I’m pleasantly supprised at how good they sound.
And truthfully, that was the main reason I sought out a set. If these were “all show and no go”, then I’d have sent them back and wouldn’t want anyone to know I’d ever succumbed to a pickup based upon looks alone. I can see why someone might declare the notion to be hogwash, likewise I can see how one might say that wood is naturally going to make a difference as the rest of the guitar is mostly wood etc… In my opinion, this argument really doesn’t matter. One might take issue as to whether or not the wood makes any difference in the sound of the pickups. Yes, they’re kind of pricy at $300 for a pair, but given how good they sound and how good they look, I can’t see holding that against them. I’ve tried to come up with something I don’t like about these pickups, but I can’t. This guitar is more of a “place holder” for the pickups until I can build the right Warmoth around them. I’ve gotten used to it and kind of like it. The look of the Cocobolo on a black guitar clashes at first. They sounded fantastic, and they were eye catching, I got lots of questions and comments from guitarists and non guitarists alike. Our songs ran the gambit from “Bubbly” by Coby Calet, “Time In a Bottle” by Jim Croce, and some other slow dance groaners, to some high energy “Rock this Town” by the Stray Cats, “Crazy little thing called love” by Queen, “The Time Warp” from Rocky Horror, and “Are you gonna be my girl” by Jet. I’ve always relied on this technique, but never this much and with such great success. All I did was roll the knobs around to clean up or get the distortion. The only time I used any other effect at all was for chorus on one song and a filtertron on two others. I never hit the “distortion/overdrive” pedal models I just used the toggle, volume knobs and tone knobs for all adjustments. I dialed in a Marshall JCM800 sound dialed up to just a little overdrive and left it there. Yet I only used one setting all night long. I used my trusty Vox Valvetronix SE pedal board straight into the PA. So I had to have loads of different sounds ready to go. Over the weekend my band had our first gig in months, a wedding reception. Certain aspects of the tone remind me of everything I like in single coils while still being a humbucker and sounding like a humbucker. When rolling the volume knob back to clean the distortion up, the volume dropped a great deal more with the original pickup, with the Reed James the volume stays put longer while the sound cleans up. Single note runs, leads, punch through the mix, the sustain was sweet and singing. In chords I hear better note to note separation than with the original pickups. A good example would be that the original pickups sounded like they were in the next room, the Reed James pickups sounded like you were in the same room. The Reed James pickups were louder without having all the added midrange of higher output pickups.
Both the original neck pickup and EMGHZ4 were muddier than the Reed James Customs. This enabled me to go back and compare the Reed James pickups against the original pickups with the exact same riffs and amp settings just by sliding levels up and down. 30 seconds worth of blues on an overdriven Fender setting. 30 seconds worth of finger picking on a Roland Jazz setting. 30 seconds worth of Ziggy Stardust on a Vox setting. For example, 30 seconds worth of Thin Lizzy riffs through a Marshall setting. Track Four, Reed James Woodbucker bridge pickup.įor Each track I recorded the same riff with its own amp model setting. Track three, Reed James Woodbucker neck pickup.
#Stray cats crazy little thing called love lyrics series#
I wanted to get the clearest comparison of the originals VS the Reed James pickups I could, so I devised a test.įor testing, I used my digital multi-track device (BOSS BR1180CD) and recorded a series of riffs from each pickup on its own track. The Guitar itself came with one original pickup and an EMG HZ4 pickup in the bridge.
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