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

I have therefore the Seymour Duncan 59 '(alnico magnets 5) neck (son in version 4) which is mounted on my original Big Apple Strat body with ash.

The humbucker sound is rather pretty dug in the medium, with really low current and high treble and mids and also present good crystalline. In this config is at ease from jazz to hard rock right through the blues or funk. Highly crystalline and clean clean (I like this I do not like the microphone handle that sound too muffled or dull ... there really is not) or crunches lighter, less present (due to the hollow) in disto well as the lead well fluid he is doing very well.
So it sounds pretty clean, not necessarily typical vintage to me despite what the name might suggest ...
I personally however he does not like to be set too close to the strings in the neck position, because before I found a little lower sound really too bassy and mushy in the bass.

Split position, the result is much closer to the classic sound stratocatser even if we can not get there already seen the low power generated by the microphone once split (output less than a simple neck strat usual). The sound is always crystal, the bass is there but less present a micro strat neck classic and always a little cut in the medium. However, it is terrible for funky plan: pretty accurate, slamming the suspicion that goes round, due to the position round.
Despite the lack of logic gain / power, I use it a lot in this config splittée is original on my guitar and it really allows me to approach the sound of a real strat single in a really satisfying for me.

Anyway, in my case a good microphone rather versatile, but it really lacks a bit of personality and mojo quand-même...8/10 so.
Perhaps a more typical scratches and with more character (LP way or another plank mahogany) could nab this side a little dirtier it lacks ... I am curious to test in my case the personal equivalent alnico II (and thus APH1) to smear a little of her ash body, bringing the medium and see what it could give ...

I use them for 2 years before I had my EMG guitars, I buy a ESP horizon and she had these microphones. I use a preamp AXE FX Ultra coupled with a power amp Mesa Boogie 90/90 and a mesa boogie 4x12 cabinet rectify V30.
Live is an exellent mixed however live in my studio preamp and sound card there is a hollow in the mids and you have to work a little EQ to get what you want.
it's still good micro, not the best but not rotten either. I would do this choice for the live but I have others for the studio, now that I have 2 guitars and they are the two with these pickups but I change it for all I'm going to buy another guitar with different microphones.

Seymour Duncan's SH-1N is the neck model of his take on Seth Lover's original design. Using many of the same basic components as the original it proves to be a faithful reproduction. I have this installed in the neck position of my '97 American alder Stratocaster. The pickup is a hum bucker and is capable of splitting into single coil mode. Mine is wired so in single coil mode it can be run in series or parallel.

The tone of this pickup is very satisfying to me. I usually find that neck pickups tend to be a bit harder to please me. The tone of this pickup seems to me to fall in between two worlds. It has just enough smooth syrupy feel while still being able to cut through without getting lost. In hum bucking mode it provides a lead sound smooth in nature while leaving enough high end response to still pull out some nice pick harmonics without loosing them or having them sound dull or weak. It has a nice throaty nature to it and speaks with authority. While not a high gain pickup its voicing provides a well balance slice through the mix.

In single coil mode it retains its smoothness but adds a nice open nature to the sound. I would not call it a faithful reproduction of a single coil sound however it is a very useable sound all the same. I would equate it more to a backed off hum bucker than to a true single coil in that respect. I find that it works better in this mode when coupled to the bridge pickup. Speaking of that in hum bucking mode it actually works very well with the bridge pickup unlike many other combinations I have tried over the years where instead of working together they fight each others characteristics. I have this paired with a Pearly Gates Plus.

This pickup is well worth its cost and will work well with most medium output bridge pickups. Its tone lives in a nice middle ground between thick and thin where many other choices seem to lean one way or the other. I consider this to be a sweet and juicy tone where I have it and would not break it from the pair I have now.

I have it for two months but I have used this model at various times on various lutheries. Whether it's a violin like Fender or Gibson micro always behaves well especially in the neck position. I have version four son. I use it with a son in four SH4 in the bridge position. It gives me the perfect couple. By wiring the humbucker sound is very balanced and can sound bluesy or jazzy clean sound. With distortion is very versatile with deep bass and upper mid-range singing. The grain is quite general and organic voice, great sounds to Carlos Santana and Gary Moore. Split the sound is fine and slamming without being aggressive, very nice for bluesy licks or arrangements with a beautiful funky behavior when the game is to the fingers. I prefer it on a violin kind Strato which he can bring a lack of depth due to the violin. On a semi-hollow sounds as though it very well I prefer the SH2 presenting a more balanced and thus opens the possibility that much of his Jazzy Bluesy while the SH1 will only adapt to more Blues Rock less versatile in this case. In conclusion an excellent microphones offering all the qualities of a "PAF" with a little more versatility.

