Rectoverb 25 Combo vs Roadster Combo

[screamingdaisy]

Back to the topic, how's the stereo rig going? Find anything new? Blow anything up?

Nope. I haven't messed with the stereo idea in awhile. I feel as though I can extract more out of each amp individually than I can when they're used together. Tied together they sound awesome, but I use neither to their full potential due to the requirement to use complimentary tones.

I spent awhile A/Bing the two amps, using one to help define what I liked and then try to find something better on the other. That's what sparked the interest in guitars/pickups... I kind of hit the limits of what I could do with the amps and felt it was the guitar that was holding me back. That was a frustrating revelation because I actually like the sound of that guitar, and it took me awhile to admit that although it sounded great it wasn't optimal for the music I perform.

The McCarty hit the reset button for me. It sounded great and better complimented my playing. I started A/Bing guitars and worked to bring the Les Paul up to scratch.

On that note, I installed the JB in the LP and it sounds great. It's not as meaty as the McCarty and the JB lacks a bit of character, but does it ever scream. I don't think I've played a pickup wound over 9k in about a decade so the JB is a bit like hitting the "easy" button.

The Les Paul/JB combo is a bit thinner and pushing more upper mids while the McCarty is thicker and pushing more low mids, so the two guitars will be complimentary without being redundant. I also like having a high output and low output option as it further separates the guitars.

Long term, I'd like a different guitar for high output screamer and will be on the lookout for a used PRS Custom 22 or 24 with a trem for that purpose. I'm happy with the LP the way it is for now, but ulmately I want it to revert to "vintage rocker".

 

[YellowJacket]

...snip...
BKP at this point is the high dollar option, and I don't want to commit until I have a better idea what I want. At this point asking Tim for a recommendation seems like a waste since I wouldn't even know what to tell him anymore.

It's a decent idea in theory but it is kind of hard to predict what recipe you will like based on ingredients when oftentimes, the outcome is more a synergy of all parts that are used. BKP tend to have their own sort of characteristics which are really different from Seymour Duncan. I find Duncans to be very saturated and 'wooly' sounding while BKP tend to have a far more complex character with exceptional clarity and articulation. The BKP tend to be more multi dimensional with many great tones that can be created with subtle variations to pick attack. They also tend to 'feel' much more dynamic and less 'higher output' because of the clarity.

That being said, it's really hard to find something you want when you don't even know what you are looking for. This I can appreciate. Pretty sure BKP has a 10 day return policy if you order direct so you can always order a set, pop them in, and send them back if they don't work out. So you keep swapping until you find what works.

..snip..

I'm not sure how the hybrid pickups work, but I imagine that if they're using two magnets they're both half size.

The hybrid magnet setup in the Juggernaut Bridge pickup (BKP) has an oversized A5 in the middle with two Ceramic magnets on either side. Three magnets in that beast!! It's rather thick!!

Long term, I'd like a different guitar for high output screamer and will be on the lookout for a used PRS Custom 22 or 24 with a trem for that purpose. I'm happy with the LP the way it is for now, but ultimately I want it to revert to "vintage rocker".

You know, when I put the Rebel Yell / VHII (BKP) combo in my Godin LG, I thought the same thing of my Les Paul. Just wanted to try a Mule / Riff Raff or Mule / Abraxas combo in it just to get that vintage soul. For my high output screamer I went all the way! Redline III with BKP Juggernaut set.

When I was originally going to swap the pickups in my LP I was looking into putting vintage Duncans in it, but someone was selling some BKP used so I pulled the trigger as an experiment. The result blew my mind and it was only a matter of time until I converted all my guitars over.

RE: playing guitars. There is always something that we try which changes how we think about playing. Like me playing on short scale instruments for years until I finally got a shred stick. I mean, I was sold on single cut mahogany body / mahogany neck / rosewood board instruments and I almost bought another one like that. I got the super strat on a lark and I find myself playing that guitar more than the rest. Of course, it was a project instrument and it took a good dollar investment to get it to a point that I would deem it as being 'playable' but once that was done, I think it has been my favourite guitar for the last while.
The LP Standard I have is still my #1 but the other is such a fun instrument to play!

