The Humbucker Archive: DiMarzio, EMG, BKP, Suhr & Duncan Tested – My Notes & Comparison Samples (Long Read)

Yes. Also, pickups respond differently to the volume knob. Lately I've noticed that my EMGs actually clean up better than passives because they don't get muffled.
Usually, that darkening when using the volume knob has mostly to do with the tone capacitor. Some people use treble bleeds to compensate for that, but I believe a much simpler solution is to use ’50s wiring. All you have to do is connect the capacitor to the output of the volume pot (the middle lug) instead of the input (the outer lug).

With ’50s wiring, you essentially have the tone control after the volume control, rather than the other way around like in modern wiring. That way, you don’t lose as much treble when rolling the volume down, and the pot doesn’t develop the strange taper that can happen with a treble bleed.
 
Usually, that darkening when using the volume knob has mostly to do with the tone capacitor. Some people use treble bleeds to compensate for that, but I believe a much simpler solution is to use ’50s wiring. All you have to do is connect the capacitor to the output of the volume pot (the middle lug) instead of the input (the outer lug).

With ’50s wiring, you essentially have the tone control after the volume control, rather than the other way around like in modern wiring. That way, you don’t lose as much treble when rolling the volume down, and the pot doesn’t develop the strange taper that can happen with a treble bleed.
I've read about 50s wiring, but never tried it. Isn't the trade-off that the tone knob lowers volume, instead of the volume knob rolling off tone?
 
@belensky - thanks a lot for this thread. Lots of good info here. I'm hoping that you get a chance to check out the DiMarzio VHPAF someday and compare it to the 36th and others.
 
I've read about 50s wiring, but never tried it. Isn't the trade-off that the tone knob lowers volume, instead of the volume knob rolling off tone?
tone knob becomes more interactive with the volume control. For example, when your volume is set to 10, the tone behaves as usual.

Now let’s say you lower the volume to 5. Your tone knob won’t do much between 10 and 5, and it only starts cutting treble normally once you go below 5. In other words, the tone control has to be set lower than the volume to really start reducing highs. If you’re not someone who frequently uses the tone knob, this isn’t a big deal—you’ll barely notice it.

For me, ’50s wiring makes more sense if you like to tweak the volume knob and understand what’s happening. Let me explain. Strat players using a lot of gain often prefer their tone slightly rolled off to tame the sharp treble spike common to single-coil pickups. So let’s say you like your gain sound with the volume on 10 and the tone on 6. Now you want to clean up your sound. With clean tones, people usually prefer more brightness (unless you’re playing jazz). What happens if you roll the volume from 10 down to 6 while leaving the tone at 6? The treble comes back as you lower the volume. So instead of adjusting both volume and tone to clean up, you only need to ride the volume knob, and the tone follows along. In other words, the tone range scales up and down with the volume control.

To be precise, when I said the tone doesn’t do much between 10 and 6 with the volume set at 6, I was simplifying. It doesn’t do “nothing.” Between 10 and 6, it acts more like a very subtle mid scoop. This depends a lot on the pickups and the amp you’re using.

For example, let’s say your clean sound is volume at 6 and tone at 10. When you roll the tone down to 9, 8, or 7, it removes a bit of low mids and mud, so the sound can actually feel slightly more sparkly and glassy than with the tone on 10. Once both controls meet at 6, and you go below that—5, 4, 3, 2, 1, 0—the tone control behaves in the usual way and progressively cuts treble.

Essentially, if you understand how it works, you can create a wider range of sounds just by adjusting the volume knob and letting the tone control follow naturally.

try it its a lot more simpler than I described, its literately just rewire cap to middle instead of outer lug on volume pot.
 
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@belensky - thanks a lot for this thread. Lots of good info here. I'm hoping that you get a chance to check out the DiMarzio VHPAF someday and compare it to the 36th and others.
I haven’t tested the DiMarzio Virtual Hot PAF, but I believe the 36th Anniversary would be the better pickup. There’s probably a reason why they discontinued the entire Virtual PAF line, along with the old-school DiMarzio PAF (DP103). The newer PAF 36th Anniversary—also labeled DP103, which I know is confusing—was a superior pickup.

If it were me, I would look into the PAF 36th Anniversary, PAF 57, PAF 59, or PAF Master or other recent models.
 
The DiMarzio Super distortion doesn’t turn to
mush for me that’s for sure
 
This is a great thread and resource. :cheers: Especially as I am getting ready to go down the pick up rabbit hole.

Can you compare the Super Distortion to the Duncan Custom Custom and Invader for me? I can explain later.
 
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This is a great thread and resource. "cheers: Especially as I am getting ready to go down the pick up rabbit hole.

Can you compare the Super Distortion to the Duncan Custom Custom and Invader for me? I can explain later.
Unlikely, unless they send me a box of them to try out, lol. All I can say is that the Duncan Custom is fairly similar to the PATB-1 I tested—similar EQ—but the Custom had a slightly more sluggish, JB-like feel. I have no real opinion on the Custom Custom or the Invader, as I didn’t play those long enough to form a solid impression.
 
Essentially, if you understand how it works, you can create a wider range of sounds just by adjusting the volume knob and letting the tone control follow naturally.

try it its a lot more simpler than I described, its literately just rewire cap to middle instead of outer lug on volume pot.
Amazing, thank you! I'll definitely give it a try.
 
I haven’t tested the DiMarzio Virtual Hot PAF, but I believe the 36th Anniversary would be the better pickup. There’s probably a reason why they discontinued the entire Virtual PAF line, along with the old-school DiMarzio PAF (DP103). The newer PAF 36th Anniversary—also labeled DP103, which I know is confusing—was a superior pickup.

If it were me, I would look into the PAF 36th Anniversary, PAF 57, PAF 59, or PAF Master or other recent models.
The VHPAF seems a little more balanced than the 36th bridge to my ears. It doesn't have the pronounced mid bump, but that could just be me too.
 
If you like the Norton and the 498, also take a look at the DiMarzio Transition. It’s a very cool pickup. Even though I respect the Norton, I’d take the Transition any day. its just feels better: tighter low end, more clarity, and same MEAN attitude, PAF vibe
Well done man. I read your take on all the pickups I’ve owned and I gotta say you spent some time on this—much appreciated!

I’m a huge fan of the Norton—I’ll def check out your recommendation here. I just slapped one of the new “Super Ceramics” into a partscaster and I thought it sounded like an SD but now I’m gonna check again lol
 
The Seymour Duncan custom custom is a mud bomb(due to a over wound Alnico 2 magnet) compared to the DiMarzio super distortion
 
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