All user reviews for the Seymour Duncan SH-2N Jazz Model Neck

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.