After trying a few of the pickup offerings from Wade at Motor City Pick ups I knew I had found a person who had an ear for what I was looking for in my pick ups. Wade was cool enough to take time from his busy schedule to answer a few questions for me and hopefully give us an insight into the world of pick ups and their construction.

Todd: What got you started in building guitar pickups and how long have you been building them?

Wade: Well, back when I was around 15 or so I suppose, I was looking for power and had to raise the height a bit only to have the high e get caught under the bobbin and short it out. Actually out of necessity, I had to rewire it with the help of my Dad (He is an electrician for Ford’s Power plant in Detroit) to get only one coil working for the time being until he could find wire that small. Back then it was a challenge to say the least to find wire, and material etc. At that same time there were lots of machinery at Fords to make transformers, etc and I got my first glimpse at how to do things, but on a much larger scale. OK, so the short answer would be by accident : ) After I initially fixed the coil and rewound it, it was quite some time before I went back to the wire on the shelf- I must have been almost seventeen. I was shopping for amps and the sales guy said “Hey man, you gotta hear these amps. One is with a stock speaker, and one is with a Celestion.” Well, it was a kick in the face because I knew speakers had coils in them and the tones were night and day. I couldn’t wait to get back to the bench and try something different for pickups.
Fast forward to about 3 years, already had my first child, working all day  with very little time for guitar. I was building houses during the day, and teaching American Karate at night but still loved to play guitar for my babies at home. By this time in the pickup realm, I had a few great guys around town that really liked my pickups I had made or re-wound for them and when they would get a new guitar, they would call me and want pickups. At this time, I never actually sold any ($20 bucks and a stack of magazines. More so a trade). It was through friends and fellow musicians mostly- A blue moon thing? Not on a consistent basis. Maybe 15 per yr. That’s how it started anyway…

Todd: What do you feel is the most important thing in the building process that effects the tone of a pick up?

Wade: The pickup works as a system of parts, change the part…… just one, and you change the tone and feel or response. To me, the way the coils are wound makes the most difference. If I had all the same material (screws, slugs, plates shoes, magnet) I can alter the tones in the coils to get 85% of any model I make. This is where winding experience comes into play and knowing wire gauges and insulation’s inside and out- like a fine wine, you get better with age. The last 15% to me is the most important though putting the icing on the cake using the materials to flavor the mood. Coils, coils, coils!! To this day, I wind every coil. I do have assembly help, but I wind every single one.

Todd: I know these things are hard to put into words but what in your opinion makes a pick up classic or modern sounding and what are the differences in the builds?

Wade: That’s a tricky question Todd. By today’s standards, we have very modern technology with amps, pedals, etc. so keeping up with the times in the modern sense is ideal.  A classic or vintage pickup should be replicated using different tensioning techniques and knowing some of the shaped cam traverse typically used in early winding machines. These are not uncommon today and are a great learning tool although primitive by nature. The coils do not come out perfect in shape, rather they are many shapes. Older machines have tricks to them. Sourcing the right material for the job, which can date back to the early 50’s, can be a battle as well as getting the proper steels. P90’s date back further. Modern Pickups tend to be over exaggerated with perceived gain and power but sacrifice tone. With the more modern stuff I design, I try to balance clarity with gain and output. Some heavier players prefer to hit the front end of the amps input harder but my preference is to GET THE GAIN FROM THE AMP.

Todd: When someone says a pick up “sounds too compressed” what does that mean to you since there is always some sort of compression going on in a pick up anyway?

Wade: Hmm…Each person’s explanation may be different. To me, it’s more the feeling of the pickup when you’re actually playing it. The note sounds but the immediacy of the note ends with little life or harmonic structure that swells after the note to help bloom the distortion. The amount of give can be stiff and sterile with a narrow feel.  Pickups do have compression but it’s the amount we as players like that determines whether it is too much too little. Think of it this way….When you listen to a cd in your car it is not as compressed as the same song on the radio because radio stations compress before broadcasting. With mondo gain, you want a little compression and immediacy to the note to keep it tight but compression overdone loses the tones dynamics and perceived width.

Todd: What do you feel makes your pick ups stand out from the rest?

