Ever look down at the array of switches, knobs and pickups on your and long for a simpler life? Luckily, the single-pickup electric is a tradition that dates all the way back to the 1950s.
There are a number of reasons to use a with only one pickup, most of which boil down to the appeal of limitations in a creative environment (we’ll touch on the physics in just a minute). For some players, the more switches and knobs there are on a , the more mental RAM is taken up by keeping track of them as you play.
On a with Les Paul-style dual-humbucker switching, you’ve got four knobs and a pickup selector switch to keep track of. Compare that to using a with a single pickup with a single volume control, where if you look down and see a “10”, you’re good to go.
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Having just one pickup can help you find creative ways to change up your sound, too: the dynamics of your playing have to take centre stage if you can’t just switch to a quieter pickup. Having reduced options, electronically, can lead to more interesting results musically.
And finally, there’s the approach of not having what you don’t need. Hence, rock and metal-focused s with only bridge pickups and jazz s with only neck pickups.
If you’re in the market for a single-pickup , you might have come across the following argument: single-pickup s sound inherently better than their multi-pickup counterparts because of physics. And it’s true – in theory.
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As there’s less magnetic pull on the strings, they can move more freely. But it’s not long before subjective words like “chime”, and “punchiness” start to get thrown around. Essentially, yes, removing one half or two-thirds of the magnets from underneath your strings does in theory have an effect on their motion. But is this effect actually audible? That’s hard to say. Some swear that a ’s sound is made livelier with the removal of a neck pickup, whereas others can’t hear a difference at all.
There are often other factors at play. Often, the removal of a pickup isn’t the only change being made. And as hearing is so subjective (especially when you’re listening out for changes), it’s hard to truly quantify the sonic differences.
And so the effect of magnetic pull or a lack thereof can be overstated – whether it’s marketing from a manufacturer or someone telling you to ditch the neck pickup as it’s more “rawk” that way, tread carefully. Moving to one pickup won’t magically revitalise your sound, any more than changing from a maple to a rosewood fretboard will. But, if you try it out and prefer the sound, the feel or just the overall approach – then single-pickup s might just be for you!
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Here we have a traditional Les Paul Junior-inspired , with a double-cut body and a set neck. The body and neck are both made of okoume, with a single piece for each – leading to an incredibly solid yet lightweight feel.
Hardware consists of a Faber wraparound tailpiece. This can’t be intonated on a per-string basis – however, it is compensated. Other build specs remain true to the ’s vintage inspiration, with a 12-inch radius and 24.75-inch scale length.
The electronics do lend the a modern edge: the Lollar dogear P90 is wired to a no-load tone control, which lets even more treble through when you’re on 10. This means the doesn’t have as “warm” a character as some vintage-inspired instruments, instead offering plenty of bite.
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Collings’ 290 DC S is an ultra-premium take on the classic double-cut Junior. It’s constructed from hand-selected Honduran mahogany, with an extra-long tenon for the neck join, a slight comfort carve on the back of the body, and a very slightly longer-than-Gibson 24.875-inch scale length and a rosewood fretboard. It’s finished with an ultra-thin nitrocellulose, for a worn-in, resonant feel.
The pickup is a high-wind Lollar P90, wired in the traditional 50s style to 500k pots. This means lots of versatility, from pushing your amp to the edge of breakup to clear, restrained clean sounds on lower volumes.
And, of course, there’s Collings build-quality, which is notoriously excellent – if you’ve got the budget, this could be worth every penny.
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Of course, while lots of builders are offering their own take on the formula – Gibson still makes its own Les Paul Junior. Its current single-cut offering features a mahogany neck and body, with a rosewood fretboard carved to 50s specifications. This means it’s quite the hand-filler, perfect if you want that classic Les Paul feel.
Hardware is also classic Gibson USA fare, including a nickel-plated wraparound hardtail. And as you might expect, the scale length measures in at 24.75 inches.
