Why is my B string is louder than the others? (toaster PUs)

[Hotzenplotz]

This is strange and I never noticed that before:

I am using TI 011 flats and toasters, the guitar is a 2010 330/6. - So a very common set up here.

It does not make a difference if I use the neck or the bridge PU (or both together).


For the reason the toaster PUs are not adjustable I wonder if it is possible to pull the magnets of the toasters at the B string about one or two milimeter without causing any damage.

[Hotzenplotz]

Maybe this is a question for the "Vibrola" forum?

@Admin/ Mod: If so, please move this to that place. - I want to avoid a double post.

[iiipopes]

Welcome to a quirk with all level-pole pickups. If you look at original Fender Strat and Tele pickups, and original Gibson Charlie Christian pickups, you will see that the pole under the B string is lowered for this reason. The solution is to lighten up the B string by a half-thou (Yes, D'Addario makes half-thou singles in selected gauges) or a thou. It is why a "9's" set has an 11 for a B string instead of the 12 which would have the same tension, likewise for an "11's" set using a 14 instead of a 15. If using a "12's" set, as on 320 & 325 guitars, use a 15 instead of the 16 usually included as the B string.

[Hotzenplotz]

Good to know Scott, thanks! So the guitar itself is the way it has to be, isn't it?

Since a longer time I am thinking about a swap of the pole pieces. So this could be a good opportunity to solve that alongside. On the other hand it is the right sound of a "toasterized" Rickenbacker...

Maybe the flatwounds make this effect slightly bigger because the flatwound strings are more "quiet" and "dull" than usual roundwounds. Comparing the G and the B string there is a noticeable change in the tonal mix, too. It seems to be a part of the game using flats.

To tame this effect I lowered the pickups slightly at the treble side and raised the pickups slighly at the bass side. It helped a bit.

As a next step now I changed the B string from 015 to 014. TI is using 015 for the B string in an 011 set. Other companies prefer 014 strings in this case. - Maybe for that reason.

Until yet the sum of the details made a god step in the right direction.

Now I am waiting for my "acid hands" to corrode the plain strings and kill some harmonics ot the B string, also. Maybe in a few days I will receive exactly what I was waiting for. Even not, maybe this is a part of the typical Rickenbacker sound.

Do You know if it is possible to pull the pole piece of the the B string 1-2mm? That would be perfect!



Again, Scott, thank You very much for sharing Your thoughts and knowledge!

[iiipopes]

Do You know if it is possible to pull the pole piece of the the B string 1-2mm? That would be perfect!

No.

Again, Scott, thank You very much for sharing Your thoughts and knowledge!

You're quite welcome.

[Hotzenplotz]

Do You know if it is possible to pull the pole piece of the the B string 1-2mm? That would be perfect!

No.

Again, Scott, thank You very much for sharing Your thoughts and knowledge!

You're quite welcome.

Well, what a pity...
- It would have been too easy.

Yesterday I played a while. Maybe this effect really is a piece of the "jingle sound".

Thanks!

[Hotzenplotz]

I wonder now if it is possible to shorten the magnets for the B string by using a dremel or file.

My personal skills are not a problem but I do not know how the magnets will react.

The other option would be to exchange the magnets. In another (bass) thread was a discussion about using shorter pole pieces with the 60's specs. This is interesting for me because I want to have this old scholl sound as close as possible.
Here is the concerning thread, see the answer of our dear member "johnallg":
viewtopic.php?f=2&t=411133#p822463

[Hotzenplotz]

I found a solution - and a part of the reason why the B string was louder!

The solution:
I made a swap of the string type. Before I was using TI flats, now it is the same gauge of Elixirs.

The reason:
The E, A, D and G string of the TI set are flatwound strings. The B and the high E string are plain steel. The nature of flatwounds is to be "more quiet" with less overtones.

The E, A and D string of the Elixir set are roundwound strings. The G, B and the high E string are plain steel. The roundwounds are much louder and offer a wider range of overtones. The neighbouring G string (now plain steel) compensates the difference, the "higher output" of the roundwound strings, too. So in the end the B string was not to loud, the others were to quiet in comparison.

This fits perfect to my new band situation. Since a few weeks I am a part of a new band - with two good old buddies I know since decades! The style is a bit different to the band I was playing before. For the "old" band a mellow and clean sound was preferred. The new band prefers a slightly crushed, british invasion sound.

Oh Boy, a "toasterized" Rickenbacker six string with an 011 roundwound set played through a VOX AC30 is a secret weapon for sure!
BTW, now the tone cut of the VOX is in use, too. Before there was no need for it. Now it is about half way position, a confirmation of the overtone theory.

- Puzzle solved, so far.

[JakeK]

I've been using Curt Mangan .011 gauge round wound set on my 1997, and after going through all sorts of different strings, gauges and types, I think I finally found the string set for it.

[Hotzenplotz]

Yes, 011 sets give more impetus while nearly offering the comfort of playing a 010 set.

With my acoustics I play 013 sets. So, 011 is completely ok for me compared to that.

The Curt Mangan advice is something I will try the next time.
THX!