Now on to the REALLY important!

You can get great spiritual and ministry posts anywhere…but how about a review of some great Strat pickups?  Oh come on…many of you don't even know what a Strat is!  Anyway, my sweetie bought me an American Stratocaster for our 6th anniversary – "6 strings for 6 years"…cool huh?  Anyway, it was a hot-rodded version with humbuckers at the bridge position…well, I swaped out the bridge pickup years ago with an Anderson 2+ which was certainly nasty.  But then I bought an Anderson electric guitar that came stacked with 2+ hums.  So, now I had two guitars that sounded a bit alike.  So, I saved my pennies for a new set of pickups.  My online guitar buddy Karl (yeah, he's a worship leader but don't hold that against him) suggested that I check out some Jason Lollar pickups.  I wanted a classic strat sound..bell tones, bluesy, the works.  So, here's a pic of Jason in the great state of Washington:

Jason-lollar Well…the guy looked cool enough…I watched a few of his videos and listened to some sound samples and then ordered a pre-wired set of Lollar Blondes.  Now, don't get weird on me…I love ONE brunette – that's the bottom line…but I tell you – these blondes are sweet as well as nasty!  You wouldn't want your blondes ANY OTHER WAY!  My son Aaron had to finish off the soldering because I am certainly a soldering dork…but after he hooked that up, I ran over to his place to pick up the guitar and take it for my first date.  My oh my…my oh my…dynamic, tasty, practically noiseless for single coils.  The pickguard that they pre-wired for us is great looking..but the tone!  We admit it – Aaron and I are tone purists, er snobs..get over it!  You pay for tone though…it is the price of guitar "cool".  So, I played some blues this morning…and I'm going to return to it later.  Med-white-strat Now we're talking…even my pedals and amp sound better when such a small thing as decent pickups are added to the mix.  But don't take me wrong…these are far from decent pickups…they are a guitarists dream. 

So, check them out some time if you are a guitar playing dude or dudette…if you are not, sorry…you simply can't experience the sweeter things in life!

7 thoughts on “Now on to the REALLY important!

  1. This IS an important post. My original 58’s are untouchable, but I’m using a number of others in later issues and customs, including Duncan Antiquities custom wound by their head engineer, Lollars on the Soloways, 80’s era Fenders on the custom 12-string Strat I built for my wife (with Yamaha neck!), and stock units on the ’79 “anniversary” strat.


  2. John – you are totally hooked up on the pickup issues…how many STrats or other electrics do you own? As I mentioned, I have a Tom Anderson Cobra that I also love…it has his dual humbuckers in it that gives it a very good “gibson-esque” tone. let me know more!


  3. Robin, keep in mind, I’ve been playing for 47 years, 5 of those years professionally. My dad bought me the ’58 Strat in ’69. In studio now are 14 six-string electrics (Pauls, Strats, customs, Scofield, AES1500, Sabre, etc..), 3 acoustics (D35, D18, McCollum bari) – mated to Top Hat, Fargen, Mesa, and custom amplifiers. There’s also a 6-string Leduc Maurad fretted bass played via TD-1 or STT-1 => 600W class-D amp => El Whappo cabinet. DI is taken via TD-1 recording channels, including Reamp and Speaker Soak features.

    When I was developing the TD-1, physics professor Steve Errede (UofI Urbana) provided invaluable assistance in characterizing the dynamic characteristics of guitar pickups. His research gave us a very accurate rendering for our Strat and Paul “Reamp emulation” transformers. His is probably the most advanced guitar pickup research to date.

    Now, let’s talk about my film composer friend who, last I checked, had over 100 guitars (mostly custom) in-studio 🙂


  4. I thought I had a “G.A.S” (gear acquisition syndrome) problem! Thanks for sharing all of that…I’m 55…been playing for over 35 years…never played “professionally”…but I have done a record (in 1979) and other recording and TONS of live playing @ conferences, churches, clubs, etc. I have a Martin D41 and a Taylor 314 that I usually take “out” without threatening my Martin (which is a great 70’s era acoustic”)…I cut my electrics down to two – the STrat and Anderson…I have had a Marshal TSL which I sold in order to get a small tube Mesa combo…I go for light, portable, etc. now that i am a bit more “mature”. I had a Carr Mercury…but it is such a “specific” amp that I sold it as well. So, you must “own” a studio…where is it? How much session work do you do? thanks for the reference to the TD-! – my son (26 years old) is a bass player and a tone purist…I’m sure he knows about the TD-! but I’ll let him know about your work on it and give him some links to check it out! Let’s keep talking…you are an interesting guy!


  5. 70’s D41 – sweet. My D35 is 1971. There’s nothing like a few decades to help Martins sing. Studio was designed by George Newburn. About 600 sq ft. We do all our AB circuits listening tests here, and also DAW work – editing, mastering, etc..


  6. where is the studio John? and while I’m asking, I have a 27 year old bass playing son who is very interested in checking out professional sound engineering…any suggestions about how a dad (me!) can encourage him or point him in a good direction? does an interested party intern at a studio? school (he’s checked out a big school in Washington state)? just experience and a big “break”? let me know will ya! back on the guitar talk…the guy I did some recording with in 1980 played an early 70’s D35 – HUGE sound! does your studio have a website? let me know…I’m enjoying the discussion!


  7. Robin, studio is private so no website. We’ll do some outside projects, but mostly by referral. I have strong feelings (almost all negative) about recording schools. The problem is that there are no jobs. The schools make big promises, but really there are very few positions open. Better to enroll in a 4-yr engineering program (electronics, etc..) or 2-3-yr elec. tech program, and learn the basic studio stuff from books or DVDs. You can also get a near-complete studio-in-a-computer these days for relatively low cost — xlnt way to learn, and a lot less costly than a recording school. Look into software called Ableton and Sonar.


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