Listen to "Don't Fear the Reaper" by Blue Oyster Cult and you'll notice the G string really standing out in that opening arpeggiated pattern. Later, as string manufacturers started making string sets with "correctly sized" plain G strings, the mass of the string was too much for the very close pole piece originally designed for a wound 3rd. At first, when players like Pete Townshend started using a plain 3rd, they used a B string (and it was pretty slack). One flaw in Leo's design was he couldn't predict that people would eventually start using a plain 3rd string. Leo must have measured output to get them balanced like this.Īdditionally, because the "throw" of a string is greater closer to the neck, the heights of the pole pieces should be different between the neck, middle, and bridge pickups - so you should see less of a stagger on a correctly balanced bridge pickup. Additionally, the two plain strings (B and E) are lower in comparision - the B is actually sunk below the top of the pickup cover.
So when you look at a Fender SC from the 50s, what you'll see is that the Low E pole piece is low - about flush with the cover, and the G is much higher (closer to the string). Likewise, the more mass a string (or the core wire) has, the more magnetic properties it has so the further the pole piece has to be away. Because the windings on a wound string "cover" the core wire (and the magnetic properties of the core wire are different that the windings) the pole piece needs to be closer to them than a plain string. Noel, with the original style Fender Single Coil pickups, the pole pieces were set at heights that were for balanced string output on the standard set of strings available at the time. This is sort of related, but what's with individual pole pieces that are either flush or sunk below the covers?
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