JeffB
Let it B
I tell ya-at first I did not like them. They are SUPER full- almost too muddy in the mids like a (ceramic) Custom can get- the highs are awesome- great BWANG and that sizzle/cut is just incredible for an A2 pickup, but the low strings are a little tubby/muddy- it's almost (but not quite) like a half cocked wah sound. I'm sure a better set of pots/wiring/caps would prolly help to round out the low strings, but after MUCH (6 hours worth) fiddling with the height, polepieces, and different strings, and approaching the EQ on my amp differently I got them pretty well worked out.
All that said- I think alot the "issue" I'm having is that I think playing a Alder/maple board Nitro finished strat with vintage wind singles for nearly 2 years exclusively has also "colored" my ears-EVERYTHING is gonna sound muddy in the lower registers compared to that- especially a Les Paul with A2 pickups.
The bridge is the most aggressive PAF type I've ever heard/owned (I've played PG bridge pickups many years ago, but never in my own rig/guitar) but make no mistake- the aggressive nature is in a good way. It almost fools you into thinking it's a 14K wind cos it's so aggressive. You know those players who have that gain sound thats totally on the edge of meltdown? Like it's barely under control and the player has to keep the guitar reigned in? Kinda like a Dragster? Like old Gary Moore? Randy Rhoads' Creme Custom?? Even Doug Aldrich? THATS what the PG bridge sounds/feels like through the Marshall 800 model on my VT15. Its not quite articulate enough for Iron Maiden type stuff (to do it well, anyway) but for that gained out PAF nearly out of control hard rock tone- its totally there. Pinch harmonics & overtones are nuts- and it cries/sings like a JB without any of the harshness. Through the Fender Tweed Deluxe model on the VT15 it is absolutely BANG ON early 70's era Gibbons (Tush). I can only imagine with some real volume this thing would sustain incredibly well and really open up. Unfortunately I just cannot get that kind of volume in my condo without a visit from the local constable
The Neck: that was tough to dial in too. It doesn't sound as bold or sweet as it did in my V- likely cos of the different construction and maple cap, but I did get it to "useable". Its still great for higher up on the board- slash type tones, or even a Tony Iommi type sound. The clean/bluesy tones are growing on me. I need to tweak a bit more I think. I'll say this: pinch harmonics are pretty nuts on the neck pup too. NEVER had a neck pickup that pinches so well/easily. I'm really glad I didn't go with an Alnico II Pro, cos that would totally be mud. A 59 would have been over the top boom as the PG is already bordering on too much bass, though the highs and mids of a 59N would prolly be perfect. In fact I think a 59 bridge would work out phenomenally in this guitar too.
Overall pretty happenin' tones. Don't know if I'll keep them in here permanently, but I'm groovin on the unique nature of these things, and anytime a guitar's tones open the Guitarist up to approaching his playing in a different way or style (like the strat did for me) - thats a good thing.
They went in this guitar
All that said- I think alot the "issue" I'm having is that I think playing a Alder/maple board Nitro finished strat with vintage wind singles for nearly 2 years exclusively has also "colored" my ears-EVERYTHING is gonna sound muddy in the lower registers compared to that- especially a Les Paul with A2 pickups.
The bridge is the most aggressive PAF type I've ever heard/owned (I've played PG bridge pickups many years ago, but never in my own rig/guitar) but make no mistake- the aggressive nature is in a good way. It almost fools you into thinking it's a 14K wind cos it's so aggressive. You know those players who have that gain sound thats totally on the edge of meltdown? Like it's barely under control and the player has to keep the guitar reigned in? Kinda like a Dragster? Like old Gary Moore? Randy Rhoads' Creme Custom?? Even Doug Aldrich? THATS what the PG bridge sounds/feels like through the Marshall 800 model on my VT15. Its not quite articulate enough for Iron Maiden type stuff (to do it well, anyway) but for that gained out PAF nearly out of control hard rock tone- its totally there. Pinch harmonics & overtones are nuts- and it cries/sings like a JB without any of the harshness. Through the Fender Tweed Deluxe model on the VT15 it is absolutely BANG ON early 70's era Gibbons (Tush). I can only imagine with some real volume this thing would sustain incredibly well and really open up. Unfortunately I just cannot get that kind of volume in my condo without a visit from the local constable
The Neck: that was tough to dial in too. It doesn't sound as bold or sweet as it did in my V- likely cos of the different construction and maple cap, but I did get it to "useable". Its still great for higher up on the board- slash type tones, or even a Tony Iommi type sound. The clean/bluesy tones are growing on me. I need to tweak a bit more I think. I'll say this: pinch harmonics are pretty nuts on the neck pup too. NEVER had a neck pickup that pinches so well/easily. I'm really glad I didn't go with an Alnico II Pro, cos that would totally be mud. A 59 would have been over the top boom as the PG is already bordering on too much bass, though the highs and mids of a 59N would prolly be perfect. In fact I think a 59 bridge would work out phenomenally in this guitar too.
Overall pretty happenin' tones. Don't know if I'll keep them in here permanently, but I'm groovin on the unique nature of these things, and anytime a guitar's tones open the Guitarist up to approaching his playing in a different way or style (like the strat did for me) - thats a good thing.
They went in this guitar
Last edited:
