First Archtop for Jazz :) for a lefty.

[Lucy_Strat]

Hi everyone hope we are all well recently I've been really enjoying learning some Wes Montgomery as I play with my thumb to n Charlie Christian as a beginner I've been learning on my epi les paul from 1999 and my Fender strat re issue and I've been on a total learning discovery about Jazz. Love listening to Chet Baker to.

Originally I was looking at vintage archtops like the none cutaway L5 dream guitar but out of my budget for a few years or an l7. Then I had a look at the L50 seen a few about at 2k ish gbp an Post war Epiphone Blackstone and Zeniths. N maybe fitting a floating pickup.

How does it upset the balance of the instrument converting them to left handed would it affect the top or the bracing etc as the braces made to different thickness in them or are any stand outs in the vintage era for converting to lefty.

The other option which I'm tending to lean towards is something modern I've grouped them into comparative price options.

Under 500
Ibanez AF-55L £350 lefty
Epiphone Zenith R/H masterbilt modern re issue £400
Epiohone Joe Pass £500 lefty second hand
Gretch New Yorker R/H Second hand modern £400
Godin RH 5th av acoustic R/H £400ish

Under 1000
Godin 5th avenue Kingpin lefty new £770
Epiohone Masterbilt Deluxe R/H Re Issue £700

Over 1000

D'angelico Exel Exl-1 Lefty 1500 usd new if I could find one seem really hard to find
Peerless monarch 17"
Heritage Eagle lefty mid 2000s 2k
Eastman 375 lefty £1200gbp
Another eastman if so which one ?

Vintage options all rh none cutaway
Epiphone Zenith post war £1500
Epiphone Blackstone £1500
Epiphone l50 £2-2500
Epi l48 £2k

I'm curious if you were aiming for the sort of l5 tone on a budget in the different price groupings being lefty what would you look at n why? Or would you wait n look at getting something made by a luthior?

Thanks in advance,

Lucy

[Howard Emerson]

Lucy,
It won’t affect anything converting to lefty.

You’ll simply need a new bridge and pickguard....and nut!

As far as finding L-5 tone on a budget, though, it won’t be easy in the acoustic side of things. Adding a floating pickup, though, will level the playing field a lot.

And there are bad L-5’s out there, so don’t get hung up on comparisons: Find something that fits your budget, hands and ears from an acoustic standpoint, and then proceed from there.

Best,
Howard Emerson

[Lucy_Strat]

Thanks Howard that's a really great reply very much appreciated.


n I've been looking at some 1960s L5 specs that I found online 17" lower bout 21" long 3/1/8th" deep and 25 1/2" scale with 20 inch depth, carved spruce top, arched back, ebony fingerboard, neck joins at 14th fret.

Does anyone know what size the nut's were on the 60's L5's an what profile neck they had an what braces were used?

With that in mind and trying to find a few guitars that are close in spec but affordable to me for now I've narrowed it down to the following.

Gretsch G9555 New Yorker - 16" lower bout, number of frets 14 to body 19 total 25" neck, Padauk Board nut width 1.75" body material laminated maple, carved? spruce top mahogany neck 3.3" depth body lenghth 20.25 Parallel bracing. V neck. £530

Epiphone Deluxe Masterbilt 2016 - 17" none cutaway body 25.5" scale 1.69" nut, ebony fretboard 5 pc neck maple/mahogany rounded c neck, solid spruce? / laminated maple, parallel braced £600 or so

Epiphone Zenith Masterbilt 16" £400 or so

Epiphone Joe Pass Lefty 16" lower bout? top spruce, laminated body 1960s slim c neck, scale 24/75" 2.75" body depth £350-500 after watching a few go

Godin 5th av 16" bout 3" depth maple neck, cherry top arched with back, 1 1/16" nut , fingerboard rosewood, 24.84" scale £770

Peerless monarch l7 17" bout 3" body depth 1500 USD

D'angelico EXL-1 Lefty 17" bout 3" body depth 1 1 1/16" nut width, fingerboard Pau Ferro neck c shape laminated spruce top laminated flamed maple. 1500USD

I think those are probably the choice at the moment unless I go for something vintage which seems to be the Zenith or Blackstone in the same sort of budget post war by Epiphone are there any 17" vintage ones under £1500 figure that I've not thought off the only other one that springs to mind is the Loar LH700 I've read about with the carved top but those seem tricky to come by currently.