 

[afu]

Screaming Daisy: I'm sure I've talked about it before, but with my JB, I did a spin-a-split. I have a 10k resistor between the 25k SAS's lug 3 and ground to keep the tapped coil from coming all the way back up. Since I have only two pot holes, I used a 470k resistor, from lug 3 of the 500k volume pot to ground, to darken the sound. With this combo, I get more bark and the upper-mid to highs are clearer and less piercing.

Your post about magnet swapping has me itching to try the JB with an A2 in it with regular wiring. I don't know if I will or can get to that, but the itch remains.

 

[screamingdaisy]

It's a decent idea in theory but it is kind of hard to predict what recipe you will like based on ingredients when oftentimes, the outcome is more a synergy of all parts that are used. BKP tend to have their own sort of characteristics which are really different from Seymour Duncan. I find Duncans to be very saturated and 'wooly' sounding while BKP tend to have a far more complex character with exceptional clarity and articulation. The BKP tend to be more multi dimensional with many great tones that can be created with subtle variations to pick attack. They also tend to 'feel' much more dynamic and less 'higher output' because of the clarity.

I posted a thread over on the BKP forum. I tried to articulate what I want but it's hard when I don't know what I want. Part of the problem right now is that I absolutely love this McCarty. It's near perfect for me. So how do I go about saying, "I can't describe my ideal sound to you because it'll wind up sounding like the McCarty, and I already have one of those so I'm going to attempt to provide some vague description of something different that I think I might like."

I do think I want to move away from Duncan. IMO, most of their hotter pickups were designed back in the day for Super-Strats and Seymour is a Tele guy. For far as I know Tim/BKP is a Les Paul guy and he has his ear in this decade.

That being said, it's really hard to find something you want when you don't even know what you are looking for. This I can appreciate. Pretty sure BKP has a 10 day return policy if you order direct so you can always order a set, pop them in, and send them back if they don't work out. So you keep swapping until you find what works.

Do they extend the 10 day thing to overseas buyers?

RE: playing guitars. There is always something that we try which changes how we think about playing. Like me playing on short scale instruments for years until I finally got a shred stick. I mean, I was sold on single cut mahogany body / mahogany neck / rosewood board instruments and I almost bought another one like that. I got the super strat on a lark and I find myself playing that guitar more than the rest. Of course, it was a project instrument and it took a good dollar investment to get it to a point that I would deem it as being 'playable' but once that was done, I think it has been my favourite guitar for the last while.
The LP Standard I have is still my #1 but the other is such a fun instrument to play!

My first guitar was a Fender Strat that I got around 1993. 25" scale, 24 fret, S/S/H, basswood body, Super Distortion in the bridge, Kahler double locking trem. I hated Les Pauls. I thought they were old man's guitars. And then in 2003 I played one. Been playing Les Pauls almost exclusively since 2005 and made the run from Epi to USA to CS. Tried various guitars along the way but none of them stuck. In hindsight I think most were too similar to an LP and didn't offer enough sonic difference for me to bother with them. The reason the Tele caught on with me is because it's 1) awesome, and 2) does things a Les Paul can't.

The McCarty was an eye opener. I still love my Les Paul but I have a hard time seeing myself buying another Gibson.

 

[screamingdaisy]

Screaming Daisy: I'm sure I've talked about it before, but with my JB, I did a spin-a-split. I have a 10k resistor between the 25k SAS's lug 3 and ground to keep the tapped coil from coming all the way back up. Since I have only two pot holes, I used a 470k resistor, from lug 3 of the 500k volume pot to ground, to darken the sound. With this combo, I get more bark and the upper-mid to highs are clearer and less piercing.

I'm generally running the JB with my tone control down around 5. Takes off some sizzle and thickens it up, but also makes the bottom end a little wooly. It's fine for lead since I prefer a looser bottom end, but rhythm gets a bit mushy.

In the end I think it's possible to tame the top end, but I can't add what's missing (low mids).

