All user reviews for the Seymour Duncan SH-1N '59 Model Neck

One of my favorite microphones serious ...
The SH1 '59 model is one of the microphones of references in the Seymour Duncan SH4 with the SH6, and SH2. And for good reason, its CHARACTERISTICS sound really INTERESTED in a trs many configurations of wood, and musical styles Varis trs.
Its particular feature is its large range and roundness of tone "twenty years of age" ... A big bump in the low mdiums, loud enough mdiums Cruss and treble Submitted still well, although still quite soft. If one wishes to have a serious sound reproduction micro flatter, with bas mdiums less round, you must opt ​​for the SH2 Jazz Model, absolutely excellent all points of view as well.

For my part, I use a Music Man Silhouette 1991 (with two doubles and the coupled as an SH4 SH1): alder body, neck and affects Rabl. The guitar sound takes CHARACTERISTICS therefore a typical superstrate: an acoustic sound with little mdiums low, high and mdiums Submitted lgrement round and treble trs many drawings. I think it works terribly well on a guitar of this type, because a Relva effective and musical with the lack of low mdiums the guitar (induced by the combination of wood), and softens mdiums and treble by giving them a warmth he might not have a microphone more aggressive in the upper spectrum. Thus, it seems to me perfectly fulfills the rle of a microphone on a guitar severe type superstrate.
In his clear position serious (I only speak of it the way) is trs East jazz (as many good mics for that matter!), And coupled with SH4, the sound is really beautiful and trs INTERESTED (see why DIFFERENT articles: on the SH4, and the Aude Arnaud Qurey Junior, even if it comes up with an SH2 (the microphones are fairly similar all of the same). In saturation, we obtain a sound with a lot of grain, color "old" (but so much contemporary) and rich.

Concerning the other major pan sound of our culture of sound, the guitar "type Gibson Les Paul" (mahogany body, table stocky, round Saddle or mahogany, and rosewood fingerboard and bne: dj has a lot of diffrence between these sound combinations), I think, even if I REALLY did not practice on such a guitar, this mic will provide a sound of a round worthy of a true PAF: low mdium vramient opulent and rich in harmonics, because of high mdiums soft enough creuss Submitted and treble just right, but not too to get a sound with a lot of curves throughout the race, without it becoming REALLY aggressive. It is clear that on a guitar of this type, you must have a desire to rev its round and fat, because otherwise, we can be of (or to dcevoir self-same, because this is my opinion dception because the lack of questioning of the person who acquires such a microphone, plutt caused by the microphone itself) ...

For cons, I do not think it is "banish" a musical style in particular: a microphone, is a RULES (including overall height, to gain, and the height of the studs screws, rglage for finesse), and most importantly, that it lacks treble imply that we know well rglages and the sound of the amp on which it is played (a rglage V of the four would indeed be devastating with such a microphone!). (If you want to know more about my amp, read my article on my head ENGL Savage SE: I give my rglages, which are simplicimes.) Personally, I play in a register mtal progressive and SH1 wonder what should I look at her.

Résumé to: a micro gnial who wants to have a round, warm position serious. Should any guitar with a spectrum homogne. It either Start or Les Paul type, as the spectrum is flat, it's all good. An excellent microphone that for this reason, the RSID Panthon electric guitar pickups.

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I possde DK2M a home jackson I'm really happy trs, I handle the microphone, I find really cool with TB4 in the bridge is great, this microphone gives a great versatility to the guitar It is nice to play clean, crunch and even a little distorted (up to ac / dc, is the APRS TB4 takes over), compared to a couple of emg I find it much more versatile, the EMG are not really fabulous clean (I'm not telling you anything), the ratio price quality seems top notch compared to other microphones same quality I think if I did not have dja micro I would take, but as I have given I would put a dja sh-1 bridge on my next scratch in Seymour.

So in conclusion, micro really top, it goes perfectly with a couple TB4, clean up the ac / dc is vraimet his field, a fat and warm as we're used to Seymour, I'm agree a wonder, nothing bad, but good.

Seymour Duncans are put in tons of guitars from many different companies but the most popular combination is the Jb in the bridge with the 59 in the neck. The 59 is probably their most popular neck pickup because of this. The 59 is a great modern day PAF pickup. And the PAF qualities is what people want in the neck position of their guitars. The pickup features four conductor wiring like most every modern pickup and an alnico 5 magnet. With this vintage design you get super smooth lead tones when used in the neck position on a high gain setup. The low end on the pickup is super smooth and the high end is clear but not harsh. It has some high end spank and crispness but it does not overpower the strong mid and lows that this pickup puts out. This really gives the pickup the ideal tone for neck position lead playing. Since this is based off a PAF it naturally goes well in Les Paul style guitars. The fat tone of the Les Paul with the fat tone of the 59 gives you a super fat super smooth tone where ever it is. The notes ring out like crazy but never sound harsh. They have a fat open sound that everyone wants from a good neck position pickup. They can also work well in guitars that arent as dark in mahogany. In a brighter guitar this pickup in the neck can help level out the high end and give you a fatter tone. This pickup is the jack of all traits when it comes to the neck position. There is not much more you could ask from a pickup in the neck position. Its smooth without being muddy and clear without being harsh. This should be on everyones short list when they are looking for a neck pickup.

