange
is the most important element of sound since this is where the
human ear is most sensitive because human speech is almost all
midrange. Over emphasis of these frequencies results in Muddy
sound. Alnico magnets provide a very high quality detailed midrange
that is not muddy, but which adds girth and body to the sound. |
Out of Phase |
see
Technical Dictionary. When 2 pickups or coils are connected
in such a way that the current flows are in opposite directions
and tend to cancel one another they are said to be out of phase.
Position 2 and 4 of a Strat switch is not out of phase, in fact
quite the opposite…they are in-phase. Out of phase sounds consist
of very little bass, dominate mids and highs with a characteristic
'nasal, honky' sound and have a much lower level. Also see Parallel
and In-phase. |
Overdrive |
When
the input of the amplifier is driven beyond it's clean capability
into distortion. Happens when a sine wave from a pickup slams
into the transient limits of the amplifier and takes on a
square wave-form. Pickups do not distort, only an active circuit
can do that. The rated power output of an amplifier multiplies
under heavy overload (distortion) hence the need for excessive
speaker power-rating. See Distortion.
|
Parallel |
see
Technical Dictionary. When position 2 or 4 is selected on
a Strat selector switch two pickups are switched on and said
to be connected in parallel and in-phase. The sound becomes
hollow and delicate, devoid of quack and with a drop in level.
Mark Knopfler made this his trademark sound. Kinman fitting
instructions for Strats detail a wiring option that allows gradual
mixing of the neck with bridge or middle pickups to get an increases
palette of parallel tones. Also see In-phase.
|
Phase |
see
Technical Dictionary. Assuming you understand the concept
of wave forms (as in sine wave)…it's the relationship between
two (or more) such waves. In guitars they either oppose one
another (being out of phase) or are in phase (in synchronous).
To put it another way it's when the polarity of two pickups
(or coils) either match or oppose one another. Eg, in phase
or 180 degrees out of phase (180 degrees being opposite to 360
or Zero degrees). In-phase wave forms add their energy together
for increased level while out-of-phase wave-forms subtract from
one another to decrease level. See also Parallel.
|
Plank Spanker |
One who indulges in the skilled musical artform of playing a
Telecaster. |
Presence |
Leo
Fender identified a particular type of brightness that is
not strictly a function of resonant frequency alone (trebles)
but rather derived from the combination of this plus sharp
attack and the essential complex detail provided by the Alnico
magnets of a Fender guitars pickup. Even low notes can have
presence when they possess the right type of harmonic makeup
and attack. Up to a point more attack seems to pronounce this
presence. However when the attack/resonance envelope is such
that the sound becomes very thin and brittle then presence
actually diminishes. Presence helps carry the note through
the shimmer and clatter of Cymbals and other instruments without
having to play overly loud. Balanced presence is a valuable
commodity. Classic Fender guitar sound is all about presence.
Thanks to Leo for applying the word 'presence' to guitar vocabulary
and for designing his pickup around Alnico magnets.
I
find it difficult to apply the term to other kinds of pickups,
especially the non-Alnico noiseless Fender type. |
Punch |
Like
it sounds, the ability to punch through the rest of the band.
It implies more midrange response coupled with abundant dynamic
attack. A P-90 is certainly a punchy pickup but a bright Strat
pickup has less punch but more bite and presence so it gets
noticed in a different way. |
P-90 |
Excellent
single coil pickup in the Gibson family. Great tone but terribly
noisy. Easily recognized by it's centralized 6 adjustable steel
screw pole pieces and rectangle plastic or dog ear cover, often
cream in color. Has 2 opposing Alnico bar magnets lying flat
underneath the coil. Extremely difficult to cancel hum from
and retain an authentic punchy tone; so far this endeavor has
not been successfully accomplished (but I'm working on it). |
Quack |
Or
to be more precise Th-wack. It happens when 2 similar pickups
are switched on together thereby Eq-ing the sound to reduce
midgrange colouration but emphasing a particularily narrow band
of upper midrange frequencies which then become more obvious.
