I think the idea of Ed changing pu's DURING that first albums recording is a VERY VALID idea !
That would explain (Esplain Lucy) alot, like why 'ATBL', 'I'm The One' and 'Ice Cream Man', have a harder edge (ceramic magnet MM ?) and why 'Eruption', 'Atomic Punk' and 'Little Dreamer' have a very slightly more WARM and OPEN thing (Duncan rewound paf ?)
The Franky's neck (radius fret size, fingerboard, etc) at that point is also questioned, as possibly NOT being the maple capped Ellsworth/Charvel.
The wire used on the DSD,MM types are the awg43, which is thinner than the awg42 that Gibson used/s. You can get more output and drive(turns), while not 'sounding' like it would with the awg42 wire being wound that much,which would be a FAT pu 'physically' if possible, but sound shitty (probably pure mush ?).
These pu's(DSD/MM) basically evenely matched coils, meaning each one was around 6.5 to 7 or so output. This gives that middle frequincy bump to some extent.
Seymour noticed how old pafs had more turns on one coil over the other.
I'd imagine that he (Seymour) would have used the awg43 wire to overwind a paf to basically his modern 'Custom' spec, which I think is one coil at 6 something and the other at 8 something. This would affect the overal eq to more upper mids/highs and bottom, as opposed to the more rounded mids of a equal coil wind design like the DSD/MM.
I think a5 magnet was more common to late '50's to T-top paf types as well. The 'CUSTOM 5' is sounding relavent for a try

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