Seymour Duncan

So that's, that's kind of a pain.

But other than that, you know, I, I just haven't gotten, I'm, I'm no Seymour Duncan here, you know, or a Liddy Fralin.

I'm, I'm just trying to make, you know, a copy of something that I like.

And if,

back to square one.

So I had a signature Fishman and I went back to Duncan's only because I'd come off the road, I was touring a bunch and I wanted the consistency of the active, but then Once I got in the studio, I'm like, oh, I want all this variety, and maybe I want some more vintage-y stuff.

Maybe I want some more P90s.

Right, right.

California, whatever.

So it's like an original before the Jackson merge and shit.

And I had a Seymour Duncan distortion in it.

Where did you find that? Fucking rock and roll music was called.

I've never used DiMarzio's.

I've used Seymour Duncan's.

I've used other brands.

But then taking the Gibson's out, like I said, I thought it was going to be a simple swap and it wasn't as simple as that.

He held the guitar horizontally, almost across his chest, in a position that looked wrong but enabled the tapping technique.

He developed his own pickup designs, working with Seymour Duncan and later building his own guitars, the Frankenstrats, assembled from parts of various instruments and modified extensively with his own amplification, using a modified Marshall amp run through an attenuator to get the amp's full distortion at lower master volumes.

The tone he achieved, warm, Harmonically rich with a brown sound that players spent decades trying to replicate was the result of years of obsessive experimentation.

The rest of the debut album demonstrated that tapping was not a novelty trick, but one tool in a comprehensive vocabulary.

mean, we play different pickups live than we did on the record.

I think the record we're like the Wes Houch, Seymour Duncan pickups that he uses.

I forgot the name of it.

But Wes sent us some and we...

Okay.

Rosewood body, our Dave Murray Seymour Duncan set, pick-up set, and...

That's it, really.

Man, this must have been awesome.

And then the Andy, what pickups are you

running? Same.

Dave Murray signature Seymour Duncan.

So hot rails in the neck and the bridge.

This is a transition one, which means it was built by US Music Corp, but it's at the beginning.

So it came with DiMarzio pickups instead of Seymour Duncan, and it didn't have the thumb wheel, I guess, in the center of the body.

So again, it's...

But I love it because it's white and I always love it because it looked like Dave Navarro had one.

One is this Jazzmaster Parts Caster I put together with a No Moon Laser body.

It's got Seymour Duncan, the Hot Jazzmaster Silencers.

Oh, yes.

I saw this one.

It's a real country guitar.

I like that.

It's got custom shops, pickups from Seymour Duncan, too.

I work a lot with Seymour Duncan for folks who don't know.

They let me show you that that factory is making eight thousand pickups a day.

And it looked like it was templated off of for the most part off of the Seymour Duncan's facility.

That's what it looked like to me as a whole, like the way they were kind of like the process and what they're doing it.

which makes sense.

They were able to, they, they probably look and they could have copied it from someone who copied it from someone who copied it from Seymour Duncan's facility.

And that is something I've seen at factories as well.

They, I go, Oh, you guys copied from the ESP and they go, no, we copied it from so-and-so.

So I want to see it because I want to see what happened.

That's the major differences.

They, they both still have the Seymour Duncan pickups, uh, the Seymour Duncan noiseless neck pickup, Seymour Duncan, uh, uh, like the BG-1400, which is a...

in a stacked.

Uh, it has a four-way switch, which I'll go through, volume and tone.