Thanks in advance ^_^

Lucy.

[Howard Emerson]

Originally Posted by Lucy_Strat

Thanks Howard that's a really great reply very much appreciated.


n I've been looking at some 1960s L5 specs that I found online 17" lower bout 21" long 3/1/8th" deep and 25 1/2" scale with 20 inch depth, carved spruce top, arched back, ebony fingerboard, neck joins at 14th fret.

Does anyone know what size the nut's were on the 60's L5's an what profile neck they had an what braces were used?

With that in mind and trying to find a few guitars that are close in spec but affordable to me for now I've narrowed it down to the following.

Gretsch G9555 New Yorker - 16" lower bout, number of frets 14 to body 19 total 25" neck, Padauk Board nut width 1.75" body material laminated maple, carved? spruce top mahogany neck 3.3" depth body lenghth 20.25 Parallel bracing. V neck. £530

Epiphone Deluxe Masterbilt 2016 - 17" none cutaway body 25.5" scale 1.69" nut, ebony fretboard 5 pc neck maple/mahogany rounded c neck, solid spruce? / laminated maple, parallel braced £600 or so

Epiphone Zenith Masterbilt 16" £400 or so

Epiphone Joe Pass Lefty 16" lower bout? top spruce, laminated body 1960s slim c neck, scale 24/75" 2.75" body depth £350-500 after watching a few go

Godin 5th av 16" bout 3" depth maple neck, cherry top arched with back, 1 1/16" nut , fingerboard rosewood, 24.84" scale £770

Peerless monarch l7 17" bout 3" body depth 1500 USD

D'angelico EXL-1 Lefty 17" bout 3" body depth 1 1 1/16" nut width, fingerboard Pau Ferro neck c shape laminated spruce top laminated flamed maple. 1500USD

I think those are probably the choice at the moment unless I go for something vintage which seems to be the Zenith or Blackstone in the same sort of budget post war by Epiphone are there any 17" vintage ones under £1500 figure that I've not thought off the only other one that springs to mind is the Loar LH700 I've read about with the carved top but those seem tricky to come by currently.

Thanks in advance ^_^

Lucy.

Lucy,
I'll be surprised if Steve Derosa doesn't post here soon, because he's a walking encyclopedia of archtop minutiae.

I will say, though, that my L-5, a 16" 1930, has a 1 & 13/16" nut, with a very thick, deep V shape, and you won't find anything like it.

What YOU need to do is go play a bunch of archtop guitars to find the body size that suits you, and at the same time make notes about the particular neck shapes, nut widths, etc.

It all comes into play and one affects the other, etc.

If you somehow think that you can figure this stuff out via specs, I'd say you're only fooling yourself. You hands, body, arms & ears know way better than your brain, or any Internet forum committee opinions could ever hope to.

Best regards,
Howard Emerson

[Lucy_Strat]

Hi Howard thanks for the reply I was mainly just trying to figure out what some of the differences are there's not to many shops near me in the UK and 0 with any lefties well apart from one Godin which I'm gonna check out over the next few weeks. I really liked the D'angelico from a few clips I'd heard but only found one so far used lefty n that was in the USA.

No where has any of the Loars or the modern epis in a shop.

How does 16" vs 17" affect the sound characteristics just trying to get a general overview of the differences I know what you mean though I'd played a few lefty strats n then when I played mine I knew she was the one.

[Howard Emerson]

Originally Posted by Lucy_Strat

Hi Howard thanks for the reply I was mainly just trying to figure out what some of the differences are there's not to many shops near me in the UK and 0 with any lefties well apart from one Godin which I'm gonna check out over the next few weeks. I really liked the D'angelico from a few clips I'd heard but only found one so far used lefty n that was in the USA.

No where has any of the Loars or the modern epis in a shop.

How does 16" vs 17" affect the sound characteristics just trying to get a general overview of the differences I know what you mean though I'd played a few lefty strats n then when I played mine I knew she was the one.

If a 17” feels comfortable in your lap/hands you can consider it. In theory (and most people’s minds) bigger means fuller/louder, but reality is another issue.

If it’s too large for long-term comfort then it won’t make much noise because you won’t play it.

There’s nothing stopping you from going to any store that has right handed non-cutaway archtops, and just flipping them upside down for some cursory strums.

