All user reviews for the Seymour Duncan SH-4 JB Model

- This is my first Seymour Duncan and I immediately not a big diffrence compared to that dimarzios j'tais accustomed dimarzios have a compress its ample, the JB has a natural dynamics, output level MODR spectrum and refocused a lot of grain. He brings great warmth to the sound while maintaining a certain edge, an identity a little dirty with lots of charm, characters, and some rhausse frquences who sing my EL34 amp. But what is even more cider is its versatility, the saturation of the crunch it is never put in default.
- It fits my particulirement hardware (guitar Basswood in the Saddle rather dark, head amp intgre with compression and a lot of low frequencies)
- I've possd possde or several microphones (dimarzios: mdagrive, tonezone, evolution, steve's special, d-sonic - EMG 85 and 81)

I possde this mic on my LAG since 1993
the sound is hot, rock hard rock and even see if the amp mtal permits as my Hughes & Kettner Trilogy, it is possible to have beautiful clean sounds much easier if you split the micro, the beginners there silent with mounting SERIES / parallle prfre in editing and I double and Splitter simply because I think he had too much power in his clear, use disto no concern whatsoever for crunch sounds, or with max distortion frankly if you have a problem with the change of micro amp or effects, ct power I could compare the EMG it is powerful and can be more transparent to the game of guitarist besides, I've just put together a (SH4) on a WSL has a good violin but trs ncessite microphones more suited s short a killing! Otherwise I have tried other Seymour Duncan SH2, SH4 and SH6 ct double all good microphones but DIFFERENT from each other SH2 SH6 a nice little nag what goes into it and do not forget also that dpend that a lot of guitar, wood guitar ... but do correct testing it's worth so much that I always SH4 advance in case ...
the distorted sounds are excellent there is plenty of power
Micro trs trs versatile high Russianness, its equilibrated go I put 9 / 10 because perfection is not of this world ... well it's clear there are always better, but considering the price is exceptional, in fact I have no action at Seymour Duncan or win a trip
if you want to pay for this microphone: myspace.com / dominiquevassart

Hi All, I install the microphone on a Squier Start and then run another layer function with a sturdy handle trs (like jeff beck, again).
First, the spacing of the studs do not play with a fender, too strait so the E string cot pads are, thank you seymour.
Then I can not imagine what gives a clear round with a duffer as aggressive as hell is this microphone! It was hard to bite Graille is dcoiffant! But quickly boring, every time I removed after one week so I could more. If so. And I like to play heavy.
There is something magical about this microphone with which I have not encountered elsewhere, the sustain it produces. As if it was vibrating the strings alone, is pretty trs.
So I will install it on a scratch rather dull, a strat's really not possible any Clinque everything starts all over the place, and I have a trs prpare good marriage.
In short a good mic, especially, but not on a layer or so should be angry ...
There's who want ...

MJ end of May: Do install this gem on my Fidler HarleyBenton tbl 300, and indeed the all-that-ct motion layers is no longer against by the sound of the JB is still best, matris more with a little polish so to speak. TRS is a good marriage, and splitter (single coil bridge cot) in combination with the microphone is serious royal funk as it is packed prcis. This mic is really amazing with a guitar round al-fixed bridge.
Cel said, even on a micro epi les paul std trsmdium is more ac / dc rhythm that satch / solos while on the Harley (see my opinion) is the reverse. Like what impdance despite its large and large output levels it meets trs guitar uses well, congratulations!

I tried several times, once on a jackson soloist USD in configuration 2 single and 1 double and again more recently on a Shecter Blackjack 7-string configuration 2 doubles.
I tried EMG 81, EMG 85, DiMarzio PAF FRED, TONE ZONE, EVOLUTION, the GFS, and others ...
I think it's the microphone ideal for those who want to stand out solo, it's really a great balance between the presence, articulation marks, grain, as it is rare ...
I find it much more accurate than any DiMarzio ...
for quality / price ratio is far too expensive when it is found in the store (between € 80 and € 100!) is better to buy abroad on ebay, you win easily see that € 30 'in France ...
this microphone will soon equip my Washburn N4, so, so much for the sequence of operations!

Seymour Ducan is probably the most popular aftermarket pickup maker in the industry and this is probably their most popular model. The JB is pretty much the standard when it comes to hot rodded humbuckers. Put this in just about anything and it will really wake it up. There is no wonder why so many guitar makers put these pickups in their guitars. From ESP to Jackson you can find models that use the Seymour Duncan JB usually paired up with its buddy the Jazz in the neck. These pickups can make just about any guitar sing. This pickup is more eq'd on the high end for clarity. Because of this these pickups work best in guitars with darker woods. The output is about 16k so this pickup will drive just about any amp. You see these pickups in a lot of Les Paul style guitars because they can add some crispness to the naturally dark sound of those guitars. Seymour Duncan even goes as far as to say mahogany guitars with rosewood fretboards. I dont think I would go this far but a darker wood like mahogany is really the best pairing of wood with this pickup. You also see these pickups in shred guitars like Jacksons because with their high end bite and tight low end you can get a metal chug yet still have singing high end with the pickup. Even with this, this is not the first pickup I would recommend for a bright guitar. A bright guitar with a bright pickup can equal painful ears when played out. It doesnt have a huge amount of bottom end but what it has its really tight. The high end is nice and crisp and you can get it to scream if you want. If you are looking for a good all around humbucker replacement for the bridge of your guitar this is what everyone else is using.