Projected by sharp attack this band of frequencies makes a characteristic
QUAK or Th-wack sound. Some players refer to it as positions
2 and 4 on a Strat switch. (see Scooped)
The 2 similar pickups need to be combined in parallel and in-phase. |
Replicate |
To
reproduce faithfully and accurate to the original. For example;
Kinman AVn pickups replicate authentic Vintage Strat sound and
Tele sound :) |
Response |
The
reaction of a pickups electrical and sonic performance to
pick attack. |
Resonant peak |
Rz. The frequency at which there is the least resistance (Impedance
actually) to the flow of electric currents in a pickup coil.
The frequency at which string signal has the most output. Rz
is defined in Hz. Typically 3.5KHz (3,500 Hz). It's the quintessential
definition of guitar tone. Is meaningful when stated as a specification
of a pickup that is loaded with the full compliment of Volume
and Tone pots and a typical cable. Is completely meaningless
when stated as free air Rz (typically 9KHz). |
Scooped |
The
term applied to switch positions 2 and 4 of a Stratocaster or
the middle position on a Telecaster. Also sometimes applied
to a single pickup sound. More precisely, used to define scooped
or de-accentuated midrange frequencies -or- sound that is somewhat
hollow with less substance.... not-withstanding the detailed
midrange complexity provided by Alnico magnets. |
Shimmer |
The
vibrant characteristic related to the presence factor of an
electric guitar pickup especially the Fender single coil family. Usually
concerning the the upper midrange. Has the effect of a perceived
or imagined 'aural corona' attending the notes something like
that of a large Gong or Cymbal. This quality is imparted by
the way Alnico magnets cause the induction characteristics of
the coil to behave. |
Shrill |
Some
makers of noiseless single pole pickups resort to higher value
volume pots to bring their pickups to life. These makers hope
that the extra brightness will be mistakenly interpreted by
the player as desired attack and dynamic range. The artificial
brightness of such practice is said to be shrill. Not a prized
characteristic by any stretch of the imagination. See Pot
values on the TONE WORKSHOP page. |
Spank |
Bit
hard to define this one, different meaning to different players.
My take is it's related to Dynamic Range and Punch. Teles are
said to have spank and Teles have a bridge pickup that is fat,
loud and punchy with a big fat Twang. |
Sparkle |
The
term to describe the upper midrange *presence* factor of an electric guitars
pickup, especially the Fender genre of single coils due to the
use of Alnico rod magnets. See Presence.
|
Stratitis |
Also
diplayed in the Technical Glossary. (Strat-itis is simultaneous
multiple discordant frequency syndrome). Dirty or rusty strings
can also cause this but many players know this horrible phenomena
is caused by excessively strong magnets in the pickups, here's
how it works. What happens is the magnets of the pickups pull
a section of the string (the part that's over the pickups) into
a U shaped vibration path. Normally the strings vibrate in what
is essentially a single-plane path or pattern. Lets say that
the time taken for a string (not subjected to excessive magnet
pull) to complete one cycle or oscillation is X milliseconds.
Traveling in a U shaped path it actually takes longer to complete
one cycle or oscillation since the distance is greater via a
U shaped path, so the time is X + U milliseconds. Now it's getting
clear that what you have is a string that has a section of it's
length vibrating in a U shaped path and part of the remaining
section traveling in a direct single-plane path and yet another
section traveling at all frequencies between these two extremes.
This means that the three sections are actually vibrating at
many different frequencies when the string should be vibrating
uniformly at a single frequency. What happens when you mix all
these different frequencies together? Uggghhh, dissonant Stratitis
that's what! It's bad enough hearing 2 non-harmonious notes
coming from a single string, but when you get multiple dissonant
frequencies (or notes) being produce simultaneously from a single
string the results are absolutely horrendous. A string that's
out of tune with itself no less, big time. That's what Strats
do when you adjust the pickup magnets close to the strings.