 

[YellowJacket]

I posted a thread over on the BKP forum. I tried to articulate what I want but it's hard when I don't know what I want. Part of the problem right now is that I absolutely love this McCarty. It's near perfect for me. So how do I go about saying, "I can't describe my ideal sound to you because it'll wind up sounding like the McCarty, and I already have one of those so I'm going to attempt to provide some vague description of something different that I think I might like."

I do think I want to move away from Duncan. IMO, most of their hotter pickups were designed back in the day for Super-Strats and Seymour is a Tele guy. For far as I know Tim/BKP is a Les Paul guy and he has his ear in this decade.

I understand exactly what you are saying. You said you liked what the JB was doing in your R9. Perhaps you're best off thinking about how the JB can be improved. I'll try and address these concerns over at the BKP forum. I'm waiting for some of the other regular guys to chime in as well. The fact that you want to mod an R8 makes things interesting because you don't have the ball of mud neck and thin bridge pickup problem I have to deal with. I suspect your much more tonally balanced guitar won't really want a standard LP solution.

Do they extend the 10 day thing to overseas buyers?

I believe so. You just gotta email Ben French (BKP) about all of this. He's helped me out a lot in my tone quest and his recommendations are always spot on. You should see the covers he recommended for my LP Standard!! (The custom covers are also really awesome, you'll have to look into those as well ^_^ )

My first guitar was a Fender Strat that I got around 1993. 25" scale, 24 fret, S/S/H, basswood body, Super Distortion in the bridge, Kahler double locking trem. I hated Les Pauls. I thought they were old man's guitars. And then in 2003 I played one. Been playing Les Pauls almost exclusively since 2005 and made the run from Epi to USA to CS. Tried various guitars along the way but none of them stuck. In hindsight I think most were too similar to an LP and didn't offer enough sonic difference for me to bother with them. The reason the Tele caught on with me is because it's 1) awesome, and 2) does things a Les Paul can't.

The McCarty was an eye opener. I still love my Les Paul but I have a hard time seeing myself buying another Gibson.

When you have a custom shop LP, you really don't need another Gibson. I've always been of the mind that it is good to have a collection of different guitars that all do different things. I also happen to agree that PRS guitars just sound like the bees knees with Mesa Boogie amps. They're meant for each other, or something.

My favourite setup with my Dual Rectifier is my Godin LG with the BKP Rebel Yell in the bridge. The solid, dense lump of mahogany guitar was always muddy no matter what I did with it. I found the Rebel Yell to be a bit bright and overly focused in the upper mids and harmonics. The LG added an enormous and very open low end which sounds immense.

I'm generally running the JB with my tone control down around 5. Takes off some sizzle and thickens it up, but also makes the bottom end a little wooly. It's fine for lead since I prefer a looser bottom end, but rhythm gets a bit mushy.

In the end I think it's possible to tame the top end, but I can't add what's missing (low mids).

This is what I would start with at the BKP forum. Trying to 'fix' the JB will likely get you to end up where you want to tone wise. That R9 is a unique beast so what gives you the result you want will likely be different than what worked well in my axe.

 

[screamingdaisy]

Perhaps you're best off thinking about how the JB can be improved.

Im looking at experimenting with A2 (more rounded top end, less upper mids, but also a softer bottom and more compression), and with adding a cover (less upper mids, more mid honk, less detail/clarity).

Both options have great potential for lead, but I wonder how they'll impact the rhythm sound? I'm not sure if I want to dedicate the guitar one way or the other, or try to find something that covers both?

(Although when it comes to choosing versatility vs specialization, I usually choose versatility)

When you have a custom shop LP, you really don't need another Gibson.

That was the idea behind buying it. It killed all gas for a long time. I probably saved a fortune buying that guitar.

I've always been of the mind that it is good to have a collection of different guitars that all do different things. I also happen to agree that PRS guitars just sound like the bees knees with Mesa Boogie amps. They're meant for each other, or something.

