Yeah, the naming convention for that particular setting is perhaps a bit misleading--or at the very least, it doesn't quite describe what's going on. From a wiring standpoint, it's very similar to the regular out-of-phase setup--see www.premierguitar.com/pro-advice/mod-garage-adding-an-out-of-phase-switch-to-a-telecaster --but with a capacitor in place of the jumper cable. I kind of like this explanation: "When people say Half Out of Phase, they generally mean some arrangement with a capacitor so that only the higher frequencies from the one pickup get flipped and the low end stays in phase." Source guitarnuts2.proboards.com/thread/9909/out-phase-half And some other references (in case they're helpful): www.premierguitar.com/diy/mod-garage/bill-lawrence-5-way-telecaster-wiring www.tdpri.com/threads/about-that-half-out-of-phase-capacitor.1051078/ The resulting sound is somewhat reminiscent the regular out-of-phase sound but with less low-end loss. Sort of it's own unique thing though. Reminds me ever-so-slightly of the 2 and 4 positions on a strat 5-way switch.

Thanks for your kind words. Yeah, I'd only stumbled on that a few years ago after having already tried in phase and out of phase. I could find relatively few videos demoing all three (which is what I wanted to hear), so I figured I'd make one for anyone else wondering how all three sounds compared. A couple of nice articles involving "1/2-out-of-phase" wiring from Premier Guitar in case you're interested: www.premierguitar.com/diy/mod-garage/bill-lawrence-5-way-telecaster-wiring www.premierguitar.com/diy/mod-garage/out-of-phase-pickups

Nice! Yeah, the Penco guitars (along with a lot of other Japanese knockoffs from the 70's) can be nice, but it seems like I see most folks swap out the tuners. They were already replaced with Grovers by the time I got this one, so the previous owner saved me the trouble. 😄 You're not kidding on the weight. No idea how it compares to a real LP since I've never owned one, but it surprised me how heavy this one was. I did like the sound of that neck pickup. Pretty sure the bridge was one of the older DiMarzio PAF's after further investigation--I ended up selling that pickup off too quickly and for too cheap not knowing what it was. Oh well. You live and learn.

Hey there! Thanks for your kind words. Glad you enjoyed it, and I hope it was helpful to you. I can't seem to find the exact wiring schematic I used, and a family member currently has the guitar in this video, but thinking back, I believe it was closest to this... www.seymourduncan.com/images/wiring-diagrams/2H_3G_2VppSP_2T.jpg ...with a color-code swap from Seymour Duncan to DiMarzio found here: www.seymourduncan.com/blog/latest-updates/humbucker-wire-color-translation Then I used a push pot on the tone for phase reversal as explained here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-INv9ZOVPNZs.html If I recall correctly, this was all "modern wiring" vs. "50's wiring" as explained here: www.fralinpickups.com/2020/03/01/50s-wiring-vs-modern-wiring/ I know that's a lot of stuff to kind of "amalgamate" if you will. If you're comfy with a soldering iron and pickup wiring, it's probably no big deal for you, but it took me a little while to wrap my own head around, so feel free to ask further questions as needed.

Hm... Hard to say. The Super distortion has a hair more output but also more bass, slightly more low mid, slightly less high mid, and more treble (if DiMarzio's EQ curves are accurate). Unfortunately, I no longer have both sets of pickups to try a direct comparison--nothing wrong with either of them--just needed to do a bit of a "gear purge" a few years back for various reasons. 😅 Having said that, I had the Crunch Lab in the guitar show in this video and the Super Distortion in a Japanese Les Paul Penco copy from the 70's, and while different guitars (with different scale lengths, tone woods, etc.) can make difference in the perceived sound of a given pickup, the EQ curves seem to line up with what I remember. The Crunch Lab seemed to have a more, tight, mid-range-focused sound while the Super Distortion had a somewhat looser low end (but not in a bad way imho) and yet ever-so-slightly-more sharp on the high-end (to my ears anyway). Anecdotally, I've heard folks talk about how the Super Distortion tends to be a little less "picky" about what guitar you put it in (i.e. it goes well with various tone woods, scale lengths, etc.). I've also seen some complain about the Crunch Lab sounding a bit too "clinical" or "unexciting" on its own because of the mid-range focus but sitting nicely in a band mix because of this same property. I could see that. Personally, I liked them both for different reasons. If you play really tight modern metal, the Super Distortion might be a little too flubby on the low-end (and the Crunch Lab might do a better job out of the box), but then again, you can adjust a lot of that with amps and effects. But if you play classic hard rock/metal, I feel like the Super Distortion does that crazy-well! Plus, you could also wire up a parallel switch if you need less power and more high end from a Super Distortion. I wonder how each one would balance with that warm pickup in your PRS? A user by the name of "phacorrea" seems to have liked the Crunch Lab in their SE Custom 24, but I'm not sure of the differences between the standard and the custom. See forums.prsguitars.com/threads/dimarzio-crunch-lab-liquifire.14116/ In the end, you probably couldn't go wrong with either.