I mount an SH-1 neck today with a tb-5 bridge.
To the departure, I was not expecting to ride it, the clips are very long and I have to shorten the screws and put me through Whereas springs.
First test was ringing, I tried the Tb-5 (SH5) with an Air Norton And it was good, between HS-1 has less gain than the Air Norton.
I also tried a sh-2 with Tb-5 and had not sh2 pack.
The marriage of sh1 and SH5 is excellent, far more than the sh2 my ears and a mahogany guitar / table Saddle and Saddle sleeve button / bne.
The sh1 is a little chubby and I was, what I like most is that he will adapt several microphones and low bridge will gain great with high gain pickups bridge.
I tried a Tb-6 with an Air Norton and what not terrible n'tait whereas with the sh1 I'm eager to try.
Ultra-Flexible, serious as it should, less than sh2 comprss quite vintage.
If he had not such long legs, put him in footnote 10, for once it will be 9.
Very good mic, warm, gain just enough variety and open mics bridge.

I utlise for 1 year in position neck. To beginners, from simple Epiphone pickups it, I put myself on his knees before he left round and fat. It has everything you need for beautiful arpges and solos in the neck position. This is an excellent quality-price ratio and, above all, a very good mic. This is the real me a PAF for the blues-rock.
But the use I m'aperois its default, or Plutt its limits: very mushy in rhythm saturates, we must leave or else adgouline crunch of drooling ... In short, great for the clean is very warm, blues very, very good also for blues-rock solos lgre saturation (but it lacks my presence Got a relative APH-1), but I do not recommend it in rhythm with saturation. It is for that I was coupled to (and is often coupled with a bridge in SH4, microwave mat and very sharp in the bright saturated in rhythm.

The infamous duncan '59 pickup! One of the industry standards for guitar players today! A PAF-type yet with just enough output that you can do nearly anything with it! Most famously used as a neck pickup and it sounds great in most guitars! i've found the clean tone to be rather bassy, almost scooped sounding, yet clear and the highs come out clear enough without getting TOO muddy. Though it CAN get muddy if you're not careful. It's a scooped sort of sound but it's not shrill. It's got a very thick distortion, sounds amazing with single note leads and whatnot. Tracks quite well under high gain and fast shred-like speeds.

This is a good pickup that'll fatten up the low end on any guitar that's lacking it.I've used the 59 pickups in a few different guitars and have found it's good for neutral sounding guitars to balance out the neck a bit. Something like a mahogany bodied guitar. Though it can be quite tubby for some players also, maybe too boomy and whatnot as a neck pickup. I think this is a good pickup for those who wanting to fatten up their guitar and get something closer to old school PAF, les paul-type tones out of a neck pickup with more clarity than a regular stock LP pickup.

I give it an 8 for being a good aftermarket upgrade pickup. But it doesn't work for EVERY type of guitar, and is mainly for that thickish LP/PAF sound. It is good at what it does but is not completely versatile.

The Seymour Duncan ’59 Neck model is probably one of the most popular pickups Seymour Duncan makes. It features slugs on one coil, adjustable pole pieces on the other, four conductor wiring and Alnico 5 magnet.

There are two main neck pickups that are generally considered in the Seymour Duncan lineup – the ’59 and the Jazz. Both of these models sound good, but there are some key differences that help make them unique. The ’59 is one of the most classic PAF clones on the market. It features a “tubey” low end, some scooped midrange and an extended treble range. The extra low end helps make this pickup sound pretty fat, but the low end isn’t super tight. It’s a more vintage style low end. The scooped midrange helps keep everything clear and allows the pickup to be a bit more open. The extended treble range on this gives it some sparkle, but it’s generally not so much that it’s overpowering.

I’ve used this pickup successfully in mahogany and decently in alder. In my mahogany guitar, it sounds absolutely wonderful. The notes bloom like crazy, it gets a very fat, “vowely” kinda sound, but it still remains clear. In my alder bodied guitar, however, the pickup is a bit too bright for my tastes. I’m not sure if it’s because of the wood, but it seems to have an almost single coil quality at times. For the record, yes, it’s working fine and isn’t split or being run in parallel. Speaking of that, this pickup sounds very nice both split and in parallel. Both deliver great, usable tones, unlike certain other pickups on the market.

If you’re looking for a neck pickup in the Seymour Duncan line, this is probably the one I’d recommend the most. It’s generally more popular than the Jazz, and I prefer it towards the two. Both deliver good tones, but this is my number one go-to full sized neck humbucker in the Duncan line.