But when you adjust them to prevent Strat-itis, output, sensitivity
and dynamic range are reduced. |
Sweet tone |
Sound
that is characterized by lack of overly brittle or ear piercing
treble frequencies but which nevertheless sounds bright, crisp
and alive with sweet harmonics and lack of Ice pick. |
Thick tone |
Sound
that is high in midrange content and low in bass and brightness.
If this is the result of the presence of Alnico magnets then
it's
a good thickness, but if it's the result of overwound coils
then thait is not nearly so desirable. |
| Th-wack |
Just
like the sound of the word. High impact projection of a group
of upper midrange frequencies at the moment of attack. Like
a back hand slap accross the face but with tone. A particularily
desirable characteristic found in only the best of single coil
pickups. |
Transient response |
The
ratio of voltage produced to a given energy of pick attack.
Another way of expressing Dynamic range or attack. Lack of transient
response equates to a choked or compressed feel to practically
all noiseless single coils with one notable exception, can you
guess which one? See also Attack. |
Transparency |
The
low concentration of 600-2.5KHz midrange frequencies (coloration)
resulting in a clean/clear tone that is said to be transparent.
Guitar pickups demand some colour in the midrange for satisfactory
definition and projection. The best colour comes from Alnico
magnets because it provided interesting detail in the sound
that I call TONE. Colour that is derived from overwinding the
coil(s) is muddy and I call that TONE-less. Many side-by-side
humbuckers are overly muddy. Alternate magnet design noiseless
single coils are sometimes overwound to add colour as well,
the result is the same, low grade mud. Excessive transparency is not a
desired characteristic of Fender style pickups. |
Twang |
The
sound made by the combination of attack and (bright) upper midrange response
of a pickup with moderate transparency when picked closer to
the bridge. String bending or pitch shifting enhances twang. Usually associated with the upper mid frequencies
of the wound strings, and to a lesser degree sometimes non-wound strings. Fender type single coils with Alnico rod magnets have a distinct advantage because the Alnico imparts a midrange complexity that's necessary for making twang. Instrumental guitar players like Duane
Eddy and Hank Marvin have used this effect to great advantage
over the years. Used skillfully it imparts an element of dignified
excitement to the piece. |
Un-aged tone |
The
tone of a contemporary pickup before the aging process has any
discernible effects. Characterized by abundant attack, dynamic
range and brightness. Refer to top of
this column. |
| Vintage
sound |
For
the purpose of this definition Vintage sound will mean the
sound of a 50' or 60's Strat pickup when it was new.
I
have come to define vintage sound with a mix of technical
and sonic terms because sonic terms alone can be interpreted
in so many different ways. No doubt others have their own
opinions. Basically I define this as the sound that comes
from 6 Alnico-5 rod magnets with a coil of approx. 8,300 turns
of 42 gauge Formvar coated wire and complying to the template
of a Stratocaster pickup design. My personal extended definition
calls generally for snappy attack, twangy midrange with biting but tinkly
highs, a complex midrange that is both scooped (clean) and
gritty (complexity) at the same time (see Alnico magnets).
It has good dynamic range that culminates in very satisfying
expression for the guitar player since these pickups respond
so well to the light and shade of different picking variations.
I also think of vintage sound as having a range of tonalities
depending on the number of turns of wire (approx. 8150 to
8,350) and the age of the pickup. Thus you can have new vintage
(what an old pickup sounded like when it was new) and aged
vintage or what a genuine old pickup sounds like in present
day (Aged sound and unaged sound). |
Virtuoso |
The
greatest and most creative of players. Inspiring and exciting
to listen to. Jimi Hendrix and SRV for examples.
|
Warble |
See
Stratitis |
Woody |
Predominately
middle frequencies (about 500-700 KHz) with a controlled amount
of attack and not overly endowed with brightness. Sort of Twang
gone south. Vintage Fender style pickups have "wood" thanks to the presence of Alnico rod magnets. Mainly noticed on the bridge pickup or on other
pickups by picking the string near the bridge. A favored characteristic
of Mike Lewis, Sales manager for Fender USA. |