Wade: Everything in my designs are custom.  I use multiple styles of screws made of differing material as well as the shoes and poles. All have quite a different effect within one another so the outcome of tone can vary greatly. If I use the same coils but alter the core components I can fine tune the design of each pickup to the client’s preference. I really strive to separate myself from the herd when it comes to designing pickups, seeking out a unique character in each model. Of course it will sound like a pickup but I want each to have its own identity. I perform various tests making sure the inductance, AC resistance, capacitance and Q are within range of the specified coil or coils..

Todd: What are some of the biggest misconceptions you feel a lot of players have when it comes to pick up building? Or are there any myths you feel need to be corrected?

Wade: It would have to be DC RESISTANCE. I just feel there is no significant validity in judging a pickup this way. DC resistance has little to do with tone or frequency and more to do with the length of wire really.  “What’s the big deal?”, I often hear, ” its 16k so its a pretty hot pickup?” right?

“Well NO”. I’m sure it can be if it was designed for gain but again it’s that perfect marriage between the pickup and amp that determines how hot your signal is. The pickup is the mouthpiece to your amplifier so feeding it the frequencies you want to hear gets you closer to the tones in your head, fine tuning at the amp. Some say its “ease of play” with higher resistance but we know better : ) Two pickups at 16k from 2 different builders are going to sound different. Each persons touch is different.

Todd: I’ve noticed with your pick ups they clean up really well, what helps a pick up stay clear when you roll of the volume on your guitar?

Wade: If I told ya my secret…I’d have to kill ya. Seriously, KILL YA! There is a real balancing act between coil design and whether they are asymmetrical or symmetrically wound that makes a difference.  I do like using different winding patterns per coil to further clip the coils. I could wind them totally different with a small clip between the two, and the one with the lower turn count may read hotter because of the pattern used making for more material in the bobbin with less turns. The capacitance is different. Also using domestic metals plays a huge role. It’s cleaner and pure. Much of the over sea’s material is recycled or shot. Vapor analysis shows everything. Inferior metals will show trace elements that should not be in there at all for a specified material.

Todd: Tonally what are the biggest differences in the different magnet types?

Wade: The way they soak up current. They are all different. There’s a lot of frequency shifts because of the material used to make certain magnets between the Alnico’s. For instance, Alnico 5 can have many different recipes resulting in the way each kind soaks up eddy current and still falls under the Alnico 5 guideline or considered Alnico 5.

Bh curves vary significantly between types as well as Demagnetizing force, H, Oersteds, H MAx,Hci, or orientation of magnet grades, etc. Whether it was orientated metal, unorientated, or how it was annealed matters. Everything mentioned will affect how much the magnet can hold saturation (energy) or total max gauss and will affect the resistance under the strings.  I’ve used them all from every corner of the globe and to date the American made magnets are by far a real treat. All the domestic specialty metals have been spot on with not only the American foundries analysis, but my own. I’ve sent out and tested many magnets. There are also differences in material tweaks for A2 A3 A4 etc. so there are quite a bit of choices to be made when selecting magnets for the job. Trying various types of Alnico within the material guidelines for a specified grade helps because you can find out what you really like for a design. Lots of testing, vaporizing and listening.

Todd: You told me you got to work with Jerry Cantrell from Alice In Chains and that he’s using some of your pick ups… which ones is he using and what was it like working with Jerry? Also are there any players you are working with now that you’d like to mention?

Wade: Jerry is using the Afwayu’s and the Second Degree Black Belts in all the tour guitars that I know. It’s a real honor making pickups for Jerry as I’m a huge fan of Alice In Chains and he had such an influence on my playing over the years as well. I can still remember the first time I heard “We Die Young” on the radio. Man, we just stared at the radio like it was going to come alive or something wondering “What the hell is that?!” Of course we went out and bought the cassette immediately. I felt the pickup choices were right considering his gear. I spoke with him at St. Andrews in Detroit and he was really nice, laid back and down to earth. I think he’s very focused and gives off a great vibe. Jerry instantly made you feel welcome. It’s an absolute pleasure working with him. I’m very excited about the new album. I have some other stuff going out to him as we speak.

