Recently I was tasked with installing two Kinman “Nasty 90” P90 pickups into this Fender ’62 AVRI Jazzmaster. Already a great guitar, I was excited to hear how the Kinman pickups changed the sound compared with the stock Fender pickups I know so well. I spent time with Kinman pickups at some convention hall guitar gathering a few years back, and although I remember liking them I think we can all agree that guitar shows are among the worst places to actually hear how a thing sounds. The prospect of demoing them in the quiet comfort of my own home was alluring, to say the least.
Generally speaking, I come away from other noiseless pickups feeling like I was given a raw deal; it seems that the trade-off for hum-free operation is the loss of some pleasant frequencies as casualties of the noise cancellation process. Yet Kinman are widely praised for their ability to retain the tonality of classic single-coil pickups while eradicating 60 cycle hum in their trademark elegant and complex manner––the Nasty 90 pickups have over 200 parts!
Hype, hearsay, or honesty? The real question is, how’d they fare?
Pretty damn well, I’d say.
Installation of the pickups went smoothly, but was a bigger job than most simple pickup swaps. While Kinman’s proper Jazzmaster pickup is a drop-in replacement, the Nasty 90 pickup has a rather tall assembly, far too tall to install without routing. I removed about 5/8” of wood from the neck pickup rout and a little less in the bridge position. The Kinman website recommends removing 10mm from each cavity, but I wanted a little more room for hard foam so height adjustment was easier down the line. Anyway, I’d rather take a little too much than to have to do the job over again.
Additionally, the dimensions of these pickups also meant that I had to remove the big brass shielding tub present on this stock Fender Jazzmaster. The deeper pickups couldn’t be installed with the tub overhanging into the pickup routs, where it normally meets up with the brass plates found beneath the pickups. I also had to remove those plates, which I made up for with some foil tape as described in my previous article. This proved only to be a minor setback.
Once placed in their respective positions, the pickups were just as easy to connect to the wiring harness as any other pickup. The fit of those lovely black covers in the pickguard was snug but not too tight. I did note, however, that the pole piece spacing was a bit slim for the Mustang bridge installed on this guitar, so the pole pieces never quite lined up with the strings. Kinman offers multiple spacing options and I suspect that the spacing here would line up perfectly with a Mastery or Staytrem bridge.
Even with the very simple installation process, the Kinman website refers you to installation guides which I did not consult, locked away in the “members area” for which I did not register on principle. It’s puzzling that information deemed to be crucial is kept out of reach of a simple internet search; in any case, nothing untoward popped up during this job.
Let me say that these pickups sounded good. As is my test for good, growly P90s, I fired up my ’79 Marshall, cranked the gain, and chugged out the rhythm part from Weezer’s “The World Has Turned and Left Me Here,” which I contend has some of the most massive sounds ever committed to tape. As I’d hoped, the Kinman Nasty 90s handled those tight inversions beautifully, exhibiting all of the colossal midrange I expect––nay, demand––from P90s.
The neck offered woolier tones while the bridge felt punchy and loud. As a guy who purposely runs bright guitars into dark amps, I did find the Nasty 90s to be a tad dark for my tastes. Even with the brightness of my ’65 Bassman piggyback, the pickups seemed to slightly favor midrange honk over treble clarity. This is the conceit of the Nasty 90 model, which the Kinman website calls “dark and syrupy” so I wouldn’t say I’m surprised or disappointed. I suspect that, were I to order a set, I’d be much happier with the standard Jazzmaster set or even the Clear or Sweet 90s models. If brightness is your bane, the Nasty may be just the right tincture.
And indeed, they were Q-U-I-E-T. So quiet, so noiseless were they that I found them a bit unnerving, as if my living room had become a vacuum. At first I even wondered if my amp was on, and it wasn’t until I slapped the strings did I realize that yes, it was on, and yes, I needed to turn down before the neighbors complained.
I would wholeheartedly recommend these pickups to anyone frustrated by the excessive noise of their favorite single coil pickups. I think that Kinman’s done a remarkable job harnessing some of the magic of classic pickups while forging their own path on the quest for tone. After playing these pickups for the better part of a morning, I quite liked their sound and response, and at one point I totally forgot that I was playing a noiseless pickup.
The extra routing required for the P90 set is off-putting both from the extra work involved, and if you can’t do it yourself, the added expense of hiring a tech. Again, this isn’t an issue with the Kinman Jazzmaster set, yet worth noting for Jazzmaster owners looking for an easy P90 swap. And at $189USD each plus shipping from the Philippines, they aren’t the cheapest pickups around. But hey, you’re not here for cheap; if Kinman’s in your sights, then you’re after something special and you’ve likely factored in a premium price already.
If you’re in the market, the Kinman set should definitely be on your list. In future, I hope to get my hands on the Jazzmaster set for a direct comparison with my other guitars.
Just One More Thing…
And if you’ll indulge me one Columbo reference, the Kinman Jazzzmaster page makes the following claim:“Kinman transforms Jazzmaster into THE BEST Fender guitar.” These pickups are great, mind you, but lemme let you in on a little secret…
C L O S E R .