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demondestroyer
Well-known member
I flip the air norton in all my guitars because my ibanez jpm 100 p3 came that way from the factory. And I tried it both ways and it definitely sounds better/ less bassy that way. It works!
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GuitarVacation
Active member
Interested in the solution/outcome. I’ve dealt with the opposite problem, taming a inherently bright guitar.
Never thought about dealing with the opposite. Just some of my thoughts from anecdotal experience: bass frequencies can get really exasperated with gain. Not say the OP is using too much gain in a broad sense, but it there is a bloat in the bass freq’s gain in all the forms it comes in with a guitar rig, the initial elevated bass gets magnified to the point of unusable for normal purposes.
I gravitate towards dark/mids and introduce treble by rolling up the guitar tone knob, with max treble getting to a decent crunch tone. That being said, too much bass at the source (in this case sounds like it’s the guitar more than the PU), can be downright unusable l, especially in a full mix.
I don’t think changing PU’s is the quickest/easiest solution, because it sounds like the guitar is the source since you use the same pickups elsewhere. A high pass filter, which isn’t as prominent on a pedalboard as it is in the studio, would eliminate the problem easily. For the tones I like, I’d probably really dig the tone that resulted after the appropriate low end was cured with a high pass.
Never thought about dealing with the opposite. Just some of my thoughts from anecdotal experience: bass frequencies can get really exasperated with gain. Not say the OP is using too much gain in a broad sense, but it there is a bloat in the bass freq’s gain in all the forms it comes in with a guitar rig, the initial elevated bass gets magnified to the point of unusable for normal purposes.
I gravitate towards dark/mids and introduce treble by rolling up the guitar tone knob, with max treble getting to a decent crunch tone. That being said, too much bass at the source (in this case sounds like it’s the guitar more than the PU), can be downright unusable l, especially in a full mix.
I don’t think changing PU’s is the quickest/easiest solution, because it sounds like the guitar is the source since you use the same pickups elsewhere. A high pass filter, which isn’t as prominent on a pedalboard as it is in the studio, would eliminate the problem easily. For the tones I like, I’d probably really dig the tone that resulted after the appropriate low end was cured with a high pass.
Shreddy Mercury
Well-known member
Anyone ever heard/had any complaints about 36th Anniversary PAFs being too bassy or muddy? Judging on the off chance that maybe it's just the guitar and it needs an extra bright pickup, will a 36th be ok? It's showing B 3.0 LM 5.0 HM 5.0 T 5.0 with output of 250 compared to the B 6.0 LM 6.0 HM 6.0 T 5.5 with output of 270 of the Air Norton.
I have a 36th Anni set in my other Warrior and its neck sounds glorious (also have one in the neck of my Les Paul). Granted, the guitar uses different body wood but the neck construction/woods are the exact same...and I don't believe woods make any perceptible difference on electric guitars when amplified.
I'd rather not go through the trouble of trashing the strings to just flip the pickup around and putting new strings on if that doesn't make any real difference when I could just toss another 36th Anni in it and KNOW I like that pickup sound.
I have a 36th Anni set in my other Warrior and its neck sounds glorious (also have one in the neck of my Les Paul). Granted, the guitar uses different body wood but the neck construction/woods are the exact same...and I don't believe woods make any perceptible difference on electric guitars when amplified.
I'd rather not go through the trouble of trashing the strings to just flip the pickup around and putting new strings on if that doesn't make any real difference when I could just toss another 36th Anni in it and KNOW I like that pickup sound.
Shreddy Mercury
Well-known member
@Speeddemon I was able to get enough slack in the strings and flip it around. It brightened it up a teeny bit, but it's still pretty dark and barely usable.
This part is for anyone....I'm comparing my wiring to the DiMarzio diagram. My bridge and neck pickups are wired in reverse in regards to where to put the red wire on the super switch, but I think DiMarzio's diagram would have position 5 be the bridge and position 1 be the neck, which is reverse of how all guitars are wired, where 1 is all bridge, and 5 is neck.
Anywho, that isn't an issue, but I did notice that one of the wires coming off the switch goes to the outside lug on the volume and then bridges over to the outside lug of the tone pot with the cap grounding the middle lug of the tone pot to the body of the tone pot. The diagram shows that wire is supposed to go to outside lug of the volume pot and bridge over to the middle lug of the tone pot and the cap is supposed to connect the outside lug of the tone pot to the body of the tone pot. Could that be altering the sound of the guitar because a couple things in the wrong place, or does that even matter?
This part is for anyone....I'm comparing my wiring to the DiMarzio diagram. My bridge and neck pickups are wired in reverse in regards to where to put the red wire on the super switch, but I think DiMarzio's diagram would have position 5 be the bridge and position 1 be the neck, which is reverse of how all guitars are wired, where 1 is all bridge, and 5 is neck.
Anywho, that isn't an issue, but I did notice that one of the wires coming off the switch goes to the outside lug on the volume and then bridges over to the outside lug of the tone pot with the cap grounding the middle lug of the tone pot to the body of the tone pot. The diagram shows that wire is supposed to go to outside lug of the volume pot and bridge over to the middle lug of the tone pot and the cap is supposed to connect the outside lug of the tone pot to the body of the tone pot. Could that be altering the sound of the guitar because a couple things in the wrong place, or does that even matter?
'63-Strat
Well-known member
Yep I’d consider wiring in a high pass filter. Some guitars are inherently bright or bassy etc. It’s why I just roll my eyes when people say things like only pickups matter etc.
I have an air norton s in neck of my Charvel and it’s actually nice fit but that guitar is inherently bright.
Shreddy Mercury
Well-known member
The Air Norton is usable on my Boss Katana with a hotrodded Marshall patch, but on my 3rd Power, actual real tube amp, that's where it's getting the bigtime bassiness. It's not so bad when using the amp's natural overdrive, but when I turn on the Fairfield Circuitry Barbershop clone, that makes it worse. It's not even that much hotter than the amp's natural sound.
Also, I don't think "tonewoods" make any perceivable difference on an electric guitar. Different opinions, but even if you subscribe to that, the guitar body is all walnut, which is supposed to be a balanced wood with a hair of brightness, depending on where you get your information.
Also, I don't think "tonewoods" make any perceivable difference on an electric guitar. Different opinions, but even if you subscribe to that, the guitar body is all walnut, which is supposed to be a balanced wood with a hair of brightness, depending on where you get your information.
