I noticed the AHB3 has been discontinued because Mick had to get on the Fishman Fluence train like everyone else these days, although I expect retailers will have stocks of AHB3s for some time.
I hate to see them go. I consider them one of the finest pickups Seymour Duncan has ever produced.
I use them in my C standard Jackson Kelly purely for my Gothenburg style riffage, so you could say out of the 70-80 guitars/basses I have the AHB3 is one of my favorite/main choices in pickups.
The AHB3 was very balanced and articulate whereas the AHB1 was a little warmer and mushy in the lows. Like them both. But the EMTY was just voiced wonderfully.
My thanks and appreciation to Mr. Beller and all those who worked on the Blackout designs.
If Tosin Abasi himself basically says, "You really only hear the difference in Fluences when they are played clean. You will not notice a big difference between Fluences and traditional pickups when distorted," then I'm not terribly interested in the design. They're just flatter and more sterile than a lot of active/wannabe active passive designs that try to be as flat as possible.
I hate to see them go. I consider them one of the finest pickups Seymour Duncan has ever produced.
I use them in my C standard Jackson Kelly purely for my Gothenburg style riffage, so you could say out of the 70-80 guitars/basses I have the AHB3 is one of my favorite/main choices in pickups.
The AHB3 was very balanced and articulate whereas the AHB1 was a little warmer and mushy in the lows. Like them both. But the EMTY was just voiced wonderfully.
My thanks and appreciation to Mr. Beller and all those who worked on the Blackout designs.
If Tosin Abasi himself basically says, "You really only hear the difference in Fluences when they are played clean. You will not notice a big difference between Fluences and traditional pickups when distorted," then I'm not terribly interested in the design. They're just flatter and more sterile than a lot of active/wannabe active passive designs that try to be as flat as possible.
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