Great video! When Hank had his black Strat and he switched to single coils in the late 70s he switched to three SSL1 that Seymour Duncan made for him. Hanks actual USA custom shop signature model in 1992 and autograph model in 1995 came with an FS1 in the bridge and two SSL1 in the neck and middle.
Many thanks! There's certainly much to explore regarding the tonal choices on off from Di Marzio and Seymour Duncan. Thanks for watching. Best regards, Dale Harris
It should also be considered that Marvin in the '54-'60s used 12-52 gauge strings, which made the sound fuller even on the high frequencies. Therefore it is not easy with the current 46-10 gauges to imitate the sound of those years. Also, at that time the G string was covered.
Many thanks Josh, that's very kind. I have a classical recital at the end of this month so I'll need to get it together and not mess about with electric guitar too much more! Hoping that all well with you? Best regards, Dale
Very cool comparissons, but… Hanks sound was not just pickups. The correct use of whammy bars, delay effects and of course the VOX AC 30. But you showed a lot of possibilities which is really very nice. Thank you for that. As for me, I’ve on one of my Strats Fender Custom Shop ‘62, on another Fender Custom Shp ‘54 and one with the Australian Hank B Marvin signature Kinman. All very nice pickups, but to be honest, they’re not significant better sounding than the Seymour Duncan / Dimarzio you demonstrated. Again, thank you!!
Hi, many thanks for reaching out. I'm in agreement with you. However, if you can get the signal path sorted with the first significant element in the chain then you'll be off to a good start. My hunch is that the studio made Hank's pick-ups sound beefier and his quest involved matching the studio sound to the live sound (the Beatles for instance were another with the same Abbey Road dilemma, and they stopped touring eventually!). So, going with 8k rather than 5.5 or 6k no doubt helps the cause somewhat. Not authentic but a practical bridge. I'm now fascinated to hear your pick-ups in action! Could you demo yours? All the best, dale
Seeing as that's a Japanese-made guitar, it's worth upgrading it. I doubt US-made Strats would be made to the same quality today? I've got a Tokai Strat I bought in 1984, which I fitted with DiMarzio FS1s. The neck pickup has its own tone control, a 250 pot with a 0.22 cap. The bridge and middle share a 250 pot with a Sprague Dime Tone Capacitor - 0.1uF. Which gives me the early Dire Straits sound. It's the best Strat I've ever had. The neck FS1 is the David Gilmore's 'Another Brick In The Wall Part 2' sound to a tee.
Is it worth all the money to switch to better pickups ? Or just achieve the preferred sound with a graphic equaliser ....which is what is always done in recording session.....In other words, will you be able to get the same sound quality in both stock and updated pickups, equalised? Thanks for your explanations......the best so far.
Mostly it is the combination of everything. Quality pickups: yes equalization: yes to tone your amp like you want to hear. But don’t underestimate your own fingers…pressing, timing, downstrokes vs upstroke picking etc.
The pups in the Clasic Vibe are in fact TONERIDER SURFARIS Alnico 3. With a VOX amp Tone and a MultiEcho you are Done. With the Seymour the Tone is more Texmex. The Clarity of the SURFARIS and HEAVIER strings is perfect. I m huge Shadows fan, 71 year old from CHILE, and spend more than 50 yrs trying to get the CORRECT TONE so believe me and check it out. Thanks
Hi, thanks for your insights, sharing of your experience and thoughts. My starting point was that I found it difficult to obtain the "power" of HMs recorded sound; and given that Hank himself switched pickups to higher output p/ups appears to support my point. Studio technology additionally gave Hank a problem in that his live sound (basic gear) against studio sound (extremely elaborate EQ, tube driven compression, tube microphones, etc.) were in conflict. Clearly in those days, studio recorded sounds were preferable, especially considering how poor P.A. systems were and that guitar amps (AC30 + Celestion Blue) fail to project beyond 6khz. I have a few suspicions left to explore for how to get the "correct" sound (i.e., closer to the recorded sound that the audience is familiar with). My other issue is with absolute proof of facts against speculation. If for instance, Squier 50s Strats are indeed loaded with Tone Factor Safaris then please do cite your reference. I could only find speculation about it (e.g., the coincidence that they're manufactured in the same factory, etc.). The 50s Squier Strat stock pickups sound is weak and lacking lower-mids in all positions. I suspect that going with the stock pickups is a false-trail hence my experimentations and letting the ear decide if it's nearer to that Hank's sound or not. All the best, Dale Harris
Great video! When Hank had his black Strat and he switched to single coils in the late 70s he switched to three SSL1 that Seymour Duncan made for him. Hanks actual USA custom shop signature model in 1992 and autograph model in 1995 came with an FS1 in the bridge and two SSL1 in the neck and middle.
