Description
Before the Super Distortion existed in 1974, there was no such thing as a “replacement pickup” built to shove a tube amp into meltdown. This was the first — engineered from the ground up to drive amps into overdrive rather than just capture clean tone, and it’s remained the reference point for high-output humbuckers ever since. Ace Frehley, Al Di Meola, Phil Collen, Tom Scholz, and Paul Gilbert all leaned on this pickup to help define their sound, and it still shows up on records five decades later.
What makes it endure isn’t just raw output — it’s how the power is voiced. Expect boosted, thick mids, low end with real weight, and highs that stay fat rather than brittle, so single-note runs cut through and full chords slam the room without turning to mush. The DP100FBC version uses an F-spaced ceramic magnet layout, dialed in specifically for guitars with trem routing or wider string spacing at the bridge.
4-conductor wiring means you’re not locked into one sound — wire it for coil-split or series-parallel switching to pull Strat-adjacent tones out of the same pickup when you want to back off the gain.
- Magnet: Ceramic
- Wiring: 4-Conductor
- DC Resistance: 13.68 kOhm
- Best suited to solid-body guitars in the bridge position
- Can work in the neck position with a lower-gain amp
Not really the pick for hollow or semi-hollow bodies — that much output and warmth gets unruly without a solid-body’s control. But on a slab-body electric, in the bridge, this is still one of the most complete high-power humbuckers ever wound.
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