You’ll have a chance to feel it under your arm and sense the neck profile, etc.

Someone else can play it for you as well, but involve your physicality and ears as much as possible because it’s non-returnable having a new nut, bridge and pickguard done. Any shop worth their salt should offer a reverse stringing once you’re closing in on a choice. Leave the nut and bridge the way they are but flip the strings around, and capo first fret to negate the slot issues for the moment.

Ignore the intonation issues, but get a sense of overall hand & body feel while getting an aural sense of the available tone.

It’s an acquired taste for the majority.

H

[Lucy_Strat]

Thanks Howard thats a good point I'll have to give that a whirl used to play lefty strung righty when I was little so will have to try a few right handers good point on body size. I'll have to see who's got what in.

[Steve DeRosa]

Originally Posted by Howard Emerson

Lucy,
I'll be surprised if Steve DeRosa doesn't post here soon, because he's a walking encyclopedia of archtop minutiae...

What YOU need to do is go play a bunch of archtop guitars to find the body size that suits you, and at the same time make notes about the particular neck shapes, nut widths, etc. ...

You've covered things pretty well already, Howard - I really have nothing to add...

I'm so proud of you...

[Lucy_Strat]

Hi Everyone just want to thank you all for the reply drove 4 hours today n got to play a modern Epiphone Masterbilt Zenith today in a shop. Tbh it left me quite underwhelmed acoustically my dad was sat about 5 feet away n couldn't hear it n I was laying into it was quite a bit on round midnight upside down so I could hear myself was a bit of background noise though typical with a guitar shops. Are all the 16" archtops like that? The neck was very nice fret wise, it did have round rounds on.

Could also hear a rattle on it somewhere.

Thinking of checking the Godin out next as that's the only other guitar at a dealer.

Do feel like I could comfortably play a 17" though just gotta hunt some places out.

[Steve DeRosa]

Originally Posted by Lucy_Strat

...got to play a Epiphone Masterbilt Zenith today in a shop. Tbh it left me quite underwhelmed acoustically...Are all the 16" archtops like that?...

Could also hear a rattle on it somewhere...

Thinking of checking the Godin out next as that's the only other guitar at a dealer...

Do feel like I could comfortably play a 17" though just gotta hunt some places out.

Not surprised about that Masterbilt - Epiphone realized they were total dogs practically from the get-go, and they were blown out at near-cost within a couple years after their introduction; thing is that there was a rumor at the time that they realized their error and they were planning to release a more historically-accurate (and tonally superior) line of carved instruments, based on their iconic New York designs and priced to compete with the Eastman and Loar lines - unfortunately it seems that it's not coming to fruition, as the company has chosen to adopt a different philosophy/direction...

As far as the Godin 5th Avenue is concerned, if you've never handled one be advised they're a latter-day incarnation of the old Harmony/Kay student archtops of the 1940-1965 period, albeit with better QC and playability; bottom line is if you're expecting it to sound like your L-5 dream guitar (a Loar LH-700 would be better-suited - if and only if you get a good one) you're going to be disappointed - what I guarantee you will get is a solidly-built little guitar that makes an ideal introduction to the genre, at a highly-accessible price4 point. FWIW I own two - loved my acoustic version so much I bought a blonde CW II (the dual P-90 cutaway electric that was a favorite of Tony Bennett's guitarist for a number of years), use the latter for such electric jazz comping as I still have occasion to do, and IME it ranks right up there with the best of them...

You mention the postwar Epiphone 16" Zenith and Blackstone models as a possibility. Speaking as an old New York guy I played plenty of hometown-built Epis over the last 60 years, owned a '46 Blackstone back in the '80s-90s (sold to finance a script-logo '47 L-7 BTW), and if acoustic projection is a prime consideration I can't think of anything better in a small-body archtop; FWIW they're still very reasonably priced for a first-tier vintage guitar - you couldn't build one with the same quality of materials/craftsmanship for twice the price today - and if you have a line on a good one I'd recommend making the move before someone else does...

Finally, having owned both flattop and archtop 17-inchers I can say without reservation that the latter are by far easier to play, in both a seated and standing position, and unless you're especially petite (think Muriel Anderson) or have shoulder issues there shouldn't be a problem. The only issue here is that lefties are hard to come by: if you have the funds you may want to contact one of the lefty-guitar specialty dealers to see if they have something in stock or will order one for you, or seek out a reasonably-priced non-cutaway example and perform a conversion - while not quite an ideal scenario (FYI "parallel-braced" archtops are rarely so, in fact having a splayed "A-frame" configuration as well as differently-carved tone bars and top graduation, so the final tone may not be to your liking) it will get into the true carved-body archtop game...

Best of luck - let us know how it turns out...

[Lucy_Strat]

Hi Steve wow! Thanks for the awesome reply it's a massive help in trying to understand the differences Will do I'll keep you all updated about the Journey.

I'm gonna try and get a go on a lefty godin with the single p90 that I've seen on Monday, really interested to try that,
Have you had a floating pickup on your acoustic one? As I did see a few Acoustic ones floating about used.

n I'm keeping an eye out on the blackstone/Zenith front seen a couple that are past me financially at the moment along with an l50 gibson am i right in saying the Blackstone/Zenith would be a better option than an L50? So we shall see as you guys said it makes sense to play different ones made it startling clear today. The only other guitars I've seen in budget occasionally that come up are the Joe Pass epiphones in lefty configuration but those don't come up to often n are a short scale I've always tended to lean towards longer scale with the solid bodies.

Oh yep n speaking of new york there's the Gretsch New Yorker g9555 which is within budget.

I'm not sure how the g9555 would compare against the joe Pass at the budget end of things. Gonna drive to a dealer with the Gretsch after the Godin.

I'd say that's the 6 really thinking in order of preference which might change once I've played some.

Zenith/Blackstone
L50?
Godin lefty (p90) /godin acoustic with a floating pickup
Epi Joe Pass lefty
Gretsch g9555

It's a shame the D'Angelico ExL1 lefty isn't more available I spent 5 hours going through the worldwide dealer list last night n only found one used one abroad.

Thanks again to both of you for the replies very much appreciated,

Lucy

[Steve DeRosa]

Originally Posted by Lucy_Strat

Hi Steve wow! Thanks for the awesome reply....

I'm gonna try and get a go on a lefty Godin with the single P-90 that I've seen on Monday, really interested to try that....

Have you had a floating pickup on your acoustic one?...

I'm keeping an eye out on the Blackstone/Zenith front seen a couple that are past me financially at the moment along with an L-50 Gibson am i right in saying the Blackstone/Zenith would be a better option than an L-50?...

Oh yep, speaking of New York there's the Gretsch New Yorker G9555 which is within budget...

I'm not sure how the G9555 would compare against the Joe Pass at the budget end of things. Gonna drive to a dealer with the Gretsch after the Godin.

I'd say that's the 6 really thinking in order of preference, which might change once I've played some:

Zenith/Blackstone
L-50?
Godin lefty (p90) /Godin acoustic with a floating pickup
Epi Joe Pass lefty
Gretsch G9555

Thanks again to both of you for the replies very much appreciated...

In order:

• My pleasure - that's what we old-timers are here for...
• The single P-90 Godin Kingpin is a great choice for a first hollowbody archtop, but again if you're expecting a true dual-purpose acoustic+electric instrument it might not fill the bill; although it's designed along the lines of the postwar Gibson ES-125/Epiphone Zephyr it lacks their acoustic projection, so you need to decide if this is important to you. That said, it does an admirable job as an amplified jazzbox - fellow AGF'er Jeff Matz (AKA mr. beaumont) does some wonderful things with his, and I'd recommend seeking out some of his videos to see exactly what this guitar can do...
• Never, nor do I intend to mount one - my CW II covers that end of the spectrum quite nicely, thank you...
• In the postwar period the Epiphone Blackstone and Zenith were direct competitors with Gibson's L-50 and L-48 respectively, with Epiphone having an advantage over the L-48 thanks to its solid carved top (the L-48 was all-laminated). As to which is better, that's a choice that only you can make - as Howard stated above there are many factors involved in making a final selection, and what works for someone else may not work for you...
• Conversely and unfortunately, IME the New Yorker's solid (pressed) top does little for tone - I've played a few (both the original acoustic-only and the current DeArmond equipped model) and find them to be thin, metallic, and strident-sounding; in addition, unless you've ever handled one in person suffice it to say that the neck is an anachronistic '20s profile (the original Gretsch New Yorker - an all-laminated instrument BTW - was introduced in 1949) - a thick V-shape which, depending on what you're accustomed to, can be a real bear to handle. If you're seriously looking for a solid-top 16-incher, save up your bucks and score one of the aforementioned postwar 16" New York Epiphones - no tonal compromises, still available at fairly reasonable prices, and built to the quality standard you'd expect from a good vintage guitar...
• Compared to my Godin CW II (the closest analog in the line), the Epi Joe Pass is less resonant both acoustically and electrically as well as significantly heavier physically (my CW II scales in at just over five pounds - about the same as the all-acoustic Seagull mini-jumbo from which it inherits its DNA); if you like the "thud-&-mud" electric tone associated with many laminated ES-175 style jazzboxes the Joe Pass - with its heavy laminated woods and full-size humbucking pickups - is the way to go. On the other hand, if you prefer some "air" in your tone IMO your interests would be better served with either one of the Godin instruments or an all-acoustic with a suspended pickup...
• You're right to put the Zenith/Blackstone at the top of your list (to which I'll add the Spartan - Epiphone's full professional-quality 16-incher and the rarest of the bunch), and while I've played some very nice L-50's over the years, IMO you're paying a hefty premium for the name on the peghead with no real objective superiority in quality/tone; while one of the Godins would make an excellent inexpensive first instrument, I'd pass (no pun intended) on both the Epi and Gretsch...