I had mounted it there's four years in the neck position on my Epiphone Les Paul, coupled with an alnico 2 pro in Duncan also acute.
I had not tried many models before buying the ones, and had no experience, I just wanted a little boost my guitar, which the microphones were standard, and are not always terrible. I was very pleased with the outcome, and value for money is great.

This mic offers nice clean sounds, the cool crunch, and saturated straights. What is expected of a neck pickup. In retrospect, I find it a bit bland and neutral, lacking fishing Dimarzio face that I like now. The Duncans have I think in general a little difficult to give a good record when we decrease the volume knob.

I do not regret this choice in retrospect, and this 59 is a good microphone, but I rather orienterais to a Dimarzio Paf aujourd'ui.

Hands down this is my favorite neck pickup. I would go so far as to challenge people to find something it can't do. Its sound great for any thing I have tried using it for. Super versatile with an awesome warm tone. I love it.

The clean tones are simply awesome. They are really nice and open. The tone is warm without being muddy, but it still retains this vocal high end. The high end is not sparkly like a Strat’s neck pickup; it has its own thing going on. Its this really sweet vintage style sound. I absolutely love it.

For crunch it NAILS the Les Paul tone in my head. It is warm but still very clear, with that sweet bite you hear on all the old school albums. It still very open sounding, even with a lot of gain. This leads to a ton of punchiness in single not runs, I love it. The perfect lead tone in my opinion. And its not only useful for lead work, I love how it sounds for groovy, single not staccato riffs on the lower strings.

With high gain it retains that sort of vintage feel, but still has the liquid smoothness you expect from high gain leads. The vintage feel stems from the openness I mentioned earlier. The lack of compression makes for much more dynamic lead tone, which I much prefer. So it is not the perfect modern high gain tone, but it is still really nice.

Overall I think this pickup is amazing. I cannot find a flaw in it, it is amazing. If you're looking for an extremely versatile neck pickup that just nails the vintage LP tone, run to the music store, buy a Duncan '59. If you want perfect, compressed, modern lead tone this might not be ideal for you. But for me, its perfect.

I used it for 4 years is a very good neck pickup especially a couple with sh4.

the bass is very present and very precise, missing some teeth in the acute, that is why the sh 4 the complete perfectly.
when he splits a real c regale you really try the sound is very pure and better defined acute.

I had a lot of micro, I'm going by Di Marzio, which have not convinced me, and EMG, Seymour Duncan and I care for 4 years to play punk, rock and some metal.
I returned to the couple emg 81 -85 because I find the sound more accurate in large saturations, for my style of music today.

The value for money is the best for me, just compare it with other c fast.

I would do if this choice?? in fact I think I buy a guitar up in a sh sh 6 and therefore obviously yes.

I have not used a long time: 15j!
The sounds are serious trs (mine was mounted in the neck position because it also exists in bridge) the sound is too specific with a lack of acute scary! the bass is invasive which makes the sound too deaf distortion (except with a good multi-effects) in the clear he will appeal to fans of jazz-funk, but it is for a Metal banish!
this microphone is not versatile enough damage ....
I had heard in too well and I t can be very trying in deu
He rode on Lag Roxanne OCCAZ I bought and I just replace it with a DiMarzio The Breed
The report price is exellent quality because the other microphones are much more expensive
for me it did not suit me because too typical but still a good micro Jazz.
I stay home for the Metal Dimarzio's still what's best passive pickups!

Originally fitted on my LAG which comprises the irreplaceable couple SH4-SH1.

The SH4 can manage all types of rhythms, and although the SH1 allow him to do all kinds of solos one would expect from a neck pickup.
In Rhythm, he can be round and soft. His sound is very clear air and can really vary depending on the attack that it carries. The Satus all Satus can be apliquées, he will always answer this with a precision unmatched.
Neck position but, when believed to tour, now they can splitter ... And there might as well say that pulling a button, moving from a Les Paul has a Start ... All of a sudden like that, and the sound reproduction is perfect.

My poor PAF Pro does not support the comparison, but not a bad microphone he did not arrive at the ankle.

The versatility a pure state. The couple SH1-SH4 will play everything from Pink Floyd to Slayer and everything in the Classic Rock of the 50's has today ....

I have been using my 3-year lag.
His round, very very hot and drooling slightly, even when there is a saturated fat.
I have tested several microphones in this position, including the famous PAF PRO, and strangely, the SH-1n has my preference.
Especially when split, it is amazing, I board not obtained the same results with the PAF Pro.
The best value for money is used or in the States of course, but for its excellent sound reproduction, I find that this mic is a good average.

As for whether I would do the experiment is done with chrome cache this time, to complete a DimeBucker in Bridge on my Jackson RR 94. The split is still beautiful, it collects the Satus without flinching ... Seymour Duncan one day, Seymour Duncan Always ...

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.

You can visit the following website: www.myspace.com / ultimategear ( http://www.myspace.com/ultimategear ) . You will find many things on the violin and thunderous guitars.

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.