Bridge pickup vintage output with all adjustable pole pieces

[Chistopher]

Yeah, they are made to order though

[Mincer]

Also, the Morse neck pickup was designed for 22 fret neck pickup position...I don't know how it would behave in the bridge.

[Rex_Rocker]

Also, the Morse neck pickup was designed for 22 fret neck pickup position...I don't know how it would behave in the bridge.

For a lof ot the DiMarzio range, they claim they're interchangeable. The Air Norton, for example, was designed as a bridge pickup originally, yet most people use it in the neck. The PAF Pro people use in both positions. The Super 2 was designed for the neck, yet people use it in the bridge. I think the philosophy for position-specific humbuckers is just all-around different in DiMarzio compared to Duncan.

That being said, maybe I'm missing something, but I don't see the benefit of using the Morse Neck in the bridge. It's probably dark and compressed from the high DCR like a high output pickup, just in a low output presentation. Not what I'd look for if I wanted a vintage-y pickup, personally. Like all of the downsides, none of the benefits of either camp.

So overall, I guess I'm saying I agree with you in a certain way, but rather than it not working because it was designed for a 22-fret neck position, I think it might not be all that great because it was designed for an extemely niche approach to tone.

[Mincer]

For a lof ot the DiMarzio range, they claim they're interchangeable. The Air Norton, for example, was designed as a bridge pickup originally, yet most people use it in the neck. The PAF Pro people use in both positions. The Super 2 was designed for the neck, yet people use it in the bridge. I think the philosophy for position-specific humbuckers is just all-around different in DiMarzio compared to Duncan.

That being said, maybe I'm missing something, but I don't see the benefit of using the Morse Neck in the bridge. It's probably dark and compressed from the high DCR like a high output pickup, just in a low output presentation. Not what I'd look for if I wanted a vintage-y pickup, personally. Like all of the downsides, none of the benefits of either camp.

So overall, I guess I'm saying I agree with you in a certain way, but rather than it not working because it was designed for a 22-fret neck position, I think it might not be all that great because it was designed for an extemely niche approach to tone.

I am just going by what Steve Morse had said in interviews (and when I asked him) about how specific he is with neck and bridge pickups, and he needs something very different from each position. For more than any pickup set from *any* company, his set seems the most different. It isn't just a case of a less powerful neck pickup. His neck pickups are very percussive (he picks every note) and have this strange bloom to them that I think a lot of guitarists don't like (I do, however). I don't know if I'd take a chance on getting a neck Morse and putting it in the bridge unless I knew it could get a very specific tone I was going for.

[CarlosG]

Dimarzio: "We engineered the Steve Morse Model™ Neck specifically for this purpose, with a dark, smooth sound that is clean and uncompressed."

[Mincer]

Dimarzio: "We engineered the Steve Morse Model™ Neck specifically for this purpose, with a dark, smooth sound that is clean and uncompressed."

I agree with this. I don't think this would work in the bridge, though. I tried it in the neck of a 22 fret guitar and it was great. In the neck of a 24 fret guitar, it was terrible. If you move it further to the bridge, I can't believe it would sound better. But it is a very specific pickup for a very specific player.

[Rex_Rocker]

Dimarzio: "We engineered the Steve Morse Model™ Neck specifically for this purpose, with a dark, smooth sound that is clean and uncompressed."

My bad. I'd love to hear your experiences if you try one. I'm not too thrilled about a low output pickup that's dark, though. But maybe it's OK.