Good luck...

[Lucy_Strat]

Thanks Steve again very much appreciated massive help in trying to sus out the differences.

I'll try n get a play on a Godin this week there's a couple at dealers 4 hours away n I'll see if there's any vintage Epi's at dealers to try, exciting times I'll keep an eye out for Spartans as well.

I'll have a look on youtube for Jeff's Clips in a moment. An I'll take a pass on the Pass the acoustic Godins I've seen are around the same money am the p90 one just a little more.

Many thanks again an have a great weekend

[Lucy_Strat]

It's got to be said you guys were 110% right go play them ^_^

Had a very interesting day today,

Ended up playing the Godin with the p90 lefty, a RH Joe Pass spun upside down with righty stringing actually found a dealer with one in, an finally a surprising Gretsch G5420 which I'd never played a Gretsch before,

Thought's

Godin lefty first wow the tone totally get what you mean about airy it was very nice but the p90 had alot of hum which would be a problem with our old Edwardian house all makes a racket so that's something to think about.

Thoughts on the body the size felt a little small weirdly which I didn't expect an couldn't quite get on with the neck some moments I loved it others I was tripping over myself a bit which surprised me, the fretwork was really nice shame it had roundwounds on as the string noise was really off putting and the action seemed super high an I just really wasn't sure about the neck an the flat board my strat's a 7.25 an a soft v so quite a bit different to what I'm used to.

After a bit of a chat about stuff I was about to head out an a Gretsch G5420 got mentioned so thought when in Rome might as well. I must admit the neck wowed me instantly very nice for my hand beautiful fretwork the tone was very sparkly but mellow at moments to quite a different guitar loved the size as the body felt a bit fuller. Was an interesting guitar though be great for some of my early fleetwood mac stuff was brill on some of that but not quite what I was looking for tone wise I think for the Jazz stuff I'm starting to like to play.

Finally the last guitar the Epi Joe Pass, instantly put me in mind of the Wes Montgomery tone playing it upside down had a yay moment when someone recognised what I was playing then asked for Dire Straits an I managed to thumble some Brothers in arms with reversed strings lol. Having said that seemed to lack a bit of clarity at points compared to the Godin. The thing that drove me mad was the controls jamming in my arm at first I didn't notice it but when I left had circles on my arms from them an was giving me a bit of discomfort after a bit boo so that rules a epi broadway out or a vintage L-5CES played uspide down in the future drat

Thoughts on tone very mellow really liked it think I was playing it for quite a while haha where as the Godin seemed breathy n a bit perkier. somewhere between them would be amazing. Acoustically the Godin won out.

Really hard choice between hunting a lefty Epi Joe Pass out or Going for a Godin can see me going back to play the Godin again. It's a shame they didn't give us lefties the humbuckers.

If I could have took the neck profile from the masterbilt stuck it on the Epi with the breathiness of the Godin perfect guitar.