Absolutely. Fun to add just a little "hair" onto the tone at the flick of a switch. 😁

You know, I've never tried the HFH, but I've speculated over what it might sound like in the neck as I tend to favor brighter neck pickups. It does look like the EJ neck and the HFH would cover pretty similar territory with all other variables being the same. How did you go about the cap switching--something like a rotary/varitone kind of setup? Thanks for your kind words, by the way. I'm glad the video was helpful to you. 🙂

@@guidrummer1 Varitone concept, but with just a DPDT switch (with middle off position). If I throw it one way, one capacitor is put across the pickup. If I throw it the other way, that same capacitor plus another one in parallel is activated. One of these days I will look into a push-pull volume pot with integrated DPDT to have it all in one place. CTS makes them; I've always known about them.

​@@kazkylheku1221Cool idea. I may have to experiment with something similar sometime.

Yeah, they're pretty awesome pickups for sure!

Yeah, I think that neck pickup was original. I liked the sound of it. Shame the bridge pickup wasn't didn't come with it. I'm guessing the bridge pickup that was in it when I bought it was one of the older DiMarzio PAF pickups.

Hi there. I didn't use a 5-way switch, but here's an article from Premier Guitar that I pulled inspiration from, and they DO use a 5-way switch. www.premierguitar.com/diy/mod-garage/bill-lawrence-5-way-telecaster-wiring -- but note: this wiring adds "half out of phase" at position 4 and "neck pickup with 10% less low end" at position 5. They don't include the option of the "regular" out of phase sound here. I've also seen some people add an out of phase sound and also the bridge and neck in series (instead of parallel), but that's normally done with a 5-way "super switch" or some other extra switches added. See here for example: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-joM4Q7ji5dE.html Instead, I ended up using two mini switches--one to sort of "turn on" the out-of-phase options and another to switch between out of phase and half out of phase (i.e. by either using a capacitor or bypassing it). There's a schematic around 2:52 on the video that shows this. I'm not sure about the 4-way switch option--would have to think on that. See also: www.wildepickups.com/pages/tele-neck-for-half-out-of-phase-sound-wiring-diagram Feel free to ask other questions

Hi there, Great question! The inspiration from this wiring came from my use of Seymour Duncan Triple Shots and P-Rails on a different guitar, so I wired it something like this diagram from Seymour Duncan (just using dpdt toggles instead of push-pull pots): www.seymourduncan.com/images/wiring-diagrams/2PRail_3G_1VppSPL_1TppSPL.jpg Keep in mind that the pickups used in this demo are DiMarzios and, therefore, have different wiring color codes than the Seymour Duncans in the diagram above do. To translate the wire colors appropriately, I consulted this page: www.seymourduncan.com/blog/latest-updates/humbucker-wire-color-translation Feel free to ask if you have any other questions.

@@guidrummer1 Thank you so much. I love what you did with your pickups. The Prail wiring diagram is perfect. Thank you again.

@@jamesnemenyi No problem! Glad you enjoyed it. Good luck wiring your pickups! 🎸

Thanks for calling that out, they went OOS/sold out while I was watching this video.

@@carlkerkman7028 Darn it! And I was eager to tell you there's also a "MARCH15" promo code for an additional 15% off. 😖

Saw that the other day. It's a steal at that price!

​@@guidrummer1 Was. It's sold out now, and discountinued. Well, no surprise there; the huge price drop was a big hint.

