Gil Pini, the other Guitarist playing with me was using the DeMarzio super Distortion humbucking , and I for some reason didn’t feel good about it’s sound and feel, although it was touted as “heaven sent “ sort of thing, especially for Marshall amplifiers back then (no master volume on the pre-amp stage). I eventually purchased a Super 2 p/u, because it had more bite. And to me, meant, it would cut through cleaner and not be as transparent in the mix. I even bought the Alembic ‘Hot Rod Kit” for my 56 Les Paul Jr. (stupid) in 1976 or 77. That was supposed to be a good idea because it was hotter (better sounding) with a ceramic magnet to install, and since it was from Alembic (from California) and not some “upstart p/u manufacturer” it was the right thing to do. I didn’t think about the DeMarzio pick-up’s and I didn’t know that those pick-up’s used the ceramic magnets at the time. As I started to record in major recording studios I’d learn to discern my sound. I didn’t have those how to magazines to hip me to that elusive vintage “sound”. Yet, I could hear my Gibson Explorer and my Les Paul Jr. distorting at all volume levels as well as attack approach. It just wouldn’t smooth out. I was puzzled. Still trying to connect the look with the sound, I stumbled through the maze for years.
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Not having the patience, or the money to buy and compare p/u’s, I just tried to make a sound with what I had. I had all the right Pro equipment. Yet I was looking back, “wagging the dog”.
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A good sound starts from the fingers, to the guitar to the P/u’s. If you don’t start there, you’re spinning in circles and you’ll end up with a transparent (fuzzy) sound without body and response. “Your fingers are your tone generators”. Not the amps or pedals. Those are tools to augment your expression. And if you learn anything about trouble shooting on the fly, you go down the line to find the problem with your sound or rig. The same goes for finding your sound. When establishing your sound you start with you, through the pick-up on down to the amp. With trouble shooting on stage, you should start with the amp and go down the line back to you. Which makes sense since you’ve established your rig set up, and you’re trying to fix what was working, you back track. If not, you’re spinning in circles, again!
So, I had a friend who made the point about how some pick-up’s play you and PAF’s don’t. I soon tried two 57 Classic pick-up’s installed on my 92 Les Paul Classic and what do you know? I had a sound that was tight on the bottom ringing on the top and honking clear / dirty mids when I played hard, and subtle soft tones when I backed off the and played lightly. I was in HEAVEN!! And the great thing that went with it was that, this same thing happened regardless of the volume setting on the guitar.
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- My experience was that the tone I got on full could be bright and tight with honk, and as soon as I backed off the guitar’s volume, the tone would take on a dark or dull shade. This meant I would spend a lot of time tweeking the blend between my rhythms (clean and crunch) and lead tones. Looking for each was a drag, and a waste of time!