Re: Samick Torino
I play Chicago blues & classic rock, and have several Epi SG's, so I can help. SG's don't have quite the low end & sustain of an LP, but you can still get a very heavy, powerful tone. PU's will probably sound different in a SG than your Strat. I like warm bridges & bright necks, so that I can use either PU for chords & solos, and it makes it easier to EQ my amp, so that both PU's sound good on the same setting. For our type of music, I find ceramic magnet PU's too bright & harsh, and terrible clean.
There are a few ways to go. Depends on the tone you're after, and if you want to push into distortion sooner. Look at the manufacturer's tone charts & get an idea of EQ.
Bridge:
Low Output - PAF's are the legendary SG sound, like Clapton in Cream. These are clear & articulate when clean, & great with overdrive. Ohms run from 8,000 to 8,500. For a brighter sound with a tight low end, there are good A5 magnet PU's like SD's '59 & Jazz, and DiMarzio's PAF, PAF Classic, Virtual PAF, & Air Classic. For a warmer A2 tone with more mids & a looser low end, SD's Pearly Gates, Seth, and A2P are very popular, along with Gibson's '57 Classics, Burstbucker, or 490T.
Medium Output - DiMarzio has focused on this range and has some nice options, like the Fred, Norton, & Air Norton, all with A5's.
High Output - SD's Custom 5 (A5) and Custon Custom (A2) are popular, as is Gibson's 498T (A5).
Neck:
Most neck HB's are 7,000 to 8,000 ohms, which preserves the treble, to prevent a dull, muddy sound. In a bright wood, or thin-bodied guitar, some players use a PAF bridge HB in the neck (in a fat LP, this often doesn't work). Whether you go low, medium, or high output on the bridge, to get a clear, usable bluesy neck sound, you don't want a hot neck PU.
Neck PU's are usually the matching pair to the low output bridge PU's listed above, like the '59, Jazz, PG, Seth, A2P, Air Classic, Virtual PAF, '57 Classic, Burstbucker, & 490R, and you can pair these in any combination.
You can also get the open single sound by using a SD Phat Cat or Gibson P-94. These work well as a pair, or with one of those in the neck, and a HB in the bridge. There is no reason not to mix magnets too, like a '59N paired with a PGB. Or a JazzN with a CC. Think of what you want for each PU position.
If the PU's you get aren't quite what you wanted, you can dial in their sound with replacement magnets & pots. For instance, I have a Gibson 498T in a SG, that I put in an A4 magnet and 250K pots (on the bridge, 500K's on the neck). Gives it a nice warm & powerful sound. I have a C5 with 250K's, and the stock A5 is fine. On both of these bridge PU's I shaved off some of the high, thin treble, and brought out the mids. If you get a neck PU with an A2 that is just a little too dark, an A3 or A4 magnet may make it perfect. Or you can warm an A5 bridge PU with an A4, A3, or A2. You have a lot of flexibility, so don't immediately give up on a PU and buy another one. The thing to avoid is the classic Gibson mistake of pairing a dark neck PU with a bright bridge (the infamous 490R/498T) and not being able to get an amp EQ that works for both. By the way, those are good PU's when paired with something else, or with a different magnet or two.
Many newbies rush out & get a JB, as its the most promoted hot bridge PU. For some players it works well, for others it has an "icepick" tone and sound like a "dentist's drill." Some guys tame them with 250K's or A2's. Very controversial PU with strong feelings in both the love and hate camps. There are many choices that have higher odds of succeeding for you.
No matter what PU recommendations you get on this forum, its for their guitar, their wood, their amp, and their playing style. Odds are it won't sound the same (and maybe not even close) thru your rig. It comes down to what is best for you, not them.