@@sinocelt Yeah, I figured it might not be long before it sold out with the price being so low. Shame to hear it's discontinued though. 🙄

Thanks for your kind words. Glad you enjoyed it!

​@@guidrummer1 after watching this video I ordered EJ CUstom neck for my tele-style project guitar. Will pair it with Chopper T in the bridge. But I am in doubts about wiring the tele middle position (both pickups). EJ Custom is really bright by its own already, so I am thinking - should I treat it just as single coil in terms of tone, or should I use only one coil for pairing it with the bridge pickup. Would love to hear your opinion based on your experience with EJ pickups.

​@@SergeiVlassov Good question there. First, I should put the disclaimer that I've never tried the chopper T myself (though I've heard good things), so I'm left to just look at the specs online and/or listen to some demos to get an idea of how it would play with an EJ Custom neck. Also, as you rightly said, this is all just my opinion so YMMV. You're right: the EJ is really bright for a humbucker--even in full (series) humbucker mode which I tend to like in neck pickups (having grown up on a bunch of strats and teles). In terms of EQ, I wouldn't be opposed to pairing it with a hot single (or single-sized humbucker) provided that the output level was satisfying to play with in each position. On that note, I tend to prefer the "perceived" output in each position to be relatively close, but not everyone does, so you may want to take that into consideration as well. (I say "perceived" output because there are some pickups that seem to me to have a difference in volume just because of extreme differences in their EQ/voicing when actually their overall output level on paper is the same.) I tend to perceive a volume drop on many tele neck pickups, and that tends to bother me for whatever reason (just personal preference for feel and sound, I guess). BUT if you like that on a normal tele, you might want to split the EJ neck and just use one of the coils as you suggested. Keep in mind that if you don't also split the chopper T and pair its RWRP coil with the EJ's coil, then you may introduce some 60-cycle hum. But if you do also split the chopper, that may result in a larger volume-drop. Conversely, if you do NOT like the volume drop of a regular tele neck (relative to the bridge), you may want to leave the EJ in series humbucker mode. Now, all of this was specifically for the middle position as you indicated, so it might take some experimentation (i.e. trying out a few different wirings) to figure out what you like the feel/sound of best in that position. I know that's not always what we want to hear since it's a bit of a pain to wire and rewire things, but it may be your best option since we all have our own personal preferences. As an interesting side note, looking at the EQ for the EJ Custom and the Twang King (which is paired with the Chopper T in the Richie Kotzen tele) indicates that they aren't all that dissimilar EQ-wise. Granted the EJ is a humbucker and has a decent amount more output than the Twang King, so they would still sound somewhat different, but it may be an indicator that the chopper and EJ will play nicely together. Again YMMV. Good luck with your tele project!

@@guidrummer1 Thank you very much for such detailed response! Yes, I hate soldering process in confined conditions like in guitars :) So I am trying to reduce the amount of attempts in advance. Your response helps me to reduce the number of options I need to try.

@@SergeiVlassov Yeah, that's fair. I can get pretty aggravated with soldering in small guitar control cavities myself. Ha ha!

Hi Brad! Great question! I guess I should preface my response by saying that anytime there is a discussion of the output of a pickup, how much that affects the tone vs. how much the tonewood or other factors are involved, etc. you'll get some wildly varying opinions (some more scientific than others). In that vein, I have to admit that my own comments here are also based on my own preferences, limited personal experience, and some online "research" (I use that term lightly ;-) ); so, take all of this with a grain of salt. Second, I can't really make a recommendation on what will sound good to you in your guitar using your rig since a lot of this is personal preference based on our own perceptions of what sounds good to us as individuals. However, I can share my experience and why I used the EJ Customs in this guitar. With that out of the way, let's take a look at your question: "if I like the sound of my guitar unplugged, tone and feel, does that lend to a preference of a low output clean pickup?" The short answer is "maybe"--I've seen some claim that lower-output pickups tend to allow the natrual (acoustic) character of a guitar to come through more than, say, a high-output pickup--see the third post down (from bananafist on Oct 8, 2014) here for example: www.tdpri.com/threads/low-output-pickups.516278/ Having said that, it's worth mentioning that, for better or for worse, a pickup's voicing can either compensate for something that is "missing" in the acoustic sound of the guitar OR they can exaggerate some of the natural sound of the guitar. Seymour Duncan has a nice post on that here: www.seymourduncan.com/blog/latest-updates/choosing-pickups-to-match-your-guitars-wood. Therefore, you may want to take that into consideration when landing on a specific pickup choice for your guitar (in addition to the output level). Other things to consider are potentiometer (pot) values. I used 500k CTS pots all around in the guitar in this video. Capacitor (cap) values are another thing to consider--I don't recall what value I used for this demo. I think they were .022uF since that's fairly common. The EJ's, in my opinion, are low in ouput but fairly bright and pretty light on bass/low-end, and that's actually what drew me to them. Context: I grew up playing a lot of Fenders teles and strats (both pretty bright thanks to the single coils and woods used amongst many other things), and playing the neck pickup I originally had in the LP-style guitar in this video left me craving something a little brigher/less bassy. That's purely personal preference on my part as I tend to gravitate toward the sound of strat neck pickups. I liked the neck pickup enough that I ended up getting another EJ Custom bridge second hand and popping it in the same guitar. (For the record, I previously had GFS dream 180's in the guitar. I like that pickup in the bridge but not so much in the neck.) As a general rule, I also tend to prefer low-to-medium output pickups like the EJ Customs since they don't overdrive an amp too quickly. This makes it easier for me to get what I consider to be a "nice" clean tone. The exception to this rule would probably be the Dimarzio Super Distortion and Super II set I demoed on a different video, but then, those aren't terribly high-output pickups by modern standards so I'm told. Hopefully that rambling response helps you in your search for the perfect pickups for your guitar. If you have any further questions, feel free to ask. Glad you enjoyed the video, and thanks for your kind words! Some other "fun" forum posts on tonewood and low output pickups I found while writing this response: www.soundonsound.com/forum/viewtopic.php?t=82169 forum.seymourduncan.com/forum/the-pickup-lounge/322173-lowest-output-humbucker-in-production/page2

@@guidrummer1 thank you for the references and info. There's a lot to consider. Take aways: I have to calculate the sum of all parts when attempting to create the target tones and output I am trying to achieve. May take a few experiments even if following a recipe that worked for someone else with similar ears or similar parts. Thanks again!🙏🎸🎸

@@wooggeek You nailed it! Good summary. Best of luck finding the right pickups!

Thanks for your kind words, Richard, and merry Christmas to you!

A fine point worth making. Lots of brightness to cut through a mix + the volume retained.

Thanks for your kind words! I like me those CM4's. Depending on context (and budget), any one of the three mics can produce a usable sound, but I am tending to lean more toward flatter/more neutral mics as of late, and the CM4 is very flat (in a good way).

That's great! I'm glad it helped you.

I thought he was dead, but here he is, making a new living making youtube videos. Good for him

Okay, I'll admit it: I had never seen that movie and had to look it up. But then I laughed pretty hard when I saw who I was being compared to. XD Ha ha!

Yes indeed! It's a classic for a reason. ;-)

Thank you! Glad you enjoyed it.

Hm... I suppose it's possible (re: damage to the Avantone). I have two of them and haven't really noticed that they sound too different than each other per se. Might need to do a side-by-side comparison of the two again in the near future to be sure. I actually still use both of them with good results on a lot of stuff, and I sort of attributed the perceived nastiness in the high end of the CK-1 to the extreme differences in the voicing/EQ of CM4 and CK-1 being highlighted by being played back to back. Yeah, the CM4 sound sweet. But as you pointed out, it can overwhelm on the bass end depending on the instrument. I find that I like it a LOT on the mandolin and have used it for that application several times since recording this demo. It just excels at bringing out the richness without sounding too "plucky." I like the CK-1 better for more mellow stuff like the ukulele. That lack of low-end is a pretty common complaint I see on the Audix f15. It also has a pretty significant boost on the top end, so it generally sounds best on stuff that doesn't require a lot of low-end (e.g. hi-hats). I had two of them for the longest time--they served me well for a lot of amateur recordings, but once I got the CM4's and CK-1's, I started to realize I didn't have a lot of use for them anymore. That and I needed some cash for other gear ha ha! Random note: I find the placement of the CM4/Audix to be more forgiving (i.e. easier to find a "sweet spot") since they're both slightly on the "wide cardioid" side. Although, if I'm in a tight spot or trying to mic my acoustic and sing, I end up using the hypercardioid capsule on the CK-1 pointed at the acoustic with my mouth in the "null" spot. I can get some pretty great isolation that way.

Absolutely! Great pickup, and I'll admit, I WAS one of the people who was scared away by the name for several years. Read up on 'em and finally tried one and was pleasantly surprised at how versatile it was. I have not tried the Tone Zone. Maybe one day. Gotta get the $$$. :D Thanks for your comment!

@@guidrummer1 Just keep in mind the Tone Zone will sound too bassy in a Les Paul or any guitar on a Gibson scale. It's ideal in 25 scale instruments. But the Super D will work in any scale, any guitar. It's probably the most adaptable aftermarket pickup ever designed. While the Super D set a new standard for output in 1972, it's since been surpassed by much hotter pickups, many made by DiMarzio, but also Seymour Duncan and EMG, etc. But with amps where they are these days you can use a medium output pickup and get crushing distortion. So what I focus on is tone. If a pickup has a good, basic tone, it's going to sound great with a lot of distortion. A pickup like a Super D or Tone Zone or Air Zone will sound great with high or low gain and they all coil split and do parallel very well. I find the Super D just has a lot of soul. I mean, it literally breaths. It also breaths fire when you need it to. Rock on.

@@angusorvid8840 Great info on all accounts! Thanks. ;-)

@@angusorvid8840 Great info/advice on all accounts. Thanks! ;-)

Thanks. See if this works for you. I've put them all in a DropBox folder with a text file saying which file corresponds to which mic. www.dropbox.com/sh/ko8201dc1gdl60t/AACppIetH7R-W4aWdIowONs-a?dl=0 ^If that doesn't work, let me know.

Oh and pardon the extra mistakes and long gaps with two goofy guys talking. Ha ha!

That sounds like a neat combo. I've never tried the Steve Morse model, but I do like his tones (let alone the fantastic playing). I'd love to see some clips of the ol' Charvels if you get around to dropping those pups in there! Yeah, I like the "feel" of switches a little better than push-pulls a lot of times (and I didn't mind modding the guitar in this video since it was an old knockoff), but lately I've been favoring push-pulls for extra tones precisely for the reason you mentioned (re: less modding and drilling into a nice guitar).

Thanks! Yeah, I could see myself tweaking the ratio a bit to taste. 57 as the main source and LR100 just a bit to bring in some low end.

Yep. Agreed. The CM4 is very flat, so it comes off as lacking some of the "sparkle" of the other two mics (even though it sounds more true to the instruments). But the other two, as you said, tend to seem a little too bright/hyped on some of the transients. That's an interesting idea for another video (re: EQ'ing the CM4 to bring it in line with the others). I had even wondered about doing a sample of the three of them in a full-band mix at some point if I get the time/motivation. Chances are, I would probably end up EQin'g the CM4 in a way that would make it sound a bit more like the other two anyway. I suppose it's all in the application. "Horses for courses" as they say. ;-)

@@guidrummer1 Another thing I would look at in a mic is what happens when many tracks are made and mixed together. Does something get exascerbated that wasn't noticed in just one track, or do the many recorded tracks mix together in a nice complex and natural way. That spikey high may be good on one track but it could be something that gets magnified in a way that can't even be EQ'd out reasonably well. A good mic will continue to glue subsequent tracks together in a very eloquent nice way. A CM4 will definitely do that.

@@philipdonovan6510 Could not agree more! That's actually one of the things that drew me to the CM4's in the first place. I've used the f15's and CK-1's for years, and while I do like their sound for certain things, I have found some of the higher frequencies tend to build up in a mix pretty quickly, and it tends to induce listening fatigue and a battle at mix time to try to keep things from sounding overly harsh. Again, not knocking the f15's or CK-1's there per se--all depends on what the instrument in question needs. It's just that the sort of "built-in EQ" they have can be difficult (if not impossible) to undo as you said.

Hi Stephen, thanks for your comment. That's actually a good point I hadn't considered. I probably should have specified that the neck is the Super II and the bridge is the Super Distortion. With that info, you should be able to determine which pickup is in use at each point since the text at the top specifies "Bridge," "Neck," or "Bridge & Neck." I'll add info specifying which is which in the description. Have a good one!

If you take the time to check these pickups out on Dimarzio’s website it tells you what position each pickup is for but I guess that’s too complicated for whiners 😭

Hey there! Thanks for your comment. If you mean electrical noise (like buzzing), I didn't really notice that any more with the EJ Customs than I have with any other humbucker. The guitar in the video went through a couple of pickup swaps, and all seemed to produce about the same amount of noise--which I generally chalked up to my own poor soldering skills, not the pickups themselves.

@@guidrummer1 thanks for the response. do you still use the EJ pickups?

@@larryboeding240 Another good question. So, let me give a little disclaimer before I answer that: to make some space in my small living quarters (and to make a little cash), I recently thinned the herd down to where I only kept three guitars: my 50th Anniversary Am. Del. Fender Strat, my 80's MIJ Contemporary (Boxer) Tele, and my Warmoth/Fender partscaster tele). The guitar in this video was one of the unfortunate victims--but that didn't really have to do with these pickups (which I quite liked). It had more to do with the fact that I had other guitars that could cover the same bases in a recording environment (which is primarily what I do these days as far as music goes). So no, I don't use them because I sold the guitar. TL;DR: I still like the EJ Customs, but I don't use them anymore since I sold off most of my guitars. ;-) Feel free to ask other questions if you have any.

Hey there! Good question. It was a 0.01µF cap. I did this based on the guidance from this site among others: www.premierguitar.com/diy/mod-garage-the-bill-lawrence-5-way-telecaster-circuit You can do other values, but this seemed like a good starting point just to try it out. I went ahead and added the value to the video description based on your question. Thanks!

I think so too. Next time, let's spend a little more time on the positioning of the mics and getting the overdrive to push the amp into its sweet spot. The OD sounds slightly fizzy to me on this video even though I really like both the ODR-mini and the Princeton and know they can produce some fantastic tones. No complaints on the cleans. Those sound great as always. :-)

Yep. I like 'em all in different ways. I particularly like the CM4 on the mandolin.

Yep. With those nylon strings, the uke is a bit more mellow and can use the top-end sparkle that the CK-1 and f15 provide.

Same here. With how flat the frequency response is, it might take a little more EQ'ing to get it to sit in a dense mix. Can sound a little less "exciting" than the other two, but that can be a good thing for extended listening (i.e. less ear fatigue from excessive high-end). All depends on what you're going for of course.

Hi Marcel, good question. Yes, the pickups were wired in parallel. I have not tried the three different modes in series unfortunately. I have been "thinning the herd" a bit lately and don't currently have a spare guitar to try this out on, but if I do in the future, I'll let you know. Would be a good tone test.

Half out-of-phase isn't possible in series. Half out-of-phase works by controlling which frequencies one of the coils is contributing and therefore which frequencies interact and cancel out with the other coil it's out of phase with. Being out of phase affects lower frequencies more than higher frequencies. The half out-of-phase sound when the coils are parallel to one another is achieved by placing a cap in series with one of the coils, which acts as a bass cut, thus cutting some of the bass frequencies that would interact with and cancel out the bass frequencies of the other coil, therefore retaining more bass in the final output signal. The aim with half out-of-phase is to pick a cap that cuts some bass frequencies from that one coil while still passing through some low-mid frequencies, for example, which then interact with and cancel out the low mids of the other coil while the bass frequencies of that other coil are retained, so half out-of-phase done properly is in a way acting as a mid scoop. When the coils are in series, if you place a cap in series with one coil your placing it in series with both, so the bass cut effect that allowed the other coil's bass frequencies to be retained in the parallel setup, are getting cut from both pickups when in series - so rather than allowing some bass to be retained when out of phase, putting a cap in when they're in series would act to cut even _more_ bass than plain old out-of-phase does. Trust me it'd be pretty severe. If you think of the treble cut you get from a standard tone control, and how severe the loss of treble is and how muddy it can sound when the tone control is turned way down, imagine that being done to the bass frequencies instead, and how thin and tinny they'd sound, especially if you're using a 0.01µF cap instead of for example a 0.047µF cap.

