DIMARZIO PAF PRO

Hello, this post will talk a lot about DiMarzio PAF Pro. As we all know, DiMarzio is one of those companies who are selling aftermarket pickups with many options to fit your preference. I got one installed on my JEM-JR now and the reason why I put PAF Pro on my JEM-JR is not because it's my choice; ironically, it chose me one day because my local DiMarzio dealer didn't have any humbucker left at that time except PAF Pro.

Paul Gilbert
First time I heard PAF Pro was on Paul Gilbert's solo albums. Paul put PAF Pro on the bridge position of some of his guitars, including the famous PGM300 which he later converted to a 301. It attracts my ear because it's a relatively bright humbucker which means it will blend perfectly with other bright sounding pickups and/or single coils. This also makes it very effective on the neck position to brighten up muddy neck position on a darker sounding guitar.

Put it on my JEM-JR
My original plan was to stick it on the neck of my JEM and get something hotter and darker for the bridge to kind of level off the EQ on both neck and bridge position so that I get the similar bass and treble on both position but with different gain. However, I was more interested with single coils on that time, so I chose Virtual Vintage Heavy Blues 2 to be installed on the neck and middle position.

The sound
Exactly as what it was advertised: bright, strong, punchy and stands out pretty clear in the mix. It was bright enough that you can nail some bridge single coil tone using this pickup on the bridge position. It screams too if you need it to scream, just add more dirt on your signal and you'll get a fantastic result. Harmonic overtones are everywhere! It's not categorized as high output pickup, so it won't really drive your amp too much but that also adds more dynamics to your overall sound.

Is this the correct pickup for me?
I adjusted my volume pot to 250k in order to make this one works better, but even with 500k it was still sounding good. Beware, if you had a very bright sounding guitar you better be ready for some super bright tone especially if you put it on the bridge position. My JEM-JR is already strong in the upper mid but it's not bright enough on the top end. This pickup really helps me to achieve that top end boost so that it can cut easily on the mix without obstructing other instruments on the mid level. If brightness and top boost is what you're looking for, this is what you need.

Price?
Same with every other DiMarzios, they start around US$70.00 depending on the color you choose.

Worth the price?
Obviously, you can't go wrong with DiMarzio pickups if you know what you want.

Sound clip: coming soon
I hope you enjoy the post, cheers and God bless :)

DUNLOP JAZZ III 1.68mm STIFFO VS DUNLOP TORTEX .88mm

It's time to discuss about some picks that I used and compare them. Pick/plectrum is the most underrated tool in tone chasing and they can alter your tone significantly when you use the right pick. I'm going to review two of my longest serving picks: Dunlop Jazz III Stiffo and Dunlop Tortex .88mm.

Jazz III

This is by far the most shred-friendly pick that I ever used. So easy to play fast with, so stiff that it transfers your picking energy to the string with lots of dynamics. When used on alternate picking licks, it will create short picking noise so this is very great to get the notes to ring clearly.

This one is used by many professionals especially shredders and jazz players. John Petrucci and Eric Johnson even had their own signature Jazz III picks. I personally used this pick most of the time because it's the most versatile one; you can play anything with this pick. It's thick so don't expect to get easy rhythm playing from this pick. It's also small and a bit slippery so do your best to grip it carefully.

Tortex .88mm

For you who don't really need a shred-based pick, this is a good choice. It's good for rhythm playing because it isn't too thick and too small, it has good grip, it's comfortable on your fingers and it has unique tone.

I watched Paul Gilbert used the orange Tortex which is not too different from this one and he can get a very good tone out of it. It's kind of mushy un-traditional pick sound. It's very good for strat because you can get more top end using this pick.

Beware, you can't really shred with this pick. I gave up on this pick because it's hard to alternate picking using this pick. It's also big so it requires harder string pluck to get a pinch harmonic using thumb; that's why I invented the method of getting a pinch harmonic using my middle finger haha! However, I get back to this pick frequently just to get something different out of my playing and this pick delivers a fresh unique tone very well.

Now let the fight begins!

Here's a sound clip of Jazz III vs Tortex on clean rhythm playing: click HERE --> Jazz III first followed by Tortex.

Here's a sound clip of Jazz III vs Tortex on crunch lead playing: click HERE --> Jazz III first followed by Tortex.

I must say that I love the sound of the Tortex when I scratch it on my muted strings! It really has a very defined attack that I am looking for. It's also good for rhythm. However, it's not easy to tame that green monster especially when I need to play fast lead solos. That's the time when I need to switch back to the Jazz III.

In conclusion, both are great but they really depend on what you want and how you play. The choice is yours!

Cheers and God bless :)

GUITAR ARTISTS WITH GREAT TONE PT.I

No review today, but something different.
Today I want to share a little bit of my opinions about guitarists with great tone and great skills. They're all highly respected musicians and most of them are enjoying their careers either solo or with their bands. Most of them most people will already know because of their popularity but some of them are not really famous in the public but possess great tone and exceptional guitar skills. Some of them are my biggest influences but some of them I don't really check them out yet.