Players I’m working with? You man!! Hum. I’ve never really talked to much about it but here are some you may know, and some you need to know:

Reeves Gabrels (David Bowie), Ty Tabor (Kings X), Pete Thorn(Chris Cornell, Pink, Alecia Keys, Session Artist), Jerry Cantrell, James Lugo, Roger Laur (Ugly Kid Joe), Karl Cochran ( Joe Lynn Turner), Jamin Hunt (Sworn Enemy, Vehement Serenade). Mark Abrahamian (starship), Dave Lapum,  Rob Singleton (Treble Bleed), Elliot Moses, Donna Grantis, Pat Furlan ( the Remnants), Greg Danic, Halloween, Flint Mavis, Brett Lucas (Betty Lavette, Thornetta Davis, the Pickups. Session Artist), the Holy Fire, Bury your Burden, Moxie, Universal temple of Divine Power. Lots of studio engineers and producers also as well as music manufactures such as Bruce,Frank and Jeff Hilligan- Egnater Amplification, Frank Lamara- L.A Guitars,  Dave Friedman of Rack Systems, Dereck Tabata- Tone Freak Effects, Sean Michaels- Love Pedal, George Metropoulous- Metro Amps, Dennis Molan- Protone Pedals, Reinhart Bogner, Rob- Tone Merchants, John Gaynor- SOzo Amps, Plan 916 guitars… It’s a real honor working and getting feedback from everyone really. I always keep my ears open and listen. That’s the key to MotorCity.

Todd: What’s the main things a player should think about and know when he or she goes to pick out a pick up?

Wade: An overall idea of what sounds they are after along with being familiar with their gear. Also knowing what kind of pickups you like or have liked in the past so I can get you into something that you are familiar with- Not drastically changing your tone, drastically improving it and finding what you need as a player.

Todd: How important is pick up height?

Wade: Everyone is different with how much power and clarity they need as a player. I find a great starting point is 2mm on the low end, and 2.5mm-3mm on the high end from the bottom of the string to the head of the screw. Fine tuning and getting the sweet spot from there is taste. I really learn allot from my customers and try out every scenario as it comes.

Todd: How much does waxing effect tone?

Wade: There are a lot of different theories as to the effects of waxing coils. Here is what I think and know from experience. A fully saturated coil can sound lifeless actually. The Black Belt series is an example of a flash waxing technique I use to solidify the outer windings of the coil to prevent them from vibrating causing microphony and unwanted squeal . The inner windings are under pressure from the top windings and they give a little bit also, but in a more musical way. More controlled or restricted. Wax also helps solidify the construction. The coils are not fully saturated. I do offer them un waxed as well for the vintage purist. At this point you must have perfect construction and everything must be anchored down perfectly. Proper taping is essential in un-waxed coils. Audibly the coils have a bit more breath to them with  greater sensitivity to harmonics and dynamic response. Un-waxed coils are not for everyone, but are full of life and character. The musical micro phony is what the purists are seeking so there is a fine line with any design to take out what you don’t want which is the uncontrollable aspect, leaving the character and bloom of the players touch to excel.

Todd: How much, in your opinion, does a guitar’s wood and construction play a role in the tone of a pick up?

Wade: Very important! Give me lemons, I’ll make you the sweetest lemonade. I’ve had a lot of guitars in my years and every now and then you get a dud that just does not make sense. For instance…Swamp Ash vs. Soft maple. One’s going to be darker so knowing ahead of time, I can recommend the proper pickup based on the woods. The pickup is the mouthpiece to your amp and amplifies what is already there. Without a pickup, the guitar is not electric so taking what’s there and further shaping it with the pickup before it gets to the front end of amp makes sense. On the other side of the coin, I’ve had customers tell me no matter what they do the low end is boomy with any pickup in this guitar. I take that as a challenge and as a designer knowing your own product you can finely tweak your winds to accommodate your customers needs. Most tweaks are a spin-off of a model already being made so you have to know what woods and the characters of the guitar. Communication is the key between you and the customer really. Without that, you’re shooting blind. Tweaks are for those individuals that require them and you really need to know your gear and have some consistency with your gear not changing speakers, cables, amps every week.