Hey there! You're not the first person to ask about the Super 2 in the bridge. I didn't realize at the time that folks would be interested in that. You're correct--I didn't compare those. Oh and I agree on the true comparison being when you keep everything equal (i.e. same guitar, same signal chain, etc.). This was sort of meant to be a quickie comparison for someone who was asking about the SD/S2 vs. the EJ Customs, and I didn't have time at that point to swap the pickups unfortunately. On another unfortunate note, I actually recently traded the guitar with the SD/S2 to a family member for another piece of gear that I needed more at the time and couldn't afford otherwise. :-( I still have access to the guitar since it's in the family (thank goodness--because I quite like noodling on it from time to time), but I don't think the current owner would be too enthused about me swapping the pickups around for another demo. Ha ha!

I'm a little late to the party, but if you want to look up what it would sound like in the bridge you can look up a demo for the Dimarzio IBZ pickups since the IBZ B is based off the super 2 according to Dimarzio

@@desertangelofficial1921 Good to know. Thanks for the info!

Thank you very much, my friend! That sounds like a great combo on the ASAT. The SG would likely sound awesome like that too. (I'd love to hear it if you ever pop these pups in there.)

Thanks! I totally agree. These pickups are way more versatile than a lot of folks seem to give them credit for.

No problem! I'm glad it was helpful for you.

Ah yes. That's true. I did forget about the 4PDT switches--which is kind of ironic considering I have the S-1 switching in my strat. But then, I didn't realize the S-1 was a 4PDT--it's always been a bit of a "mystery switch" to me. Thanks for the info, my friend!

Hope you don't mind I threw a bit of this conversation into the description of this video with a credit to you.

@@guidrummer1 that's fine, thanks

@@jacktripperthemusical Sure thing.

Hey! Thanks for your kind words. You're most welcome. I tried to keep it clean and simple. I couldn't find many videos on this topic when I was first curious about the difference in the three tones, so I figured I'd try to make a quick sample in case it could help someone else out who was looking into out-of-phase/half-out-of-phase mods.

Hm... I didn't have trouble with squealing so much with mine, but I rarely ran it through an amp. I DID have trouble with a bit of hiss on some of the settings though. That seemed to be a common complaint about the pre-amp on this unit even when it was still in production. I often ran my guitar first into an ART Tube MP Project Series preamp (or even a boost pedal) and then into the Korg and kept the Korg's preamp turned down lower. This helped with the hiss.

That sounds sweet! I had not heard of the Luxors before. So many different Japanese guitar brands from the70's. I love 'em! I also have a National "Big Daddy" LP 457-2 which is a Les Paul knockoff but built more like a semi-hollow. The thing actually plays really well considering it was a budget model.

@@guidrummer1 We found out Luxor was imported to Germany made by Ibanez. Yep it's made in Japan.

@@seattleday9690 Very, very cool! If you ever get a to record any kind of demo with it, I'd love to see it.

@@guidrummer1 I will.

@@seattleday9690 Looking forward to it.

Well, thanks. I learned how to play from a local guitar instructor before he was a guitar instructor. :-P

@@guidrummer1 Ha!

Hey there! Unfortunately, no I don't, but I did stumble across some videos of this guy with a Super 2 in the bridge when I was first researching the Super Distortion/Super 2: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-syV3SaHsQNs.html and ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pmopP8FBgc0.html <-His bridge tones sound good to me. Given the nature of the EQ on the Super 2, I'd imagine it would be brighter in the Bridge with a tighter low end than the Super Distortion. That would be a good idea for a future video if I ever get the time.

@@guidrummer1 I saw those but they weren't played on a clean channel or in a Gibson scale length guitar

@@leea5123 Yeah, that's fair. I haven't seen any videos of a clean Super 2 in a Gibson scale length either.

You know, it kind of does. I wonder if that's more to do with the pickups or the guitar itself? It looks like a solid-body, but it's actually more of hollow-body like a lot of the old Japanese LP knockoffs from the 70's were.

@@guidrummer1 I would think the pickups have more affect than the body.

@@barrypearson644 Yeah, in general, I would too. Just sort of thinking out loud there. Body materials/construction, pickups, amp, etc.--they'll all affect the tone a bit. Though generally with electrics, I tend to think of the pickups and amp as the top two factors.

These are amazing pickups and they sound bad when you just strum cowboy chords like you're playing acoustic. Bad demo.

Thanks for your kind words.