Re: Custom vs Custom 8 thoughts?
And, I will add...please treat each other with respect here. You can easily put each other on ignore or not come back to this thread. We are not going to argue here, right?
Thats kind of my point. Joey says he has very little tolerance for whatever it is that caused the escalation in rhetoric. As with most things in life, "who started it" is irrelevant. We all are responsible for our behavior at every step of escalation.
So, are you going to tell us who you are? This forum has had its share of knowledgeable yet confrontational keyboard warriors in the past and it always brings everybody down here. You also seem to suggest you're quoting me at the end of your post, I have no idea from where you're quoting me or in what context, but it implies some level of engagement. If you're a previously banned member then please for the love of all things magnetic, tell us now and save us the drama.
If you're truly a brand new member, who just happened upon this forum (which is difficult to rectify with your self described low tolerance level for these types of exchanges) then welcome.
As for DCR and output, the (obvious) general consensus is that all other things equal, DCR relates to output under the implication that it correlates directly to more turns of wire. For example the 59 neck and bridge, Jazz & Alnico 2 Pro neck and bridge...the bridge pickups are louder. And not for nothing, sometimes Dimarzio's mV test method gets called into question. If I remember correctly it's an individual A string being plucked, which makes it plausible that pickups with resonance at or near harmonic multiples of A could show a slight increase in output under that test vs a model whose resonance is atonally related to A.
As a PSA, one thing that is probably a myth in practice is the notion that if you have 2 pickups that are supposed to be the same, like 2 JB's, and one reads higher than the other, many assume that one is louder. They pick the higher number as though it means more turns of wire were "accidentally" added, or under the false notion that DCR in isolation does correlate to output. The reality is, if the quality control is such that we
know the turn counts are equal between the two, it could mean the wire on the higher DCR is on the thin side of tolerance, or has been stretched under tension. In that case the lower DCR could be the louder one. But this is counterintuitive to the vintage Gibson understanding, that higher DCR's correlated to the winder taking more time to disengage the clutch.