So quite a bit of thinking to do now between the Godin an the Epi the Epi's seem to get closer to the tone in my head for Wes stuff but the Godin really nailed the Charlie Christian tone. Somehow I need both lol.

lots to think about

The lack of cutaway was a little limiting for some stuff but I have got other guitars for that. I keep thinking about the future and my dream of an L7 or L5 and I'd probably just play it with the strings righty but upside down weirdly I didn't have any issue changing direction as I thought I would little slower but it was ok felt different on bends n stuff though.

[Steve DeRosa]

Originally Posted by Lucy_Strat

...Ended up playing the Godin with the P-90 lefty, a RH Joe Pass spun upside down with righty stringing (actually found a dealer with one in), and finally a surprising Gretsch G5420 which I'd never played before...

Thoughts:

Godin lefty first: wow, the tone - totally get what you mean about airy, it was very nice but the P-90 had a lot of hum which would be a problem with our old Edwardian house - makes a racket so that's something to think about...
...shame it had roundwounds on it as the string noise was really off-putting, the action seemed super high, and I just really wasn't sure about the neck and the flat board; my Strat's a 7.25 and a soft-V so quite a bit different from what I'm used to.

...a Gretsch G5420 got mentioned so thought when in Rome might as well. I must admit the neck wowed me instantly: very nice for my hand, beautiful fretwork, the tone was very sparkly but mellow at moments too - quite a different guitar, loved the size as the body felt a bit fuller. Was an interesting guitar though - be great for some of my early Fleetwood Mac stuff was brilliant on some of that but not quite what I was looking for tone-wise I think for the Jazz stuff I'm starting to like to play...

Finally the last guitar the Epi Joe Pass...Thoughts on tone: very mellow, really liked it - think I was playing it for quite a while...whereas the Godin seemed breathy and a bit perkier. Somewhere between them would be amazing. Acoustically the Godin won out.

...going back to play the Godin again. It's a shame they didn't give us lefties the humbuckers...

A few of my thoughts on your comments (edited for conciseness/clarity):

• I understand what you mean about single-coil pickups and older wiring (my present home was built in 1960 and I have issues with hum); the old trick from the '40s-50s (before humbuckers even existed) was to turn your body or amp at such an angle that the hum was minimized - I do that in my own house, and even with a tube amp I can get some fairly substantial gain/volume levels from my Strat/Godin/P-90 Les Paul before the hum really kicks in...
  
  
• I'm an old Brooklyn (NY) boy, and a Gretsch guy going back six decades: my maternal grandparents lived three blocks from the old 60 Broadway factory and just down the block from the drum warehouse, and in the time/place I grew up your first "good" guitar was almost inevitably a Gretsch - bought my first one brand-new in May 1964 (still own it, BTW) and been playing them ever since. FWIW Gretsch has a fair bit of jazz cred of its own: although not on the same level as Gibson (or Epiphone, in its New York days) it was the first choice of such diverse artists as Harry Volpe, Nicky Roberts (a blind guitarist who was one of their first postwar endorsers, and whom I had the pleasure of meeting up-close and personal when he visited one of my former neighbors), Jimmie Webster (arguably the inventor of the "tapping" technique popularized by Eddie Van Halen, and the father of the iconic White Falcon), Mary Osborne, Sal Salvador, George Van Eps, and Bucky Pizzarelli, among others...
  
  FYI I'm very familiar with the G5420 Electromatic - I've probably played a few dozen (no exaggeration), and I own its G5622T-CB stablemate (which has served as my main gigging guitar for the last six years) - and as many of your fellow AGF member-owners on the Electric Guitar subforum will gladly attest (check in there when you get a chance, BTW - loads of useful info you can apply to your current search), the Korean-made 5400/5600-Series Gretsches are some of the finest instruments ever to wear the marque, period; quite frankly, if you're looking for something that combines the mellowness of the Epi with the airy perkiness of the Godin this is your guitar - fit it with a set of wound-G flatwounds (de rigeur for any Gretsch IME - nothing else really sounds right - and I'd recommend 12's for a dedicated jazzbox) and you may never need another guitar...
  
  
• If you do finally settle on the Godin (action can be adjusted with a good pro setup, BTW) but still find the pickup hum annoying, be advised that there are humbuckers in "dogear" P-90 casings that are a direct retrofit - here's one example:

https://www.dimarzio.com/pickups/soa...om-p90-dog-ear