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Axesrus "Model 24"
Axesrus "Model 24" Humbucker


 
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Description Technical Specs
 

Main Description

Model 24 - a classic "medium output" humbucker!

We make the Hot Iron and The Wraith, which are all terrifying pickups – huge amounts of bottom end, muted tops, and plenty of outright aggression, but we didn’t have a pickup that’d perform in similar settings, but retain that crisp “bite” in the top end, regardless of what you do with them - so we designed the Model 24s - much more subtle then the truly high output stuff, but much more capable of handling gain then the vintage output offerings.

Ideal if you’re looking for an out and out rock pickup for anything from 70s classic, right through to punk, thrash and speed metal, the bridge is what you'd expect, sharp, aggressive, biting, with plenty of heat. In the neck, its a suprisingly fluidic tone, ideal for sweep picking.

Again, great for anyone who likes their Classic Rock, Hot Blues, Light Metal - anything just beyond the scope of a vintage pickup, but not as big and flubby as the high output pickups.

Sound Clips

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Sound Clips - Explained

Right then - the sound clips! What are we doing with them? What are they good for?! Let’s see if I can get this explained without it turning into a complete wall of text eh?

What it used to be!

Basically - way back when, we used to record the all the pickups we make, doing "something fun" - we know what they're good at, so the original clips were simply a way of us showing them at their best - easy! Late 50s single coil is going to knock a bit of doo wop tinged Rock'N'Roll out of the park all day long, the Texas blues are going to do…well…Texas Blues pretty well!

And, honestly – it was pretty fun! It let us indulge our inner rock stars, we got to put pickups through their paces, and it always felt like the natural end point in the R&D – proof, in the flesh, that a pickup did exactly what we thought it did. Lovely stuff right?!

BUT – there’s a few little problems with making this wonderful, finished recording of a pickup!

Firstly, they’re useless for making comparisons between different models (How do the Late 50s do Texas Blues? How do the Texas Blues do Reggae funk fusion?!(… I’ve been asked that before, I’m not joking!)

Secondly – and anyone who’s ever been in a studio for a few days will know this – a guitar on a record and a guitar in real life are very different beasts! And obviously, we were trying to make the pickups sound as good as they possibly could – so there was a fair bit of mixing and tweaking and tidying up to really translate “how good these pickups are” – and whilst we didn’t take liberties, I’ll concede that there’s shades of dishonesty about it. Those recorded tones are studio tones – not live tones.

And Thirdly (maybe two-and-a-halfly) – there wasn’t a great deal of standardisation on the recordings either – we might have recorded the Bourbon Cities in a Les Paul® through a Marshal® JCM800 to give all those lovely chewy rock tones, but then the next “rock” pickup, was recorded in an Ibanez® RG and a dialled back Messa® Dual Rec… So obviously, they’re going to sound wildly different… and that’s not fair either.

And obviously, we’re all for fairness with this stuff – so we figured it was time for a change!

Time for a change
So – the master plan ran something like this!
“We write 4 tracks* - Clean, Rock, Blues and Metal – and each pickup gets recorded doing each one**. Always using the same amps, the same guitars*** and there will be absolutely no mixing on any of the guitars! Let’s get a true capture of the pickup on record!****”

Now – the problems with 2016 Craig’s genius idea (easy with hind-sight eh?)

* It wasn’t originally 4 tracks! I can only dream of being so concise – I think at one point there was 10 different tracks – Country, Brit Rock, US Rock, Classic Metal, Funk, Modern Metal… that’d have been fun! Eventually it boiled down to the 4 big ones!

**We figured out pretty quickly that not every pickup needed to showcase every track – we settled on 3 of 4… no one needed to hear a Telecaster® make a fool of itself fighting a metal track (unless it can… so do!).

***… it ended up that it wasn’t always the same guitar – tuning issues with some meant a shift to other guitars, not all pickups fit all guitars (P90s!) – we’ve tried to stay fair with it, but there’s been some chopping and changing (we’ve recorded them all in the track player if it bothers anyone)

**** IT turns out that when you record a guitar as part of a “band” – you can’t escape a bit of mixing weirdly – when you start including bass and drums, the cross talk between all the instruments means you can’t pick out the detail of the guitar with its full frequency spectrum – so we did have the apply a bit of an EQ – but because this is all about fairness – the EQ is always the same. It’s just there to tidy up the guitars and get them “clear” of the other instruments. So yeah – recorded guitars don’t sound like live guitars without a bit of a tidy up.