John Petrucci from Dream Theater

John Petrucci is famous for his work with Dream Theater, a progressive rock metal band that's currently growing rapidly in terms of popularity and exposure in the public.

His tone is coming mainly from his Ernie Ball Music Man John Petrucci signature guitar combined with Mesa Boogie Mark series amp. His EBMM JP guitar is usually loaded with DiMarzio LiquiFire and Crunch Lab humbuckers.

What sets him apart from the other guys in terms of tone is his ability to get a well defined fat warm super-driven notes during high speed picking with not too much muddiness when using highly saturated amp. The settings on his amp is not really surprising in the world of metal heads: scooped mids. Although he used scooped mids, his humbuckers are designed to work well on mid frequencies so he's kind of trying to balance between the amp and the pickups to get a well defined tone.

He definitely uses many FX pedals especially during live performances to create layering effects. He uses chorus, phaser, flanger, delay pedals and also overdrive pedals ranging from stock market models to hard-to-find vintage modded ones. However, his tone does not mainly come from his gear but it's mostly from his fingers.

Recommended album with great tone: Black Clouds and Silver Linings, Scenes From a Memory, Octavarium.

Stevie Ray Vaughan(R.I.P)

Almost every blues guitar fans know him and try to get his tone. He's a very famous Stratocaster user that really knows how to get a good tone out of it. The secret of his tone is nothing more than his Strat on a 6L6 based amp with mild drive and some boost with the Tube Screamer. In fact, if you have a Strat, a Fender Twin Reverb Amp and a Tube Screamer, you'll nail some of his famous tones instantly.

He used various gears and guitars but his main ones are the Fender Stratocaster '62 "Number One", a TS808 Tube Screamer and Fender Twin Reverb/Tweed Bassman Amps. Secret ingredient to his tone is super heavy gauge strings, probably around .013 and tuned it down half step to lesser the tension of the strings.

A lot of modern guitar players mentioned SRV as their tone inspiration because of his massive bluesy tone. Even gear manufacturers are trying to capture the sound generated from his gear and make it into a box or something. Thus, SRV is undeniably a very important figure in the world of guitar tone development.

Paul Gilbert from Racer X/Mr. Big/Solo

Every shredder must have heard Paul Gilbert's name at least once in their life. He's the shredder of the nineties, very famous with his work with Mr. Big and some people even know him while he's still in Racer X.

Starting from his solo album era around Silence Followed By A Deafening Roar, his tone is suddenly transformed and becomes very enjoyable.

His tone is not really the fat-warm type of tone, but it's very rich with articulation and definition. It's good for fast stuffs, chords and blues licks.

The secret of his tone during the nineties is definitely an Ibanez PGM with no tone knob loaded with PAF style pickups, particularly DiMarzios ranging from PAF Pro to the Tone Zone to even the Super Distortion high output pickups. The Ibanez is then plugged into a Marshall high gain amp. He get a very decent tone coming out from this combination.

Another secret to his tone is the picks that he used: he prefers a .60mm Dunlop Tortex to the standard small pointy Jazz picks that almost everyone uses. He angled his thin pick to get more treble and attack from the strings and it really is the biggest secret to almost nail his tone.

FYI, he didn't really care about tone until he started touring on G3 with Joe Satriani and John Petrucci. He now uses Marshall Vintage Modern, Ibanez Fireman loaded with DiMarzio Area series pickups, Majikbox Fuzz Universe overdrive pedal and some flanger, phaser delay and other boxes. He also used some Xotic pedals and he constantly changes his pedals depending on what he wants. Now he sounds much better than he was!

Definitely check out Silence Followed By A Deafening Roar, Fuzz Universe and his works with Mr. Big and Racer X. All of them contain Paul's mighty shred-ready tone.

Andy Timmons

He's relatively new to most guitar players but he's actually been around for quite some time in the guitar world. He played with metal band called Danger Danger around nineties. He's now currently a solo artist and has his own band called Andy Timmons band.

The secret of his tone comes mainly from his signature Ibanez AT series loaded with DiMarzio Cruisers and AT Humbuckers/Seymour Duncan JB plugged into Mesa Boogie Lonestar/Stiletto Deuce/Transatlantic 30. Other important part of his tone is the delay FX units that he uses and also his gain box. He loves the Echoplex tape echo very much, but he prefers to use a box to replicate the effects during live performance by using an EXH Memory Man or sometimes using rack type delay units. For his gain box, he relies mostly on his signature Xotic BB Preamp. He used Ibanez Tube Screamer sometime in early 2000 to get that bluesy tone much like SRV's with more gain. He's also known as a Telecaster guy and he also played an SG although we haven't see him playing live with his SG.

He's been respected very much as a guitarist and also as a tone chaser. He tried various pieces of gear and experimented with all of them to achieve a good sound. Unlike any other Ibanez endorser artists, Andy prefers the sound of a guitar with lower output pickups and cool vintage-style hardware and look.