Many thanks! There's certainly much to explore regarding the tonal choices on off from Di Marzio and Seymour Duncan. Thanks for watching.
Best regards, Dale Harris
It should also be considered that Marvin in the '54-'60s used 12-52 gauge strings, which made the sound fuller even on the high frequencies. Therefore it is not easy with the current 46-10 gauges to imitate the sound of those years. Also, at that time the G string was covered.
Cool comparison, Dale! I'm not an electric player (anymore) but I still supported the video.
Many thanks Josh, that's very kind. I have a classical recital at the end of this month so I'll need to get it together and not mess about with electric guitar too much more! Hoping that all well with you?
Best regards, Dale
I like the squire pickups
Very cool comparissons, but… Hanks sound was not just pickups. The correct use of whammy bars, delay effects and of course the VOX AC 30. But you showed a lot of possibilities which is really very nice. Thank you for that. As for me, I’ve on one of my Strats Fender Custom Shop ‘62, on another Fender Custom Shp ‘54 and one with the Australian Hank B Marvin signature Kinman. All very nice pickups, but to be honest, they’re not significant better sounding than the Seymour Duncan / Dimarzio you demonstrated. Again, thank you!!
Hi, many thanks for reaching out. I'm in agreement with you. However, if you can get the signal path sorted with the first significant element in the chain then you'll be off to a good start. My hunch is that the studio made Hank's pick-ups sound beefier and his quest involved matching the studio sound to the live sound (the Beatles for instance were another with the same Abbey Road dilemma, and they stopped touring eventually!). So, going with 8k rather than 5.5 or 6k no doubt helps the cause somewhat. Not authentic but a practical bridge. I'm now fascinated to hear your pick-ups in action! Could you demo yours?
All the best, dale
Seeing as that's a Japanese-made guitar, it's worth upgrading it.
I doubt US-made Strats would be made to the same quality today?
I've got a Tokai Strat I bought in 1984, which I fitted with DiMarzio FS1s.
The neck pickup has its own tone control, a 250 pot with a 0.22 cap.
The bridge and middle share a 250 pot with a
Sprague Dime Tone Capacitor - 0.1uF.
Which gives me the early Dire Straits sound.
It's the best Strat I've ever had.
The neck FS1 is the David Gilmore's 'Another Brick In The Wall Part 2' sound to a tee.
I think that the CVs had Tonerider Alnico 3 PUPS. These are very good and would not need upgrading for Hank tones.
Is it worth all the money to switch to better pickups ? Or just achieve the preferred sound with a graphic equaliser ....which is what is always done in recording session.....In other words, will you be able to get the same sound quality in both stock and updated pickups, equalised? Thanks for your explanations......the best so far.
Mostly it is the combination of everything. Quality pickups: yes equalization: yes to tone your amp like you want to hear. But don’t underestimate your own fingers…pressing, timing, downstrokes vs upstroke picking etc.
The pups in the Clasic Vibe are in fact TONERIDER SURFARIS Alnico 3. With a VOX amp Tone and a MultiEcho you are Done. With the Seymour the Tone is more Texmex. The Clarity of the SURFARIS
and HEAVIER strings is perfect. I m huge Shadows fan, 71 year old from CHILE, and spend more than 50 yrs trying to get the CORRECT TONE so believe me and check it out. Thanks
Hi, thanks for your insights, sharing of your experience and thoughts. My starting point was that I found it difficult to obtain the "power" of HMs recorded sound; and given that Hank himself switched pickups to higher output p/ups appears to support my point. Studio technology additionally gave Hank a problem in that his live sound (basic gear) against studio sound (extremely elaborate EQ, tube driven compression, tube microphones, etc.) were in conflict. Clearly in those days, studio recorded sounds were preferable, especially considering how poor P.A. systems were and that guitar amps (AC30 + Celestion Blue) fail to project beyond 6khz. I have a few suspicions left to explore for how to get the "correct" sound (i.e., closer to the recorded sound that the audience is familiar with). My other issue is with absolute proof of facts against speculation. If for instance, Squier 50s Strats are indeed loaded with Tone Factor Safaris then please do cite your reference. I could only find speculation about it (e.g., the coincidence that they're manufactured in the same factory, etc.). The 50s Squier Strat stock pickups sound is weak and lacking lower-mids in all positions. I suspect that going with the stock pickups is a false-trail hence my experimentations and letting the ear decide if it's nearer to that Hank's sound or not. All the best, Dale Harris