All user reviews 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

J've installed this on my Yamaha micro Aes620 in neck, with a push-pull tone of the splitter and the Seymour Duncan SH4 JB in the bridge model ....

very good micro, slamming both sonoritées a harmonious and well split the neck position!

without the splitter is evolved a more aggressive round and especially aggressive in saturation, the top of a metal lead well, especially harmonics from ..
in short, forcing a jazzy side, with excellent attack and look fine round lightly loaded low frequency, ideally placed for my solo!

In bridge with sh4, all split, we already feel a big sound s install air punchy and provocative! my favorite porn position on saturated rhythm and chopped ...
bridge in non-split, and already heavier round, ideal position for good and big choruses that fart who nodded ....

prices quite correct, € 80 in my case ...
and yes, I c is my ideal companion to the metal, c is not the same thing that in a emg81 but I was tired of hearing, metal = emg85/emg81 for me too precise and clean that we forget the very principle of a distortion
That said, very good couple with sh4 ....
I would do without hesitation that choice, of course ...
I think a test of other mics with this one verse, including a SD distortion!
10/10 no complaints, it does the job that I asked him to perfection ...

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.

I mounted the microphone in the neck position on a PRS Santana SE.
Two goals:
Add-dynamics and a clear attack missing the microphone before it, but while keeping the heat of the PAF.
-Possibility to split.
Mission accomplished.
Position non splitee, the heat of PAF is well guarded, the attack on the microphone is good and can be according to the tone control edge. We get in this position distortions warm and clear, never bouzeuses. In his clear, we have a very jazzy sound defined on all strings (even the bass) and warm.
Splitee position was crystal clear, very nice and hot. It looks like sometimes even with the setting has an acoustic sound.

Finally, a micro excellent in all positions and very versatile.
A reference site for many people and truly justified.

I use it for two weeks, it is mounted on my les paul studio with bridge in the screamin 'deamon george lynch (with the possibility to split the two, which is nice).

Jazz? Did you say jazz? Naaan, not at all agree! On the site, they also offset by saying "good for country, blues, etc. ."... Again, I disagree that level. It has a clean sound that sounds pretty acoustic guitar, it's cool for trs rhythmic distortion while in well, has a neck rest, but with much more acute than most microphones serious. Also, it fits perfectly with the screamin 'deamon and two give it their time hovering trs and yet so rock I love so much.

But do not be fooled by the name, srieusement.

Report trs trs good quality price (90 euros, it is not death), I use it only rarely and even more rarely splitter. Trs effective, its all been smooth and graceful.

I recommend all lovers of clean sounds typical cure, enzovoort.

Repeat this choice? A background!

- How long have you use it?
It is a replacement of my 496R explore and is coupled to 500t. It is in place for 2 weeks

- What is the particular feature you like most?
Indniablement its versatility. Excellent clean sound, I find the tones are well balanced TRS (on a mahogany body). Neither too dry nor too dull, just enough roundness. Once Splitt has become quite slamming inintressant and not at all.
In dpart, I feared a big diffrence in output level between the micro "jazz" and 500t, which is the micro patator Gibson (magnet raisin bread). Well it is not! The aquilibre trs is good I find between the two, my enjoyable surprise.
At saturation, the cash trs well, but ...

- What is the particular feature you like least?
... A bit rough in rhythmic

- Have you tried many other models before acqurir?
On this skyscraper in the neck position: 496R, EMGs 60, 81, 85. Of these four microphones, only 81 given me some prs satisfation, but not enough Dfine plain

- How do you report qualitprix?.
Pay 60 new, excellent, RAS

- With the exprience, you do again this choice?
No problem, at least with a eexplorer (mahogany body so) on which it marries well with the trs 500t home

Fresh mountain this morning on my Ibanez SZ32O MH (all mahogany). I dj chang the HB103 (bridge) for an original SH4 JB and s'tait rvl fee. Ms. SH2N record for taking the place of HB101 (I used it because it happened not in the mix). I saw that I could compare two SZ320MH and frankly we gain clarity nettetsauf can be saturated in rhythm, which did not seem to be the radius of the micro . on the other hand to everything soloing ... Wow! If I had known I would have bought the couple live SH2/SH4 which is cheaper ... I renew the opration ds as possible on my second SZ320, dj team SH4 in a bridge. Oh also, I deleted the "split" story to have a more dense position intermdiare. Recommend any scratches on "midrange" of violin making dcente but the pickups are the weak link.

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.

I use the microphone for close to one year (it was already mounted on the guitar, Cf: opinion on the Schecter C1).

I have not used a lot of microphones set before it: the SH4 JB which is mounted on my Ibanez, and the neck pickup base was originally installed on it (the V7 or V8).

Frankly, the two microphones sleeves that I have, it's clearly the best: the bass is not too heavy with sharp well defined. I look beautiful, even tone by putting the bottom of the scratch or 0, it sounds. So here is when it is in the format humbucker.

When format is simple ... it also sounds (there's fucking nothing to do), it really sounds like a simple microphone (for comparison, I refer to the stratum of a loved one with 3 single pickups).

The quality / price I can not judge him, as it was already mounted on the guitar. But for a mid-range guitar (new € 1000 - € 650 Used), find such a microphone mounted on it is pretty good!

With experience ... I have not much, but it satisfies me, and there is no reason why I changed.

The Jazz is another hugely popular neck pickup in the Seymour Duncan brand. It is pretty much the alternative to the 59 in the neck position. It matches up well with just about any bridge pickup but the Jazz and the JB are just about as popular a set as the 59 and the JB. The Jazz features four conductor wiring like most every pickup made in the last 20 years and it comes with an alnico 5 magnet the same as the 59. The Jazz is similar to the 59 but with more bite on the high end. The 59 is so vintage and smooth on some guitars it can get pretty muddy. The Jazz fixes that by added some more treble to the voicing of the pickup. When playing fast leads in the neck position the Jazz will have a clearer sound than the 59. The 59 is more voiced towards slower bluesy leads while the Jazz is better for fast shredding or even jazz. Having slightly less low end than the 59 means the Jazz is less boomy and will have more clarity when it comes to playing. This also means the clean tones are very good. With less low end the high strings in the clean tones will really ring out and do not get overpowered by the bass end strings. This pickup is ideal for people with darker sounding guitars that want a smooth neck pickup but not so smooth it gets a muddy sound. The 59 is so super smooth it can get muddy in the low end. With the Jazz's dialed back lows and increased highs you get the same basic sound as the 59 but with more clarity. If you are looking for a nice clear neck pickup for your dark guitar this matches well with most anything.

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!

So HSH configuration, it makes SH4-SSL4-SH2neck. On a guitar Ibanez Prestige S2075W modern mahogany-rosewood fingerboard with zero-Floyd. Skyscraper designed to be versatile. Very nice violin, excellent mechanics and a round of the prestigious (love). But nothing in his level.

Since yesterday, I have these new pickups (installed with my little fingers), I DO NOT FEEL MORE SHIP ... I told myself before that was versatile scraper for amateur and now she is versatile with a pro sound and stage.

If you have the same type of guitar and you want to do everything in one, micro adopt this configuration. With SH2n one makes Django or Hendrix or a prelude to Beethoven, I SSL4 with Gilmour and Chris Rea Blues to then I Fenderise in intermediate, and finally with SH4 i am born to be wild. The SH2 is downright beautiful and SSL4 surprised by her presence as a single coil as a prince among the 2 doubles.

No parasites.

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.