Lewguitar
New member
How did it sound?
More a matter of how it didn't sound. I wanted to be able to get a Leslie West "Mississippi Queen" sound out of it and couldn't. I wanted the sound of of a 1959 or 60 Gibson Les Paul Jr and it didn't have that.
How did it sound?
More a matter of how it didn't sound. I wanted to be able to get a Leslie West "Mississippi Queen" sound out of it and couldn't. I wanted the sound of of a 1959 or 60 Gibson Les Paul Jr and it didn't have that.
What guitar did you put it in, if you don't mind me asking? I'm always looking to add more variety to the collection (I have a gold top with p90s so I'm not all that worried about "traditional" tones since I have that covered). I'm just wondering what could be expected from one or how it sounds.
A Hamer Sunburst if I remember right. One of those that looks like a '60 double cutaway Les Paul Jr. or Special but with a flamed top.
I had them in my Iceman. In the middle position, they had a nice Stratty quack. But either, by themselves, were uninspiring. The set was replaced by GFS Dream 90's, which are still there.
I'd love to see them re-engineer the Phat Cats. (Just put half of the P-Rail under the cover.)
When I hear "P90", I think of "Mississippi Queen" and classic Billy Squier tracks. Most probably were not even done with P90's but that is the sounds I associate with it..
But here's the original track with Leslie playing a late 50's Les Paul Jr. with a single bridge P90 through a German made Stramp amp.
Most (not all) 50s Gibson and Epiphone P-90s are A3 or A5, or sometimes even a mixture of both. (I forget where, but I once saw a teardown of an old P-90 which had two A3 magnets stacked on top of each other on one side and an A5 on the other; quality control was not really A Thing in the 50s.) I assume SD went for A2 in the Phat Cat because A2 is much cheaper/easier to get hold of than A3, or at least it was when they designed that pickup, and the difference between A2 and A3 really isn't that dramatic, especially when you have two of them as in a P-90. But I do think most people think of the A5 as being the P-90 tone, anyway.It has alnico 2 magnets. Did the original P90's have alnico 2 magnets? I always thought the alnico 2 magnets were part of the reason a Phatcat doesn't sound like a P90 to me.
Most (not all) 50s Gibson and Epiphone P-90s are A3 or A5, or sometimes even a mixture of both. (I forget where, but I once saw a teardown of an old P-90 which had two A3 magnets stacked on top of each other on one side and an A5 on the other; quality control was not really A Thing in the 50s.) I assume SD went for A2 in the Phat Cat because A2 is much cheaper/easier to get hold of than A3, or at least it was when they designed that pickup, and the difference between A2 and A3 really isn't that dramatic, especially when you have two of them as in a P-90. But I do think most people think of the A5 as being the P-90 tone, anyway.
It has alnico 2 magnets. Did the original P90's have alnico 2 magnets?
I assumed SD went with Alnico 2 to fatten up the mids of the Phatcat.
AFAIK most early 50s P90s use Alnico II magnets, except for a brief period in '52-'53 where they used 3/16" thick A3 magnets according to ThroBak anyway. Later 50s P90s are usually A4 or A5 until the switch to short A5s as with humbuckers in the early 60s.
The Phat Cat was originally an OEM design for the Hamer Newport semi-hollow in the late 90s or early 2000s. They weren't available individually until a few years later.

I wish Duncan redesigned Vintage Soapbar neck and Phat Cat neck with lower output (7k-ish). I have them in the bridge position now. Not really happy with them in the neck.