[/quote]

When I was younger I thought a well rounded collection should have a Strat, Tele, LP and SG, and when I was older I added a 335 to that list. But, as I tried different guitars it just confirmed how much I dug LPs to the point where I eventually stopped wasting money on them and focused on LPs. Up until a few weeks ago I assumed I was an "LP guy" and that I would probably be one of those guys that almost exclusively plays a single axe.

As for PRS, I was told years ago that Mr. Smith had a Boogie in his shop that Santana gave to him, and that amp was used to test all the guitars.

More recently, I read that now tha PRS is making amps that Paul's personal amp is very Boogie-ish.

 

[YellowJacket]

Im looking at experimenting with A2 (more rounded top end, less upper mids, but also a softer bottom and more compression), and with adding a cover (less upper mids, more mid honk, less detail/clarity).

Both options have great potential for lead, but I wonder how they'll impact the rhythm sound? I'm not sure if I want to dedicate the guitar one way or the other, or try to find something that covers both?

(Although when it comes to choosing versatility vs specialization, I usually choose versatility)

A lot of the guys at the duncan forum love swapping parts and customizing pickups. I will say that your experimentation with the JB definitely will give the necessary info to select a pickup that will work well with your guitar.

I agree about versatility as well although versatility means different things to different people. The Juggernaut bridge is surprisingly versatile in that it excels at leads, rhythm, and clean. For a metal-centric high output humbucker, it handles lower gain settings with surprising ease but also with a unrepentant contemporary voice. The pickup sounds very 2010s. A-Bomb is 90s through and through. Rebel Yell is 70s & 90s.

That was the idea behind buying it. It killed all gas for a long time. I probably saved a fortune buying that guitar.

It was like that with a LP Standard for me for awhile. Only when I joined a metal band did I require something a bit different. But I do realize that the CS guitars are on a whole other level. It's like the improvement from Epiphone to Gibson yet again. Had I know this back in the day, I would have also ordered from the CS as well.

When I was younger I thought a well rounded collection should have a Strat, Tele, LP and SG, and when I was older I added a 335 to that list. But, as I tried different guitars it just confirmed how much I dug LPs to the point where I eventually stopped wasting money on them and focused on LPs. Up until a few weeks ago I assumed I was an "LP guy" and that I would probably be one of those guys that almost exclusively plays a single axe.

Yup. You get into a certain 'thing' for awhile but then your tastes change and you want something else. I don't know that I would get another Gibson but I definitely would never get rid of mine!

As for PRS, I was told years ago that Mr. Smith had a Boogie in his shop that Santana gave to him, and that amp was used to test all the guitars.

More recently, I read that now tha PRS is making amps that Paul's personal amp is very Boogie-ish.

I believe this. Perhaps Gibson was testing all their guitars on Marshalls back in the day? I went with a LP because I didn't want the 'generic' faddy PRS into Dual Recto sound that every stinking band had in the late 90s.

Now that I find my LP to sound so iconic, I have loved tweaking Godin guitars with BKP. Great construction and the unique pickup choice gives a unique tone. Also, now DRs are going the way of the buffalo, I don't sound so generic anymore ^_^ :lol:

 

[screamingdaisy]

A lot of the guys at the duncan forum love swapping parts and customizing pickups. I will say that your experimentation with the JB definitely will give the necessary info to select a pickup that will work well with your guitar.

They love swapping parts, but over the years it's become harder to get a straight answer out of them and I think they forget that the average buyer doesn't want to mod pickups, they just wants a recommendation so they can buy something off the shelf.

I agree about versatility as well although versatility means different things to different people. The Juggernaut bridge is surprisingly versatile in that it excels at leads, rhythm, and clean. For a metal-centric high output humbucker, it handles lower gain settings with surprising ease but also with a unrepentant contemporary voice. The pickup sounds very 2010s. A-Bomb is 90s through and through. Rebel Yell is 70s & 90s.

To some people, versatility means compromise. To me, it means not being pigeonholed.

I'll admit that I've overlooked the Juggernaut. I don't like Periphery and the djent sound samples were a turn off. Oddly, they reminded me of Fieldy.

That said, the solo tone on the metal sample was pretty cool and seemed thick (I was listening on my iPad and couldn't get a good feel)

That was the idea behind buying it. It killed all gas for a long time. I probably saved a fortune buying that guitar.

