Artie, I'd also recommend trying the stock pups first. I love the A5 Jazz in the necks of every guitar I tried them in. I also loved the Jazz (bridge) in the neck. I've never tried a Jazz in the bridge because I figured it would be too bright for my particular taste, but if I did, I would probably try it with a UOA5 instead of the stock A5.
A3/A4 mags in a Jazz set?
- Thread starter Artie
- Start date
Artie
Peaveyologist
Yup. That's what I'm going to do. Got it on my bench as we speak.
Artie
Peaveyologist
I'll post a couple pics first, since the forum "upgrade" makes it hard to edit a post with pics. And before I forget, special thanks to forum bro Jeremy for doing me a sweet trade for the zebra Jazz bridge, and to forum bro Frogman for doing the sweet trade for the zebra Jazz neck. They look like they were made for this guitar.
Artie
Peaveyologist
So, no surprises here. They sound just like I'd expect a Jazz set to sound. I took out a C5b/59n combo first. Also, this had 250k pots in it, so I left those in, temporarily, until I see how I like it. I actually think they help to mellow the "Jazz" tone a bit. The Jazz neck is very close to the 59, but with pleasingly less bass mud. (Not that the 59 was bad.) The Jazz bridge definitely has some twang to it. But with the 250k pot, it's not "ice-picky" at all. With both pups on, there's a nice full range frequency blend. Very "jazzy", appropriately. I need to spend more time with these for a better review, but for now, I really like them. And I think I may keep the 250k pots. Or, maybe I'll try some 300's.
eclecticsynergy
Well-known member
Don't know if you meant specifically in the Jazz; I've never tried one there.
In general, though, I think A4 doesn't reveal its true nature until you play it with some volume.
I concede it can sound and feel pretty meh in the livingroom or bedroom.
But at band levels the sweetness comes out and it gives a nice vintagey fingertouch.
I'd fully intended to swap out the stock A4 mags in my McCarty pickups; was quite sure they were less than okay.
Then I played them at stage volume and realized they're actually great.
Glad I gave 'em a fighting chance before I pulled them.
I have a set of A4 Wizz PAFs that behave similarly. Played quiet they're good; at volume they're downright epic.
To me when played loud A4 almost has two different characters, sort of a split personality.
At low to mid levels of gain it's sparkly and fairly tight - almost dry, for lack of a better word.
Then when you give it more gain the highs smooth out and the mids go liquid, almost as if you redialed the amp.
Pretty cool effect.
Full disclosure: my entire personal history with A4 is limited to those two sets and one A4 in a 59N.
So it's possible the qualities I ascribe to it aren't genuinely universal.
Still, based on my experience, I say try it at battle volume before you write it off.
Artie
Peaveyologist
They do. And even better now. I'm accustomed to using the "Mercury" channel on my Bogner, which is the mellower channel, 'cause that's how I play. I just switched over to the "Gold" channel, and they really came alive. Really nice bark and spank, on both the neck or the bridge.
Artie
Peaveyologist
Interesting you say that. I play exclusively home studio, so the A4 may not work for me. After just trying these on the hotter channel of my amp, I think I'm going to leave the mags alone. I may play with pot values and cap value though.
beaubrummels
Well-known member
FWIW I've had an A4/59n in my Gibson Les Paul Studio for several years now and it's not leaving. I've played it at all volumes, light practice at home to live. It's the quintessential PAF neck sound. Makes my Les Paul sound like an ES-335 and/or Jimmy Page on demand. (Can't speak to A4/JazzN, haven't tried yet. I was going to try an A4/Pearly Gates before that. But I haven't felt the need to replace the 59n/A4 yet.)
Artie
Peaveyologist
The reason I bought the A3/A4 set was a recommendation from Lewguitar for use in a 59 set. (With A4 in the neck.) But I didn't have the 59 set at the time. I have the covered DD 59 set, but they're perfect as they are and I don't want to mess with them.
Now that I've pulled the C5/59 out of the Cort, I may try the A4 in the 59 and try that combo in another axe.
hamerfan
Well-known member
Funny you mentioned it. I got my first set of A4s from Lewguitar.
Artie
Peaveyologist
He loves 'em. Wonder where he went . . . but that's a subject for the off-topic forum.
Clint 55
OH THE DOUBLE THICK GLAZE!
It's common for guys to use A4s to even out the boom. I don't really care for it tho because it's too stark. It will give you an immediate, not sloppy attack though. A3 won't reduce bass in the neck, it will in the bridge because it's weak. It's like a slightly more snappy A2.
big kurka
New member
I’ve tried both the A4 and A3 in my Jazz/pearly gate hybrid in the neck of a Edwards les Paul several years ago. With the A5 the neck was a little to muddy and boomy. Tried the A4 and the muddiness and boominess went away but still had nice lows. With the A3 the lows we’re almost non existent. I couldn’t get the neck to muddy up at all. As for the mids and highs I can’t remember because it was so long ago. The one thing I kinda recall is the A4 sounded Vintage while the A3 sounded modern
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freefrog
Well-known member
IMHO / IME, mags of a "same" alloy can "sound" different according to their effective (measured) Gauss level and to the foundry where they come from BUT I see something logical to me behind your testimonial... In my mind, very schematically, the more gaussed is a mag, the more it will push bass and treble, giving an impression of scooped mids. That's why A5 are constantly described as scooped while electrically, they don't scoop nothing: they are just more sensitive to vibrating strings, especially those under which the mag field is the strongest: low E and high E in a 6 strings instrument ...
A3 being the weakest magnetically and the most "inductive" of AlNi(Co) mags (all other things being equal) it's also the "flatest" / "roundest" in theory when it comes to translate the resonant frequency of a pickup in the EQing curve of a played guitar. And albeit it's one of the oldest magnetic alloys for electric guitar, I understand how its flat EQing influence can be perceived as wide range and therefore as modern.
Now, nothing is never engraved in marble with magnets IMHO: I've found a pair of A4 rather unpleasing in a set of boutique P.A.F. replicas (where this alloy was the only one to cause squealing) while the same pair of A4 made gloriously alive a P90 in another guitar... and there's the idea that vintage A3 has not much in common with mags currently sold as A3 in web shops... Oh well.
WDeeGee : it might sound strange and isn't at all an advice but IME the overwhelming bass of a neck PU can be avoided thx to... a short A5 mag. Short mag = less material = less inductance but also potentially less measured Tesla / Gauss level because under a defined mass and size, mags discharge more easily... So, short A5 degauss "naturally" and can be the recipe of a more balanced sound - also because they shape differently the magnetic field under E strings.
FWIW - Indifferent rambling from an old fart.
frankencat
New member
So all this hubbub and did the OP ever try the a3 or a4 in the Jazz neck?
Ascension
Well-known member
I thought the same when I got my first set of Saturday Night Specials. That was until I got them out live in the first gig. In a full band mix live they floored me and I have since become a huge fan of A4. Had 2sets of the SNS's and a couple other A4 pickups. They really come alive in a real world on stage situation in a way that surprised me. The SNS is now one of my favorite Duncan sets. One thing I have found that A4 has a different response and works better in a set though.
