Leaderboard

That is the result of not wax potting a pickup, they are sensitive to being tapped with a pick or when the switch is flipped or can make a signal from being talked loudly into and the vibrations associated with that. I don’t have potted pickups in any guitar and they all do this. The pickups vary from Wolfetone Legends in an Eastman, original P90s in a ‘57 ES225 to Tyson Tonelab P90s in an H150, and Throbak P90s in a Tokai Special. The best part of the times we live in are the guitars and accessories that go with them. We are living in an era with some of the best guitars ever built, some of the best hardware, best pickups and on and on. I’ve had the good fortune to play quite a few vintage guitars in my life. Some were worth peanuts at the time and I didn’t buy them, if only I could see the future. I never bought a double cut JR but played so many in stores when they were a cheap guitar. I just played an Eastman SB55dc and it was every bit as good as any 58-60 I’ve ever had my hands on. The magic in all these guitars is a good piece of wood, hardware, pickup and good craftsmanship. All of that is plentiful currently. I was just in Rudy’s Music in NYC and they had a ‘59 Jr. for a mere $27k. What?! For me the vintage market is no longer about superior tone, it is only about coolness and history. If I was rich I would buy as many as possible but I’m not and it isn’t an issue because I can literally buy a new or used newer guitar at does it just as well.

I agree, it's not just the lack of potting, it's also the wind, the materials, and sometimes even the springs that the pickups are mounted with (or without ie P90). And frankly, some pickups have it more than others. My old USA LP Special had it and it followed the pickups (SHED P90s) when I swapped then into an SG! You can hear every time I hit the pickup selector here. And even with the tone knob turned down to 0 during the woman tone sections you can hear it... https://soundclick.com/share.cfm?id=8291529

For jazz I think the neck pickup reigns supreme. The formula is more important than who the builder is imo. I like Wolfetone because I can have them build as I like and they are not too pricey. Two recipes I would go to are lower winds with the impedance in the low 7s. One way to go is with an A3 magnet, more airy sound, very clean and not muddy at all, more crisp but in the neck this is ok imo. They are fairly weak but that is ok for jazz. Next I think A2 magnet are great for a bit of a scooped sound and kind of slappy, more character, a little darker than A3s and more powerful but not muddy or overwhelming. These are great for soloing. OK, I said two but here is three. Same wind but A4, more even, drier tone. This is nice for chord melodies, imo. So the type of playing can be important to the decision. for the bridge I would go with an upper 7 ohm wind with an A2 magnet, not too bright and great for soloing. I love A2 in the bridge for all electrics with the difference in the wind.

I've experienced it many times with Throbaks, and in their first few runs I saw more more than one that got too microphonic. I actually have fixed a few microphonic issues with Throbaks. I love microphonic pickups. Old timer Gretsch fans used to call that wood in the sound "knock"!

Here's the process. You first find the ideal guitar. Next, you search for the optimal pickups. Once successful, you focus on the right strings. Then it's onward to the amp. Finally you can concentrate on the pedals. Then you're dead. The whole time the technology keeps changing and guitar pundits tell you why you're wrong about every opinion you have. And in those last breaths you remember why you picked up that first guitar and smile.

You've got some really nice jazzy tone from that Sweet 16! Well played.