Definitely check out his new album Resolution and his compilation That Was Then, This Was Now. Don't expect anything too shreddy from his songs but he has couple of tricks under his sleeves just in case someone needs shreddy stuff!

Stay tuned for PART II !!

Cheers and God bless :)

MY MODDED JEM-JR

Introduction
I just finished modding my Korean Ibanez JEM-JR WN today and I'm really glad with the result and I want to share it with all of you my dearest readers.

The original un-modded version of this guitar features an Ibanez ILT floating locking tremolo and Ibanez INF series pickups on all positions. It was my very first guitar that I own and not borrow from other people. It costs around $500 when it first came out and I pay almost the same price for that. I got lots of beautiful memories with this guitar, I learned a lot of materials using this guitar and it's been very friendly to me until today.

For some tone chasers, entry level Ibanez guitars probably won't please them as they sound crappy(sorry) and they feel crappy(sorry) as well. But not for me, this guitar is pretty versatile and reliable except that the ILT trem broke one day and I replaced it with Korean Floyd Rose. Now with the modifications, I even dare to compare my baby to some high-end good sounding Strat or Strat-like guitar, YEAH BABY !

Now onto the modifications

First of all, the modification that I did is to replace the trem of course as I mentioned above, the ILT proved to be a non reliable trem.

Then I replaced the pickups as usual with DiMarzios. On the neck and middle, I put Virtual Vintage Heavy Blues 2. They sounded SUPER AMAZING; the tone is very SRV 70-ish and works well with mild and heavy overdrive units. On the bridge I put PAF Pro and I got that Paul Gilbert tone instantly on my bridge position!

On a clean rig, the singles sounded very Strat-ish with all those glassy sparkly highs but with some extra mid punch while the PAF Pro sounds almost like a single coil but with more lows and mids and of course it's hotter than the others although not too much. All of the pickups are pretty low output and as I did with my PGM, I reduces the height of the neck pickup and increases the height of the bridge pickup to get instant less gain sound by just switching the pickup.

PAF Pro vs AT hum, VVHB2 vs Cruiser

The PAF Pro is not as hot as the AT humbucker and it lacks the mid punch that the AT humbucker has, but it has better high and clarity compared to the AT. The VVHB2 sounds much more like a hot strat compared to the Cruisers, but the Cruisers has more pronounced bottom and treble compared to the VVHB2. All of them are great but they're all different in terms of sound characteristics.

Nonetheless, they're all very impressive in terms of performance and tone. Easy to play with and sounds pretty well when combined together. No complaints, no flaw, it's like having a new guitar. I even dare to challenge someone with an American Deluxe strat on a tone match because it sounds almost like a vintage Strat with an LP humbucker now(or even better than that, I have 24 frets and floating trem, Strat comes with 22 mostly haha!).

Korean Floyd vs ILT vs Edge Pro

The new Floyd trem sounds okay to me. It's not as smooth as Edge Pro trem and it does not have extremely long sustain, but it's much better than the ILT tremolo. The tone that I'm getting from the trem is similar to the tone of a vintage style tremolo of a strat or something, twangy and rounded but not as twangy as a Telecaster. It does not stay in tune as good as the ILT and Edge Pro though because it has different string insertion mechanism.

More mods on the way

Next, I added capacitors on my volume knob as well as a resistor on parallel to make that treble bleed mod and reduce the output a little bit so the entire signal won't get too hot. But I also take out the tone knob and put the volume knob on the former tone knob routing. I get more volume by doing that. If I put Cruisers and AT humbucker, I'll probably get similar tone to my modded PGM ha ha !

Tone pot that blocks the tone

By the way, removing tone pot really helps the tone to get more volume and uncompressed feeling. That tone pot is actually a potentiometer or in an easier term: an adjustable resistor. Putting resistor in series with your signal will cause current reduction and thus you get lower output from your pickups. It also compressed the overall guitar sound a little bit. If you have the courage and heart to try something new, and if you rarely use your tone knob, try taking it/them out and hear the positive difference!

For this guitar, I won't be able to post audio clip or anything like that until probably next year when all my rigs will be transported back from Seattle to Indonesia. When that happens, we can probably hear some clips of me comparing the JEM and PGM using same FX units! How cool is that !!!

Visually unappealing

The overall modification sounds great but it DOESN'T look great. That's because now the single coil on the neck position does not cover the humbucker routing completely. I have to get a new pickguard to solve that aesthetic-related problem.

I don't really care though to be honest

As long as it sounds good, I don't complain. Right now, all I want to do is play that baby all day long and all night long. I plug it through a digital crappy(sorry) Korg Tonework AX1500 and now the overall tone that I'm getting is almost like using a POD X3 Live, very very lively thanks to those modifications.

I hope this post will be useful for everyone who reads this.

Cheers and God bless :)

p.s. One more week until I'm able to post audio clips to my posts!