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.