I just installed it on my Ibanez sz320MH instead of HB103 (Duncan Designed) original. What strikes immediately is the quality of manufacturing, particularly at the level of protection for drivers. Once you install peroit direct greater clarity, better DEFINITIONS, contrasting with the ct a little "rough draft" of the original bridge pickup. Far fewer microphones (certainly thanks to a "wax potting well executed for), which adds to the ease of use in high volume live. Try microphones is a utopia and it is mthode Reduces the "trial and error. The Seymour Duncan website contains samples fortunately very helpful (but listen to an installation dcente, if any ring toss up donkey). hesitating a moment I take SH14 but the curve frequency drives me look too empty at the midrange. I do not regret that choice and would recommend any owner of a violin scratches dcente. When my back is my second home SZ32O luthier (refrettage), I will offer him an easel in SH4 ...

This pickup came stock in my ESP Stephen Carpenter 6 string which has an alder/maple body with a maple neck and ebony fret board and my ESP Eclipse which has a Mahogany body, maple neck, and rosewood fret board. My main amp is a framus cobra 100 watt tube amp and I also used a peavey 5150 and hughes & kettner triamp. I mainly play a mix of rock, metal, and very pedal effected looping.

When I first plugged in my SC6 I thought there was something wrong with it. The sound was just thin with tons of irritating treble and no real meat to the sound. The attack is great for cutting in a mix but the lack of fullness behind it just makes it sound like a stuck wah pedal to me. I tried a lot of different EQ settings on my amp to compensate but never really got a sound I liked. The wood combination of alder and ebony is a bit bright so I figured maybe it just wasn't a good match for this guitar. Using lower tunings made the pickup sound a little better to me but I never go below a c# so it had to go.

I replaced it with an Anderson H3

A few years later I bought the eclipse. The eclipse having the standard LP woods I figured the pickup would sound much better than my experience with the sc6. It was slightly better but still not for me. Fast leads sound good and it had a bit more low end compared to the SC but I still found it overly bright with a kind of stuck wah "quack" sound and not very full. Also as with the SC6 I thought the pickup sounded pretty good with real low tunings.

I replaced it with a Duncan Distortion

I use it for a few days ... mounted on a Jackson JS1R it to truly transformed the guitar. The pickups were very average Jackson: loss of power, sustain, clarity, etc. ...
Despite the entry-level guitar sound is very clean and precise. I play Heavy (Black Sabbath, Maiden, Metallica ...) or more Rock (Kiss, Mötley Crüe ...) and the sound is superb. He brings all that was missing before, and corresponds to my registry. The sound is precise, perfectly fits into the same distortion gain thoroughly brief you really feel the difference!
I also run a 59 'in Neck and solos is extra.
Paid about 100 € in the corner store, I'm not disappointed.
Micro perfect for a guitar which boosted potato shortage in origin or simply for the sake of change. The couple 51 '/ JB is really a good investment.
I put 9 because I prefer the sound of my Start up in Hot Rails.

The Seymour Duncan JB (JB standing for Jazz/Blues, NOT Jeff Beck as many people think!) has been a mainstay in the Seymour Duncan line of pickups along with the '59 and Jazz. It's a very good sounding pickup overall and that's the reason you can find it stock in a lot of guitars today. However, it is my opinion (and apparently many others' opinion as well) that this pickup is very picky/choosy when it comes to the wood it's being mated with. I'd take that one step further and say it's not just the wood being used, but it's also got something to do with the body shape and quality of the wood being used. In some guitars it has a great L.A rock type sound with a round bass, nice biting top end and scads of gain. However, in other guitars it can sound thin, weak and have no definition with higher gain settings.

Case in point, I've owned two guitars in the last year that have come with the JB stock as a bridge pickup. One was a 2010 USA made Charvel San Dimas with an alder body, quartersawn maple neck, and an Original Floyd Rose tremolo. The other was a 2009 USA made Jackson King V Select with an alder body, maple neck with ebony fretboard, and an Original Floyd Rose tremolo. I would have definitely thought that guitars with such similar specs would sound very similar and hopefully have that biting top end and thick low end that I really like from this pickup. The Charvel hit home on all fronts... it was to me a prime example of a great sounding L.A rock machine, and the JB in the bridge just had this beautiful, snarling attack. The Jackson, by comparison, was a complete and utter letdown. For a guitar that had such similar specs, I was absolutely shocked at how thin, weak and lifeless the JB sounded. It had none of the aggression that the Charvel did, and there was a serious lack of sustain as well... definitely confusing.

All in all, I would say if you are looking to buy this pickup, tread with caution. Though it CAN sound great, it really does depend on the guitar you are using, and as my experience shows, similar specs doesn't mean a similar tone.

I owned a guitar with three pickups simple, first purchase a few poorly documented on the role of microphones. The guitar is of good quality (less noise Godin Triumph pickups, mahogany body) but lacking a sponsor in overruns and did not exploit the potential of the Spider Jam amp simulations that I have. Even with the pedal tube Zoom G9 something was missing ... SOLUTION FOUND: The addition of SH4 Seymour has given him a second life: more punchy! Versatility is now the appointment (best blues record), simulations of Crunch, Metal and Insane are well managed in any case lead perfectly, a little game just for the agreements in some cases (depends heavily on the preset makes ), but this is not the personality of the original guitar. The dual microphone produces a powerful, well defined, without breath in 95% of cases, the sustain is impressive, it seems to have a professional guitar now. For an investment of less than 130 euro causes included at all I changed all my stuff. Congratulations and thank you to my luthier (Eponyme / Paris 75020), but happiness in store!