If you’re on a bit more of a budget, Epiphone’s latest Les Paul Junior offering (in its Inspired By Gibson range) is also a great entry point into the world of single-pickup s. It has very similar construction to its Gibson counterpart, with the most noticeable differences being the slim-taper neck rather than the 50s profile and an Indian Laurel fretboard rather than a Rosewood fretboard.
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There’s also an Epiphone Pro P90 pickup, CTS pots, a mahogany body and neck, and a nickel Lightning Bar wraparound tailpiece. In all: a very solid single-cut Junior for the price
Reverend’s Sensei Jr takes a classic Les Paul Junior and puts a number of Reverend-specific twists on it. Firstly, the neck and body are constructed with Korina, providing a along with a rosewood fretboard. The offset, double-horned body is a unique and angular take on the shape, and the dramatic swoop on the lower horn provides tonnes of access to all 22 frets.
The pickup is Reverend’s own CP90. You’ll notice there are three knobs here: the standard volume and treble control are joined by a bass contour control, a passive bass-roll-off knob that allows you to change between a full, bassy voice and a more classic, biting sound.
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Along with the Les Paul Junior, the Fender Esquire is a classic amongst single-pickup s. It is essentially a Telecaster with no neck pickup. Or, the Telecaster is an Esquire with an added neck pickup, depending on your outlook on life).
At the moment, Fender doesn’t offer a mainline Esquire , but one does exist in Squier’s excellent Classic Vibe range. This has a good selection of vintage specifications, including a three-saddle bridge, and a vintage-voiced (and Fender-designed) Alnico single-coil.
The switch, rather than choosing between pickups, chooses three different tones: either bypassing the tone pot, having it operate as normal, or heavily filtering the sound. This adds some versatility to the single-pickup approach, letting you change things up mid-song without too much trouble.
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Style teleporter accident between an Esquire and a Les Paul Junior. There’s a single P90 in the bridge, wired to just a volume and a tone control (no tone-adjusting blade switch here). These controls find themselves in a stylish cut-off Telecaster control plate, which is joined by a three-brass-barrel-saddle hardtail Telecaster bridge.
The body is made of alder, and joined by a bolt-on fully maple neck. It is in some ways the best of both worlds: the brightness and snap brought by Fender’s bolt-on construction and longer scale, with the power and character of a bridge P90 pickup.
The LTD Arrow Black Metal isn’t going to find itself on many ‘best s for blues rock’ lists any time soon – it’s a bona-fide modern-metal monster, with a single high-output humbucker, locking vibrato and supremely angular design.
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The thin neck and flat ebony fretboard make it perfect for speedy shredding across the neck, while the single EMG 81 active humbucker in the bridge position is a tried-and-true metal staple. There’s even a killswitch, too, and the satin finish gives the a sleek, premium look to complement its none-more-black design.
For a stripped-back riff machine that evokes retro rather than modern metal, EVH’s Striped Series is a great option. Featuring the classic striped superstrat look unique to Eddie Van Halen, a single volume control managing a Wolfgang humbucker. The neck is fine-tuned for speedy shredding, with a 12-16-inch compound radius fretboard and a hand-rubbed satin finish on the back in
The vibrato is an EVH-branded Floyd Rose with an EVH D-Tuna – this allows you to quickly put your into drop tunings without having to re-balance the entire setup, something that can be a pain with a regular double-locking vibrato.
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Here we move into the world of single-pickup jazz s. Rather than having only a bridge pickup, these s have only a neck pickup for the classic warm, full sound, accentuated by fully-hollow construction. First we have Ibanez’s signature model for jazz ist Pat Metheny, loaded with a single Super 58 Custom humbucker. There’s a large maple hollowbody, with a set mahogany neck and ebony fretboard.
The Super 58 Custom is revered by players from across the genre, and its medium output allows for the full character of the ’s large maple hollowbody to shine through.
If the full-size jazzbox looks like it’ll be ergonomically problematic, but you still want that
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