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Magister95 « Excellent vintage microphone »
Published on 04/04/12 at 07:46Micro handmade in England Will the 57 most consistent with the PAF, with its Alnico II magnet (unlike The Mule, Alnico IV).
I have a Les Paul 3 of 79: two bridge, one neck. They were installed by the previous owner, a maker: I have the guitar for 2 years and am considering changing the pickups for versatility, although I'm afraid of regret ... For jazz, blues and rock'n'roll, it's a great kit. For the metal, there's more! I tested a SD Distortion on the same guitar and a DiMarzio Virtual Hot PAF: the BKP has a clapping supllémentaire, less bass and more treble. I never played on a real Les Paul 59, but I guess it would sound like that!
In series (old wiring of my guitar), the sound is huge, very hot: it sounds AC / DC without pushing the attack and gain more flexibility allows you to find a CRUCH quite enjoyable.
Alone or in parrallèles, these pickups give her a typical PAF. In general, they make better with a tube amp (or a simulation, like on my BOSS GT-5), especially by pushing the volume and allowing an average gain. Providing a distortion pedal or overdrive sounds atteidre allows more fat without losing too much grain. A modern amp with a gain in depth has no interest with these pickups: they are crushed by the gain and lose all identity.
The bridge pickup is very slamming and precise: it returns every subtlety of the game, especially the attacks. In crunch, it can sound BBKing on a Les Paul ... This is impressonanant! Even for the funck, it can be great, if you play well! Finally with a wah wah, in any position, it sounds good: this is the first time I see it. A tone is essential to play in a group: 10, the spring always mix scratching and must be reduced to four to let another solo voice or switch to the neck pickup. Distortion in the microwave loses some of its typical fate and correct a distortion, type PAF with a little less bass than a Seymour Duncan or Dimarzio.
Mounted on a knob of 250k, it's less smacking and softer without losing treble.
The neck pickup is, as always, more rounded. He cepandant a rich grain and it is very hot: solo blues, I never know which one to choose! For an intro to Sweet Child O'Mine, it works very well also.
With two microphones in parralelle we retourve Gibson sound enough known.
In summary, if you want sound like Slash on Appetite, as you can but the price is worth, in my opinion, not worth it. An SD or Dimarzio are both cheaper and distortion (except perhaps if you suffer from low too high as on my old LP, and even if you do not play that distortion, it's the mess .. .).
Its kind for Page Led Zeppelin I, it may be worthwhile to think about but according to some videos on the net, the DiMarzio Has a can do the trick ...
However, if you play in crunch or clean sound and you are looking for that typical sound of Gibsons 59, then go for it! It is expensive but it's great. It is always cheaper than the real vintage and it vieilira probably fine, because it is done the old way.
On a semi-hollow I would not hesitate. Besides if someone wants to give an ES-335, even at Epiphone, would solve my issues well
I have a Les Paul 3 of 79: two bridge, one neck. They were installed by the previous owner, a maker: I have the guitar for 2 years and am considering changing the pickups for versatility, although I'm afraid of regret ... For jazz, blues and rock'n'roll, it's a great kit. For the metal, there's more! I tested a SD Distortion on the same guitar and a DiMarzio Virtual Hot PAF: the BKP has a clapping supllémentaire, less bass and more treble. I never played on a real Les Paul 59, but I guess it would sound like that!
In series (old wiring of my guitar), the sound is huge, very hot: it sounds AC / DC without pushing the attack and gain more flexibility allows you to find a CRUCH quite enjoyable.
Alone or in parrallèles, these pickups give her a typical PAF. In general, they make better with a tube amp (or a simulation, like on my BOSS GT-5), especially by pushing the volume and allowing an average gain. Providing a distortion pedal or overdrive sounds atteidre allows more fat without losing too much grain. A modern amp with a gain in depth has no interest with these pickups: they are crushed by the gain and lose all identity.
The bridge pickup is very slamming and precise: it returns every subtlety of the game, especially the attacks. In crunch, it can sound BBKing on a Les Paul ... This is impressonanant! Even for the funck, it can be great, if you play well! Finally with a wah wah, in any position, it sounds good: this is the first time I see it. A tone is essential to play in a group: 10, the spring always mix scratching and must be reduced to four to let another solo voice or switch to the neck pickup. Distortion in the microwave loses some of its typical fate and correct a distortion, type PAF with a little less bass than a Seymour Duncan or Dimarzio.
Mounted on a knob of 250k, it's less smacking and softer without losing treble.
The neck pickup is, as always, more rounded. He cepandant a rich grain and it is very hot: solo blues, I never know which one to choose! For an intro to Sweet Child O'Mine, it works very well also.
With two microphones in parralelle we retourve Gibson sound enough known.
In summary, if you want sound like Slash on Appetite, as you can but the price is worth, in my opinion, not worth it. An SD or Dimarzio are both cheaper and distortion (except perhaps if you suffer from low too high as on my old LP, and even if you do not play that distortion, it's the mess .. .).
Its kind for Page Led Zeppelin I, it may be worthwhile to think about but according to some videos on the net, the DiMarzio Has a can do the trick ...
However, if you play in crunch or clean sound and you are looking for that typical sound of Gibsons 59, then go for it! It is expensive but it's great. It is always cheaper than the real vintage and it vieilira probably fine, because it is done the old way.
On a semi-hollow I would not hesitate. Besides if someone wants to give an ES-335, even at Epiphone, would solve my issues well