Do we did it!

Each pickup now has 3 recordings that best suit its style, and allows you to listen to each one playing the same track as the next! So you can hear exactly how the pickups differ.

Just a few things to remember with it though – the difference between pickups can be subtle! So you’ll want to be listening to these things through a decent set of speakers or a pair of headphones. What we’re showcasing here boils down to differences in frequencies – if you’re listening through a phone speaker, chances are it isn’t going to be capable of showing the finer details. (my PC speakers cant even make the bass frequencies on the tracks!)

And remember too, that these tracks haven’t been written to blow your socks off. They’re about as generic as they come. They’re nothing ground breaking musically, and you will, if your using the clips as intended, get pig sick of hearing the same song over and over again…but that’s kind of the point. Listen to the tone, not the track. Best advice I can give.

The Player

The players my little baby in all this – it’s a bit clunky at times (because we’re having to store and load the tracks as you call for them, so there can be a delay here or there – just, you know? Go gentle with her!) its got a few nice little features in it that make it really useful.

First thing is the “bookmark” button – find a pickup/position you like, click the little bookmark, and it’ll store it – go to another pickup and right at the bottom of the list, you can recall that bookmarked pickup.

Now, that’s great, because it means you can very quickly A/B pickups – and that’s one of the problems when pickup shopping. A humans audio memory is about 4 seconds – its much longer for something you’re familiar with (where you’ve committed a sound to “true” memory – your own guitar for example, but short term audio memory is amazingly short) – so the less time between hearing one pickup and the next, the better! Use it! It’s a great tool to base your decisions on.

The other “gem” – you can switch between the full band and the isolated guitar track – and that’s about as honest as it gets! They’ve not had any of the “tidy up” EQ applied to them, so what your hearing is the full frequency spectrum, as its been recorded, no messing about with it – just pure guitar. It’s amazingly unimpressive again, but if it’s the final piece of the A/B testing puzzle, it’s pretty helpful!

What about my Legacy?!

So – full disclosure? It aint half boring listening to the same 4 tracks over and over and over again – it’s great for making comparisons between pickups, but it aint exactly entertaining – and it’s not exactly a great sales pitch (is honesty ever?!) – so – we’ve kept the old tracks too – they’re under the heading of “Legacy” in the player – those tracks show the pickup doing their thing as well as they possibly can – Texas blues cranking some Texas Blue, Late 50s doing Rock and Roll, Bourbon cities pushing a bit of hard rock.

Its fun, it’s a nice listen, it gives a bit of a better idea of what a pickup wants to be doing (even if it can do other stuff) – they’re worth a listen, but go in eyes open, they’re “the pickups at their best” – mixed/EQed/Mastered and polished as if they were being recorded “proper” (*well… as much as a solo guitar track can be)

In Closing.
And that about covers it – 3 tracks on each pickup, allowing you to compare one pickup to the next. Bookmark button to make A/B swapping quick and easy, and isolated guitars if you want them. Minimal mixing, minimal tinkering and “little white lies” – just a straight representation of what the guitars going to sound like doing some of the more common musical styles.

And you get the Legacy tracks too – which are useless for making comparisons, but they do show the pickup doing what it does as well as possible.

Customisation options

All the bumf about customisation

Covered Humbucker

Covers

Cover Choices explained

Humbucker Poles

Poles

Pole Choices explained

Humbucker Bobbin Colours

Bobbin Colours

Write up about bobbin colours

Humbucker Base plates explained

Base Plates

Write up about base plates

Wiring kit for a Fender Stratocaster

Matched Sets

Why Matched sets are, and aren't a thing!

Roughs Gallery

A selection of Photos of what we've done "for real" with humbuckers over the years

Uncovered Black humbucker with Black poles and Black triangle base

Black Traditional

with Black poles and a black plated triangular legged base
Black Top covered Gull sized Humbucker

Black "Black Top" Cover

with a black PVC Top plate

Black Metal Cover on traditional Humbucker

Matt Black Cover

In a traditional pattern, with nickel poles

Black Covered humbucker with Mesh Top

Black Open Cover

With a black mesh, exposed black bobbins and nickel slug poles

3x3 Standard sized humbucker fitted to Fender Stratocaster

Chrome 3x3 Cover

with Chrome poles, fitted to a Fender Stratocaster

Black Top covered Gull sized Humbucker

Chrome Traditional Cover

Fitted with Chrome slot head poles

Foil Top humbcker with Gold and Chrome

Chrome Foil Top Cover

With a black mesh, exposed black bobbins and nickel slug poles

Gold Traditional Humbucker with Hex Head Poles

Gold Traditional Cover

with Gold Hex Head poles

Gold Traditional Humbucker with Nickel Slot head poles

Gold Traditional Cover

Fitted with Nickel slot head poles

Green Traditional Humbucker with Chrome Poles

Green Traditional

Fitted with Chrome Pole Pieces

Green Zebra Humbuckers fitted to an Ibanez RG

Green Zebra 12 Screw

Fitted with Black Hex poles, shown here fitted to an Ibanez RG HH

Ivory 12 Screw Humbucker

Ivory 12 Screw

Fitted with Nickel Poles

Nickel Humbucker with Black Hex Poles

Nickel Cover

Fitted with 6 Black Hex Poles

Nickel Humbucker with Gold Poles

Nickel Cover

Fitted with 6 Gold Slot Poles

Nickel 12 screw humbucker with Hex Poles

Nickel Cover

Fitted with 12 Nicke hex Poles

No copper Nickel humbucker

Nickel "No Copper" Cover

Fitted with 6 Nickel Slot Poles

Raw unplated humbucker with black poles

Unplated Cover

Fitted with Black Hex Poles

Uncovered Red humbucker with Cosmo Poles

Red Uncovered

Fitted with traditional Cosmo poles

RElic Copper Foil Topped Humbucker

Relic Copper Foil Top

With Blak Foil

Relic Nickel Humbucker

Relic Nickel

Fitted with Nickel Slot Head Poles

Strawberries and Cream Humbucker

Strawberries and Cream Zebra

Fitted with traditional Nickel poles

Traditional Zebra Humbucker

Zebra

With Traditional Nickel Poles

hex pole Zebrea Humbucker

Zebra

Fitted with 12 Hex head Nickel Poles

Sound Clips
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Average Rating: Average Rating: 5 of 5 5 of 5 Total Reviews: 2 Write a review »

  1 of 1 people found the following review helpful:
 
5 of 5 Do not underestimate these! February 27, 2017
Reviewer: Michael Jones from Stowmarket, Suffolk .United Kingdom  
I have a Model 24 at the bridge of my Epiphone Les Paul Studio deluxe (and the excellent Classic 50s at the neck). I know that pickup output is about a lot more than it's resistance. I have a 9.4 k pup that destroys the 19.8k overwound I have. This pickup, the Model 24- is incredible. It's the most metal pickup I have ever used, and I've also got a TT73! It is amazing for chugging, and is beautifully clear all the way across the sonic spectrum. If I was a better player, I would take on anyone with this guitar now. It doesn't just do metal though, it cleans up very well, and doesn't sound thin, but clear and penetrating without hurting! And it looks great too! I had mine made with a nickel cover with 12 black hex poles. This pickup is a stone cold giant killer, thankyou so much! Mick. :-)

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  2 of 2 people found the following review helpful:
 
5 of 5 Medium does not have to mean "middling"! January 20, 2016
Reviewer: Eissturm Stahlsarg from Ipswich, United Kingdom  
These pickups were made especially for me, as I was looking for a passive that would distort well, boost well, but not be so overwound that my trebles would disappear. I also wanted them to clean up nicely if needed. After much consultation with the ever patient Craig, and the very cool Gill; my very own Model 24s were born!
These are everything that I've wanted in a humbucker. Raunchy at medium gain settings, and downright nasty at high, they never lose their all important(to me) top end and also have a watertight bottom end that just loves a bit of palm    muted chugging.
I understand that some people will look at the specs and consider them a trifle light output wise for metal, but it works and works damn well! You can always up the gain, but its hard to make a 21k pickup sounds anything but a one trick pony. These sit at 11.5k and kick like a mule. I don't think I'll need another pickup ever again, although a TT version for my Tele would be very cool \m/
Cheers Axesrus!

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