| P-90 | |
| Manufacturer: | Gibson Brands |
| Period: | 1946–present |
| Magnettype: | Alnico 3 (early), Alnico 5 (later); aftermarket pickups with other magnets are available |
| Outputrms: | 241.1 mV at 6.405 kHz resonant frequency |
| Outputimp: | 7.5 kΩ to 8.5 kΩ |
| Resonantfreq: | 6.405 kHz |
The P-90 (sometimes written P90) is a single coil electric guitar pickup produced by Gibson Guitar Corporation since 1946, as well as other vendors. Compared to other single coil designs, such as the ubiquitous Fender single coil, the bobbin for a P-90 is wider but shorter. The Fender style single coil is wound in a taller bobbin, but the wires are closer to the individual poles. This makes the P-90 produce a somewhat warmer tone with less edge and brightness, As with other single-coil pickups, the P-90 is subject to AC hum unless some form of cancellation is used.
Around 1940, Gibson offered a new bridge pickup cased in metal for the ES-100/125 series as an alternative to the classic Charlie Christian pickup.
Officially, P-90 pickups were introduced in 1946, when Gibson resumed guitar production after World War II. The name refers to the part number as designated by the company.[1] They were initially used to replace Gibson's original "bar" or "blade" pickup, also known as the Charlie Christian pickup, on models such as the ES-150, and by the end of the 1940s it was the standard pickup on all models.[2] The soap bar-style P-90 debuted with the Les Paul electric guitar in 1952.[3]
The P-90's reign as the Gibson standard pickup was short-lived, as a new design of pickup, the humbucker, was introduced in 1957. Equipped with double coils, the new pickup boasted greater output and less hum, although with less high end response. This new pickup, occasionally named PAF (or Patent Applied For), very quickly took over as the preferred choice for all Gibson models, relegating the P-90 to budget models such as the ES-330, the Les Paul Junior and Special, and the SG Junior and Special, such as those used by Pete Townshend and Carlos Santana for their brighter, rawer, sound. This trend continued throughout the 1960s and particularly in the early 1970s, where the P-90 all but disappeared from the entire Gibson range. By the 1970s, smaller single-coil pickups, mini-humbucking pickups, and uncovered humbucking pickups began replacing the P-90 pickups on Gibson's budget and lower-end models.
In 1968, Gibson reissued the original, single-cutaway Les Paul, one version being a Goldtop with P-90 pickups. In 1972, they produced Limited Edition reissues, called the "58 Reissue" though actually based on the 54 Goldtop Les Paul, with a stopbar tailpiece; and the 54 Custom, the "Black Beauty," equipped with a P-90 in the bridge and an Alnico 5 pickup at the neck. Total production of these guitars was quite small. In 1974, Gibson put the P-90 pickup in their Les Paul '55, a reissue of the Les Paul Special from that era. It was followed in 1976 by the Les Paul Special double-cutaway (DC) model and in 1978 by the Les Paul Pro (which had an ebony fingerboard with trapezoid inlays). Since the 1970s, the P-90 pickup has seen some success in various models in the Gibson line, mostly through reissues and custom versions of existing models. Currently it is featured most prominently on the Les Paul Faded Doublecut, and certain models in the Historic range.
In the early 1970s, punk rock guitarists such as Johnny Thunders of The New York Dolls began using Les Paul Juniors and Les Paul Specials equipped with P-90s because of the cutting overdriven sound and the inexpensive nature of the guitars. In both The Dolls and The Heartbreakers, Thunders influenced younger punk rock guitarists who adopted his look and choice of guitar. Mick Jones of The Clash and Steve Jones of The Sex Pistols both owned Les Paul Juniors, and the double-cutaway Junior became the first choice for punk rock guitarists. The P-90 was also marketed by Gibson in the 1970s as the "Laid Back" pickup, as part of a line of "named" pickups.[4]
For the 2014 model year, the Les Paul Melody Maker featured a variant of the P-90 pickup called the P-90S, inspired by the original pickup of the Gibson ES-125. This variant possesses six rectangular Alnico-slug pole pieces with no individual height adjustment.
There are three major varieties of P-90 casing:
Being a single-coil design, the tone of a P-90 is somewhat brighter than a humbucker,[5] though not quite as crisp and bright as Fender's single-coil pickups. The tone therefore shares some of the single coil traits, but having large amounts of midrange and often described as “thick". The reason behind the tonal difference between P-90s and Fender single-coil pickups is due to P-90s using bar magnets set under the polepieces, much like a humbucker, whereas Fender single-coils use rod magnets as the polepieces. [6] Popular guitars that use or have the option of using P-90s are the Gibson SG, Gibson Les Paul, and the Epiphone Casino. Fender Jazzmaster pickups are often confused with the P-90; however, their only similarity is cosmetic, since there are many significant visual, dimensional and electrical differences.
The placement of the guitar pickups by Gibson before World War II emphasised the treble response to compensate for the low frequencies of the electronics in the bass. The increased output and high end afforded by the P-90 design allowed the company to position the pickup closer to the neck.
All Gibson P-90 pickups (vintage and otherwise) were machine wound on Leesona coil winding machines, although their electrical specifications may vary slightly due to variations in the winding. In common with many other modern pickup types, there are two versions of modern P-90: neck and bridge. Their DC resistance tends to be around 8 kΩ. Early P-90 pickups made before approximately 1974 were manufactured with no difference in the bridge and neck position and were interchangeable. After winding, pickups were hung on a rack holding twenty pickups and assembled according to the model of guitar they were to be used on (Soap Box or Dog Ear). Earlier pickups (around 1952) had Alnico 3 magnets, but in 1957 Gibson switched to the stronger Alnico 5.[7]