It was like that with a LP Standard for me for awhile. Only when I joined a metal band did I require something a bit different. But I do realize that the CS guitars are on a whole other level. It's like the improvement from Epiphone to Gibson yet again. Had I know this back in the day, I would have also ordered from the CS as well.[/quote]

My buddy paid $15,000 for a trumpet, and that was late 90s money so it's probably 20-30g in todays money. Looking at the costs of other instruments puts some perspective on dropping 5g on a guitar.

Yup. You get into a certain 'thing' for awhile but then your tastes change and you want something else. I don't know that I would get another Gibson but I definitely would never get rid of mine!

I don't think its that my tastes have changed so much as they've expanded. I still have the same preference in sound but I want to take my playing to new territory.

I don't think I'll ever get rid of the R9 and I suspect the McCarty will achieve the same status. The rest are expendable and I see some trades on the horizon. I've been focusing more and more on lead the last couple years. I think one of the reasons I dig this PRS is because it's somewhere between Gibson and shredstick. In that regard the McCarty is awesome, but I'm going to keep an eye open for a PRS that's high output with a trem to compliment it.

I'm also considering a cheap 7 string. Always been curious, but never curious enough to spend the money on one. If I can score a deal on one that may change.

 

[Given To Fly]

I'm also considering a cheap 7 string. Always been curious, but never curious enough to spend the money on one. If I can score a deal on one that may change.

I wholeheartedly support this idea, especially if you are curious about getting one! Are there any that have caught your eye?

 

[screamingdaisy]

I wholeheartedly support this idea, especially if you are curious about getting one! Are there any that have caught your eye?

Over the next year or so I'm going to start grabbing guitars off the store walls to see what's what. In the grand scheme of things a 7 string is pretty low priority for me, but I'm going to keep my eyes open for a suitable used one.

 

[YellowJacket]

They love swapping parts, but over the years it's become harder to get a straight answer out of them and I think they forget that the average buyer doesn't want to mod pickups, they just wants a recommendation so they can buy something off the shelf.

That could get annoying.

To some people, versatility means compromise. To me, it means not being pigeonholed.

So you mean tonal versatility as opposed to functional versatility?

I'll admit that I've overlooked the Juggernaut. I don't like Periphery and the djent sound samples were a turn off. Oddly, they reminded me of Fieldy.

HAHAHA ya, Djent is Fieldy with a TS9 plus complex syncopations. Unlike most not 20 year old dudes, I've actually been listening to a lot of modern stuff. I always like to hear what is current and give it a chance to grow on me. Each piece of art is a potential source of inspiration for me as an artist so I like to keep an open mind.

RE: Djenty samples: Most of the audio I've heard from the Juggerset has been Misha Fanbois copying his approach to playing. TBH, I was turned off by all the samples I heard, even the ones Nolly recorded (Metal sample on the BKP site). The A-Bomb samples were my favourite -by comparison- and I liked anything with a similar voicing to that. (Check out Steve Steven' heavy demo with the Rebel Yell which is also amazing.

Back to the Juggerset, I heard something Rick Graham did https://www.youtube.com/watch?v=6Tq3a2K5J6s and another sample by someone with the username "Jason's Guitar Lounge" which sounds really Dream Theater-y https://www.youtube.com/watch?v=hGFeGtEwcsI .
Beyond that, Misha's review & explanation is what made me interested. https://www.youtube.com/watch?v=s_JgKOjTTqg He's particularly articulate and the way he described the pickups sounded a lot like something that I thought I'd enjoy and would work well with my approach to playing. Furthermore, I know Misha has a super picky ear and in all honestly, he basically pushed TIM at BKP to break pickup design. The result is this bridge pickup that sounds great clean, and for rhythm and leads. And the feel is just spot on. The pickup is very organic and musical -which I like- and it turns really aggressive when pushed.

