All user reviews of 4/5 for the Seymour Duncan SH-2N Jazz Model Neck

After trying a BC Rich Bich with SH2 and SH4, I'm tempted on my Gibson Flying V was equipped with Classic 57 in neck and formerly of SH1
Already the sound is round is present it does not sound hollow there is the presence of micro fills out the empty sound, it is a real surprise we feel we no longer holds the same guitar in hand, compared SH1 at least it sounds cold and less right ... and compared to the Classic 57's is more open sounds less boxy ... So there it is good for me on the changes on this guitar for a while, the marriage with the Flying V is perfect, it was the last change before reselling it so I could not find the alchemy sound on my vintage gear, the reputation of this microphones well worth everything told above is not overrated and after the test is not a legend, so for the fans

I have this mic a great Les Paul copy Sandard (Burny) in the neck position, without cover, and it shows a standard prsence highs, a lot of bass but nothing more. In his clear, it's too clean for me and a lack of body. It plays jazz arrangements, but the great delicacy and great precision is not enough to mask the lack of heat and spice I love all of the same chorus heard in jazz. I put on a Epiphone Les Paul Custom that sounds right to move freely even less to 2 times more expensive, and as the ear is less rich and Dfine, we have a sound is more neutral, less typ. Ca ca dpanne and catches up some of the default of the guitar. It's a good point! In saturation, however it is not bad at all, but there is no good crunch. So niet for the blues, a bad fall, that's what I loved in my heart. I switched to a classic 57 gibson APRS trying an SD 59 neck better suited my taste. It's still a good trs microphone, especially in live as well acute prcis going well in the mix but we play clean, arpges, jazz arrangements, or saturated! like what ... NB, with time and a change of knobs, handle the microphone on the epi LP custom strings and jazz mesh dish is really not bad at all for playing jazz ... and split, gave her an almost sound (see review above) trs cool. Micro trs end and centered on AIGS.

I finally put this microphone in combination with an epiphone SG SH4 a well made a good ten years ... It's great, everything passes, even with the split but still rocks like a guitar blues.Il be 100% mahogany, and is trs trs well. if a table stocky, the sound will be harder and too focused on the treble. Obviously we are talking good violin.
But what have I put on my epi custom jazz? leosound of classic '57 ... a killing.

For four years I use the SH2N on a semi-hollow Ibanez shape and size similar to a Lespaul (see notice AXD82P). J'apprcie normment the versatility he brings the characters and post it notes and gives it all its particulirement clear. The spectral balance is good trs. When he gives a split characters trs strata which makes his formidable funk rhythm. It supports TRS for a good overdrive rle lead but its limit is in rhythmic crunch o it tends drooling ... not that I ESG gure. This is the perfect tool to use Blues, Funk, Soul, Jazz, Rock ... and more.
SH1N with it my preferences in terms of neck pickup Seymour Duncan Humbucker in.
It is coupled with SH4 and gives all the sonic palette that I use.
on the other hand for having a test on guitar Alder there long ago, I strongly deprecated in this case, it is not adapted all violin while SH1N seems better partner various types of stringed instruments.
The application itself SH2N of the solid-mahogany body, itself a case of reasonable or it will sound too dry.
The report price is good quality but the competition is certainly very tough.
But for the unique personality of this microphone, I probably do it again this election.

The Seymour Duncan Jazz, along with its sister pickup the JB, makes up one half of what is possibly the most widely used pickup set from Seymour Duncan. I purchased a 2009 Jackson King V Select (USA made) that had this pickup combo. I was less than impressed with the JB in this particular guitar, but the Jazz was a different story. It really had a nice clear sound that was neither muddy nor thin. The nice thing about this pickup is that it is able to go from very clean jazzy tones to very high gain applications for rock/metal/shred and not lose any clarity or definition. I often would channel switch on my amplifier to a very fat sounding clean tone and the Jazz was great for comping and single note lead lines. Playing complex chord voicings on a clean tone were a breeze, as the clarity that this pickup has allowed each note to ring through clearly.

The dirty tones were great as well. In my opinion, this pickup has a very tight response that is wonderful for shred type lead work. I was using it in conjunction with a Mesa Boogie Mark Five and got very thick and tight lead tones a la John Petrucci or Steve Vai. Again though, even on dirtier tones, the sound has a killer clarity that allows even the most blindingly fast passages to cut through a mix very well.

This pickup suffers from none of the inconsistency of the JB either, which is a plus. I've tried it in a few guitars over the years and noticed a great set of tones regardless of guitar brand, construction type, or woods used. There obviously will be some differences from guitar to guitar but it is a much more consistent pickup than the JB to me.

If you're looking for nice, thick neck position tones that still have good clarity with both clean and dirty tones, give the Jazz a shot for sure!

The Seymour Duncan Jazz is probably the second most popular neck pickup in the Duncan lineup. It features slugs on one coil, adjustable screw heads on another, four conductor wiring and an Alnico 5 magnet.

This pickup is very similar to the ’59. The biggest difference is that the treble on this is extended, and it has more of a cleaner quality to it. This helps really keep those fast lines clear and precise sounding. The low end is fat enough to where it keeps things thick but isn’t too muddy. The midrange is fairly even to maybe being a little scooped. This allows it to stay clear and prevent overdriving the amp more than necessary. The treble on this is extended and fairly crisp. It can get a bit piercing in certain guitars, but it’s generally not too bad.

I find this pickup works best with clean tones. Under gain, it’s not too bad, but I think the ’59 sounds better under midgain and high gain. It’s just that this pickup sounds a bit more sterile than the ’59. However, some people love that quality. This pickup sounds awesome both split and in parallel.

I generally recommend this pickup if you have a fatter sounding guitar. Therefore, I find it to be better suited for mahogany or basswood. However, every piece of wood is different. Don’t assume that just because you have a certain wood, it’ll sound a certain way. They’re all just general characteristics.

If you’re not satisfied with the ’59 and find yourself wanting a clearer, brighter sound, I recommend this pickup. It’s a very nice pickup, and lead tones just sing when it’s installed in, say, a Gibson Les Paul. If you find yourself wanting something a bit more vintage, give the ’59 a look and see how that works out for you.