Maximusgordon 2.0 said:EMG's definently serve there purpose and if i was a strictly rythmn metal player i would use the 81/60 combo without even batting an eye. They are very clear, tight , and loud. The 81 is a nasty SOB! But when it comes to leads, thats were the trouble for me. Great sustain, harmonics, and burning tone... But very unresponsive to the touch and way to compressed and yes sterile, when you bend a note you get none of the harmonic subelty that brings the sound to life, none of that for lack of a better word "life".
However, some players have somewhat of a remedy for this. Think of the best lead sounds youve heard with 81's... ok so what do Kirk Hammet and Zakk Wylde have in common... They almost always have a wah when they play lead, Zakk Wylde finds the "sweet spot" and leaves it there and Hammet just goes nuts.
In regards to David Gilmour's tone, the classic Floyd tones are not done with EMG's...
Actually the DG setup is not more a signature set than the JB is a Jeff Beck signature.Benjy_26 said:I never use a wah, or any other effects for that matter, and I regularly get compliments on my EMG loaded strat's tones.
I get as much of my touch coming through the EMG's as with any other passive pickup I've tried (Duncans, Dimarzios, Rio Grande's, etc...).
You're right about the early Floyd stuff not being EMG's, but I'll be damned if Mr. Gilmour's signature pickup set doesn't sound beautiful.![]()
Not even close.Erlend_G said:Hey GZeus, are you talking about the Mastertone SPA's?
*checking the link*
Didnt find it, well i hope i was rigth?
Hehe
-Erlend
Skarekrough said:In 1992 I installed EMGs into my fave Telecaster. I was (and still am) primarily a blues player and I was intrigued with the idea that I wouldn't have to deal with 60 cycle hum anymore.
Slowly over the course of about six months after the install I played that Telecaster less and less. Finally it came to the point where it went into its case and maybe once or twice a year it would come out, get new strings and I would wonder why I wasn't playing it.
Then I'd plug it in and remember why.
...and then it would go back into its case.
About a year ago I attempted to record with it. It just sounded terrible...no soul, no heart, no tone, no life to them at all.
This past Fall I decided it was sink or swim with the guitar, but it deserved one more chance. I hit a local shop and bough a Little 59' bridge and a Vintage Stack for the neck and all the necessary pots, switches and caps. I had a local Mom and Pop shop down the street wire it up for me as I was short on time.
When I came in the door one of the guys that worked at the shop wanted to buy the guitar outright from me. Once I got a chance to plug it in I knew why; that guitar was a serious tone monster! It sounded EXACTLY like what a good Telecaster should sound like.
The EMGs made the guitar sound like what someones half-assed approximation of what a Tele should sound like. Even an unwholly-true vintage set of pickups breathed life into an instrument that sat dormant for almost a decade.
I've had the experience to back it up. EMGs are more worthless than a used condom. I lost ten years of playing a fantastic sounding guitar because I actually believed that EMGs were worth more than pocket lint.
The metal kids seem to do well with them...and more power to them if it works for them. But for my uses they're tone-sucking garbage that are best relegated to a trash bin than actually installed in an instrument you believe may actually have some positive tonal qualities to it.
I've had the experience to back it up. EMGs are more worthless than a used condom. I lost ten years of playing a fantastic sounding guitar because I actually believed that EMGs were worth more than pocket lint.
EMGs are sterile and completely artificial sounding. :laugh2:ranalli said:People that say EMGs are sterile, or are completely artificial sounding don't really know what they're talking about.
Skarekrough said:In 1992 I installed EMGs into my fave Telecaster. I was (and still am) primarily a blues player and I was intrigued with the idea that I wouldn't have to deal with 60 cycle hum anymore.
Slowly over the course of about six months after the install I played that Telecaster less and less. Finally it came to the point where it went into its case and maybe once or twice a year it would come out, get new strings and I would wonder why I wasn't playing it.
Then I'd plug it in and remember why.
...and then it would go back into its case.
About a year ago I attempted to record with it. It just sounded terrible...no soul, no heart, no tone, no life to them at all.
This past Fall I decided it was sink or swim with the guitar, but it deserved one more chance. I hit a local shop and bough a Little 59' bridge and a Vintage Stack for the neck and all the necessary pots, switches and caps. I had a local Mom and Pop shop down the street wire it up for me as I was short on time.
When I came in the door one of the guys that worked at the shop wanted to buy the guitar outright from me. Once I got a chance to plug it in I knew why; that guitar was a serious tone monster! It sounded EXACTLY like what a good Telecaster should sound like.
The EMGs made the guitar sound like what someones half-assed approximation of what a Tele should sound like. Even an unwholly-true vintage set of pickups breathed life into an instrument that sat dormant for almost a decade.
I've had the experience to back it up. EMGs are more worthless than a used condom. I lost ten years of playing a fantastic sounding guitar because I actually believed that EMGs were worth more than pocket lint.
The metal kids seem to do well with them...and more power to them if it works for them. But for my uses they're tone-sucking garbage that are best relegated to a trash bin than actually installed in an instrument you believe may actually have some positive tonal qualities to it.
Actually, a 2" tape is infinitely more accurate than digital.MikeRocker said:EMGs are sterile and completely artificial sounding. :laugh2:
In my opinion, it's true. I just don't think that batteries belong in guitars. Regular passive pickups just sound too damn good. EMGs make me think of the 80s, when guys had racks full of preamps and power amps and enough effects boxes to launch the space shuttle. I also know for a fact that Seymour doesn't like active pickups either (I asked him). Maybe it's the equivalent of recording formats - a lot of people say that digital sounds sterile, but digital formats reproduce exactly what's put into them, while analog tape imparts a sound. Analog has a way of rounding off the harsh edges and it sounds great when it's really saturated. A lot of people these days will record onto 2" for the sound and then dump it right into Pro Tools, or record into Pro Tools and then send the tracks tracks out to 2", then back to Pro Tools, essentially using the 2" machine as an EQ. Maybe EMGs are just flat, and reproduce everything, hence sounding hi-fi and sterile. Whatever the reason, I just like the way good magnets and wire sound, nice and high impedence-y, with all the grit and soul they impart.
Friends don't let friends play active pickups. :nono:
TheProphet said:An EMG thread and Screaming Daisy hasn't posted?
Personally I think some of the bad rep about EMG's is due to a common problem with guitarists. We get a piece of equipment and never fully take the time to mess with it and try to get the best out of it. If it doesn't adapt to our ideas of 'tone' fast enough we get sick of it and denounce it using somewhat questionable statements. I've suffered from this ... I think we owe it to ourselves to spend more time tweaking new equipment until we find the spot were it works for us. There's been lots of times I've seen people regard pickups as being junk, when they never bothered with shifting their EQ around. Meh I digress
A battery, from the moment you use it, is loosing its charge, think of a rollercoaster....when you insert a fresh battery, your at the top of the first hill...the rest of the time you use it its all downhill from there as far as charge is concerned......Having said that...imagine if your doing tracks in the studio, not on the same consecutive days, imagine how the tracks will have a slightly different sound, even though you used the same settings.