As for tone, the pickup is not 70s or 90s. Rather, it is very, VERY contemporary and I'd describe it as being very 2010. I wanted to try something drastically different than the usual fair so I went for it and I was really blown away. Unfortunately, I like how it sounds with the Mark V and Electra Dyne best and you just traded your Mark Five. =-o
To describe the tone, if you listen to a few clips, you'll hear that it always has this hollow mid character with this purring top end. Someone described it as being a 'ripped speaker' sort of a tone. So it's really hard to say if you'll get on with it.
The A-Bomb has the hair / mid complexity that you are talking about. I'm just a bit nervous about the treble and the low mids. Thinking that your R9 -vs my standard- will have less low mids and more top which may not be the direction you want to go. But knowing that you play a Roadster makes me think that it may just work. Furthermore, the A-Bomb really sounds like what you are describing: 90s through the Roadster and 70s through the Electra Dyne.

What you can do as a test: Listen to that track I sent you at the BKP forum, the 4 guitars unplugged one. The second guitar recorded is my LP Standard and you can hear that it is quite resonant and balanced with plenty of weight in the mids. If your R9 sounds similar, the A-Bomb will probably work really well in that instrument.

Someone at BKP PM'd me and suggested maybe an Alnico Warpig LOL! He thinks you wouldn't like a Holy Diver because of your issues with the JB.

That said, the solo tone on the metal sample was pretty cool and seemed thick (I was listening on my iPad and couldn't get a good feel)

The lead is so buttery and it positively howls. It's a great match for a Mark V since it really tames the brightness =-p
The Juggerneck is a great pickup because it is essentially a modded VHII neck pickup. It does do well for shreds but it also can handle lower gain really well, as demonstrated in Misha's demo video. Beyond that, a Juggerset will yield some wonderful contemporary clean tones.

RE: the Juggernaut, listen to the two recordings I sent you of it. There is one with the Electra Dyne and one with the Dual Rectifier. Both will give you a very good idea of how the pickup is voiced and it will probably help you make a good decision. Keep in mind that in my band, we don't Djent so I'm not trying to copy Misha's tone. The only caveat here is that you do hear the tone of my guitar as well. Apparently BKP are quite transparent and you really hear the instrument through the pickups.

My buddy paid $15,000 for a trumpet, and that was late 90s money so it's probably 20-30g in todays money. Looking at the costs of other instruments puts some perspective on dropping 5g on a guitar.

HAHA! Ya, a new Cello is 20k Totally ridiculous!

I don't think its that my tastes have changed so much as they've expanded. I still have the same preference in sound but I want to take my playing to new territory.

This I totally get. I was pleased as punch with my Electra Dyne until I joined a metal band. Then the GAS started all over again.

I don't think I'll ever get rid of the R9 and I suspect the McCarty will achieve the same status. The rest are expendable and I see some trades on the horizon. I've been focusing more and more on lead the last couple years. I think one of the reasons I dig this PRS is because it's somewhere between Gibson and shredstick. In that regard the McCarty is awesome, but I'm going to keep an eye open for a PRS that's high output with a trem to compliment it.

I'm also considering a cheap 7 string. Always been curious, but never curious enough to spend the money on one. If I can score a deal on one that may change.

I definitely want a 7 string sometime soon. I'd like a bare bones guitar that I can dump Juggernaut 7 string set into with camo covers <3

 

[screamingdaisy]

To some people, versatility means compromise. To me, it means not being pigeonholed.

So you mean tonal versatility as opposed to functional versatility?

I don't know what I mean. I did when I wrote it, but the moment has passed and the more I think about it the less sure I am of my answer.

I'll admit that I've overlooked the Juggernaut. I don't like Periphery and the djent sound samples were a turn off. Oddly, they reminded me of Fieldy.

HAHAHA ya, Djent is Fieldy with a TS9 plus complex syncopations. Unlike most not 20 year old dudes, I've actually been listening to a lot of modern stuff. I always like to hear what is current and give it a chance to grow on me. Each piece of art is a potential source of inspiration for me as an artist so I like to keep an open mind.

I don't typically get into progressive bands. I prefer things more straightforward. More Meshuggah, less Periphery.

