If you were to take a close look at the lineup of pickups from Seymour Duncan, you might notice a numbering system for the humbuckers: SH-1 (’59), SH-2 (Jazz), SH-3 (Stag Mag), all the way up to SH-18. This nice line of sequential pickups gives you an indication how old a specific design is. For example, it’s pretty commonly known that the SH-2 Jazz and SH-4 JB were developed simultaneously. It doesn’t take much imagination to think that those first few pickups were designed and released in the same era, the late 1970s. But look again and you might notice two gaping holes in the lineup. The SH-7 and SH-9 are missing! I never gave it much thought but I was interested to find out what happened to them when I had a talk with co-founder of Seymour Duncan, Cathy Duncan-Carter. She explained to me what the idea behind the numbering system used to be, but why the final fate of the SH-7 and SH-9 remains a bit of a mystery was cause for investigation! Continue reading
Five guys who have been known to make a few mistakes.
Sometimes I think it’s a miracle that any bands succeed at all, given all the things stacked against them. The world can be very unforgiving to music, especially for those of us on the fringes of popularity (or, if you’re like me, staring at the fringes of popularity through a high powered telescope). This makes it all the more important to not unintentionally sabotage your band with common – and preventable – mistakes. Continue reading
Cream and parchment single-coil-sized rails and stacks
When noiseless single-coil pickups are discussed, it won’t be long before someone says that they can never sound exactly like a real single coil. The fact that they’re humbuckers at the core means that some of that high-end sparkle disappears. There are some things to remember at this point.
Firstly – which real single coil are they talking about? They all sound different already. Are we meant to assume that there’s some unifying characteristic between every single coil pickup, missing from none of them, but missing from all noiseless versions? Seems unlikely. Continue reading
It’s not just a pickup, it’s a weapon of tonal Armageddon. The Nazgûl was designed with a single purpose; for intense high-output-chug heavy punch-you-in-the-chest ruthless distortion. The tone is heavy and aggressive but it also retains articulation and provides the precise pick attack that is necessary for high-output metal. The Nazgûl gives chords heavy saturation and produces a lightning fast response to your amp. Perfect for all high output metal needs in which sonic obliteration needs to be accomplished.
In the past three articles, we’ve talked about getting in touch with your volume/blend knob, and the tonal options you had with the EQ. And while you’ve been finding your own sound, one thing has been bugging you; how do you apply this live? As in, when you’re onstage at the gig, how do you tweak settings on the fly to ensure that you will sound your best? Continue reading
A couple of years ago I was looking for a replacement tremolo system to fit a Floyd Rose route. I stumbled on the tremolo system designed and build by Ola Strandberg. Even though my guitar and the tremolo system weren’t compatible after all (at least, I wasn’t willing to do the necessary, though minor, modifications), Ola Strandberg and his guitars got lodged in my mind: his designs and his views on luthery made me reconsider guitars all together. For instance, he’s combining multi scale (fanned frets), unique hardware, a headless design and many other innovations into one instrument. Continue reading
Posted in The Tone Garage
Tagged 8 string, Al Mu’min, Charvel, EGS, EndurNeck, ergonomy, Grover Jackson, Interview, Misha Mansoor, NAMM, Nazgul, Ola Strandberg, Project Guitar, Sh-1, sh-2, Sh-4, Strictly 7, the HAARP Machine, Tosin Abasi
Ever since active pickups came out and many guitar manufacturers starting building with them in mind, there’s been one problem – the standard size of active pickups (Phase II) is different than the size of regular passive humbuckers. Changing out your active pickups for regular passive pickups just isn’t possible if your guitar was designed for an active route. But imagine if you could buy your favorite passive pickup in a soapbar sized housing which fits the Phase II size… Well now you can! Continue reading
The Pegasus is the newest offering from Seymour Duncan designed specifically for the demands of 7/8 string players. Put a Pegasus in the bridge position of your guitar and you’ll hear harmonic richness, great dynamics, and defined string separation that ensures all those notes break through any distorted mix. Many seven string players have been saying that they need a pickup that isn’t excessively high-gain, given the amount of available gain on modern amps. The Pegasus provides the perfect balance with a more moderate output that lets you push it to the edge and still retain warmth and clarity. It’s a perfect match for progressive metal. Continue reading
Yes, this actually worked.
Delay, or echo (as it should be called) is the repeating of sound. It is the sound when you yell into a canyon and you hear your voice back at you because it reflects off of the rocks. No canyons around? Well, you can simulate this sound with a delay pedal. But it is usually capable of a whole lot more.
Have you ever looked at a hollow or semi-hollow guitar on the wall at your local music store and wondered how the heck they get the electronics in there? The short answer: it’s do-able, but not easy. In fact, it’s widely considered to be one of the most difficult jobs in the wide world of guitar maintenance. My tech charges extra for doing electronics work in a hollow-body, and he’s definitely not the only one. Continue reading