barvador « a killing! »
Published on 09/04/11 at 13:55installed on an Epiphone LP custom. This skyscraper will be redone with an electronic saw a dozen combinations of humbuckers, PRS (HFS + VB), Gibson 57 classic, 490/498T, PAF MIJ 80's, SH2, SH4, SH1, etc ... It is true that SH1 Seymour I liked a lot, but but I have this config on my Burny, so I was looking for something else, more jazz / blues, dynamic, with more than one definition of 57.
The pickups are at a spacing slightly less than the standard, but it does not interfere. There is a cable to a possible split, rarely happy, but we will see later, and covers nickel.
Given the criticisms of the microphones, my very positive experience on HFS and vintage bass and a good deal in sight, I have installed ... slap!
compared to the gibson 57, the volume / power ratio is lower, there is a better dynamic (was it possible?), greater clarity (phew), a lot of heat too, almost the same grain, and tonal balance of crazy, no small frequency beard crunch, an immediate feeling and incredible harmony and musicianship, especially on the neck pickup, which had an incredible response, fabulous wealth and therefore blues classic rock jazz. The bridge pickup makes it sound very well balanced and well british blues boom. A scraper 100% mahogany, yet it is not easy to find one's own, and this pair of mic is very clean but not clinical, it's class. low volume, hi gain, overdrive, jazz, anything goes, without ever tiring the ear, a joy. Note attack super dynamic, precise and just the right amount of aggressiveness.
10/10 in the neck position, with easel, 9 because it lacks a bit of "evil" for the distortion even if the overdrive is great. What grain!
And for fun, I installed the split. Well on the neck pickup, it's very deep and stratabound vintage (really stunning, I still pinch myself) is a killer! Of course, we must bring back a little with the treble knob because of 500K on a single vintage, it keeps too much treble in the sound. It is thus turning a blind eye on what they would do a stratovolcano, casseroles, hendrix, percussive riffs double stops with the same dynamic. The single bridge is useful, complementary but not as convincing as the neck pickup. as mixtures, little interest, too nasal but related to the guitar is made as the course McCarthy (microphones spaced them too ...).
Ultimately, these microphones will therefore remain on the scraper, they are great, Paul Reed Smith is a hero.
The pickups are at a spacing slightly less than the standard, but it does not interfere. There is a cable to a possible split, rarely happy, but we will see later, and covers nickel.
Given the criticisms of the microphones, my very positive experience on HFS and vintage bass and a good deal in sight, I have installed ... slap!
compared to the gibson 57, the volume / power ratio is lower, there is a better dynamic (was it possible?), greater clarity (phew), a lot of heat too, almost the same grain, and tonal balance of crazy, no small frequency beard crunch, an immediate feeling and incredible harmony and musicianship, especially on the neck pickup, which had an incredible response, fabulous wealth and therefore blues classic rock jazz. The bridge pickup makes it sound very well balanced and well british blues boom. A scraper 100% mahogany, yet it is not easy to find one's own, and this pair of mic is very clean but not clinical, it's class. low volume, hi gain, overdrive, jazz, anything goes, without ever tiring the ear, a joy. Note attack super dynamic, precise and just the right amount of aggressiveness.
10/10 in the neck position, with easel, 9 because it lacks a bit of "evil" for the distortion even if the overdrive is great. What grain!
And for fun, I installed the split. Well on the neck pickup, it's very deep and stratabound vintage (really stunning, I still pinch myself) is a killer! Of course, we must bring back a little with the treble knob because of 500K on a single vintage, it keeps too much treble in the sound. It is thus turning a blind eye on what they would do a stratovolcano, casseroles, hendrix, percussive riffs double stops with the same dynamic. The single bridge is useful, complementary but not as convincing as the neck pickup. as mixtures, little interest, too nasal but related to the guitar is made as the course McCarthy (microphones spaced them too ...).
Ultimately, these microphones will therefore remain on the scraper, they are great, Paul Reed Smith is a hero.