 

[screamingdaisy]

I tried recording my guitars acoustically with my iPhone. The results were generally terrible so I'm going to redo them tomorrow with a proper mic. I'm posting the results anyway as I feel they show why that McCarty has my attention.

https://www.dropbox.com/s/3y92u35olp1m4wm/Guitar%20Test.m4a?dl=0

Telecaster
Les Paul R9
Les Paul
McCarty
Custom 22 Semi-Hollow (SE)

 

[YellowJacket]

Ya. The I-Phone mostly picked up the highs so it is a bit difficult to hear the body of the sound.

As far as I can tell, the Les Paul sounds closer to my Standard than the R9 does, but a proper recording with a condenser mic may reveal otherwise. The McCarty seems to have this huge body and ring to the sound. I don't know if the McCarty is reflective of all PRS guitars and it seems like you have a real Gem there.

 

[screamingdaisy]

Now, in Technicolor;

https://dl.dropboxusercontent.com/u/37532735/Forum%20Stuff/Electric%20Guitar%20Accoustic%20Test.mp3

I changed the order up. I wanted the R9 to be better compared to the other LP and the McCarty rather than the Tele. The reason some of the clips cut in is I'm not very good at punching in and kept loosing the attack. I gotta work on that....

00:00 - Telecaster
00:29 - Les Paul
00:55 - R9
01:20 - McCarty
01:49 - Cu22 Semi-Hollow (with tape over sound hole)

The McCarty seems to have this huge body and ring to the sound. I don't know if the McCarty is reflective of all PRS guitars and it seems like you have a real Gem there.

Interestingly, the McCarty recorded about 3dB louder than than the LPs and Tele. The Semi-Hollow recorded the loudest, but it has an unfair advantage over the solid bodies. I mostly recorded it for curiosities sake.

 

[YellowJacket]

To people who don't think that tonewoods make a difference, they should listen to this clip.

Mic position, model, and technique aside, your LP Standard sounds a lot like mine. It is resonant but you can hear how it is a bit more dead and dull in the lows. It also have more bottom end and low mids. It also has a twangy character to the high mids and treble giving it more of a scooped voice overall.

The R9 is very balanced, open, and resonant as you have said. I find the treble and upper mids to be less present as is the low mids / mud. The low end is there but it isn't quite as thick and boomy as with the LP Standard. It really rings and has a pile of 'air', 'ring', and body to the sound. You can tell this is a premium instrument made with the best tonewoods available.

The McCarty just rings like a mother. It has more of a strat type tone compared to both LPs and it has a huge and open bottom end. It sounds like this was also a superbly crafted instrument with the best tonewoods.

I'd say all your guitars are quite resonant and none is as warm, and boomy sounding as my LG is. Given that the BKP Alnico Nailbomb is quite a balanced sounding pickup, I suspect it could work in your LP. What do you like in a neck pickup? BKP has some fantastic options and I particularly like the VHII.

My Four Guitars recording for reference: https://www.dropbox.com/s/96wzzxt7o4amnz3/Four%20Guitars%20unplugged.mp3?dl=0

1) Godin LG

2) Gibson LP

3) Godin Redline II (superstrat)

4) Peavey Predator AX (Strat copy) for reference.

 

[screamingdaisy]

The neck I'm going to take some time to think about.

And since i had the mic setup, I threw it in front of my cab and hit record:

https://dl.dropboxusercontent.com/u/37532735/Forum%20Stuff/Hoof%20Riff.mp3

 

[YellowJacket]

Is this the R9 with the JB? How close is this to your desired tone? What mic are you using?

Can you try recording the track twice and panning 75% L & R?

 

[screamingdaisy]

Is this the R8 with the JB? How close is this to your desired tone? What mic are you using?

Can you try recording the track twice and panning 75% L & R?

Custom 22 Semi-Hollow on the neck pickup. While it's "a" desired tone it's not "the" desired tone we were discussing. Yesterday I traded my SG, so once I was done those other recordings I started jamming on the new guitar and that tone came out, so I hit record and photographed the settings.

Sennheiser E906.

Before I redo anything I need to figure out out to program the click track better.