"J" pickups discussion and comparisons - PART II

[TonyP-]

The Nordstrand El Camino is becoming more of thing...

Check out my initial view here.

If Dimarzio offered the Model J for a 5 sting would you buy it?

From 3 years ago

'Nordstrand NJ5 El Camino'
First off let me say that I had a couple of conversations with Carey about this pickup configuration and did a tonal review with the great luthier Jim Mouradian (He is the guy who built Chris Squire that funky CS74 bass). Who also has been installing the original Dimarzio's since they have came out in the late 70's. We A/B-ing the pickups in basses that have the same tonal character with the same strings (Ash bodies, Nordy pre, DR-strings, ect...)

The "El Camino" is wind pattern not just a pickup so it can be offered with any of the Js NJ4s or NJ5s and split coils. The split coil pattern would be a little less.

Basically the first beta type is a single so I will admit there is a little more top end from the single then from the split. However I wanted that and let me see that it is the most muscular single coil traditional J I have heard...

The first words out of John Mouradian (Jim's son) was "thats thick" followed by Jim saying "It has little more top then the Model J".
I gigged it last night and it really was the best of both worlds. If you picked up an anemic or polite sounding J and it needed a make over this would be the pickup.

I put this pickup in a M5V Lull with a Nordstrand Pre and it is yummy. Very punchy I have it in a Ebony/Ash combo so there is still a upper treble 'controlled' bite that is still there with slapping.

The The El Camino NJ5 Splits will be closer to the actual Dimarzio to be honest, I will be putting a pair in another Lull later on, however I have do some video work with the original pickups so I will not be putting in my own "El Camino NJ5 Splits" until mid to the end of the summer.

This pattern is available now through the shop.
Just email Adrian at Nordstrandpickups dot com

 

[Pbassmanca]

Old post ... N3 Vs. Lollars !

Do you have a link to those sound samples? I always like listening to pick up comparisons!

 

[Gianni "Orlandez" Orlati]

Recently picked up a Fender AM Dlx Jazz Bass V (2013 model year). These have been discussed at length on here so I will keep it brief. I found the stock pickups a bit compressed, as others have mentioned, but I like the preamp just fine. I did shield the hell out of it when I got it and that took care of most of the noise issues. I debated heavily on getting either Fralin or Nord split coils but couldn't pull the trigger. I instead went with Lollar single coils. I have these in a 4 string J and love them - classic single coil jazz bass sound. I got them installed today and recorded a little ditty (copped some of the line to Gaslighting Abbie by THE DAN) as comparison. Sound file order is: N3 active preamp on and flat, Lollar preamp on and flat, N3 passive, Lollar passive. Signal is direct via Apogee Duet into REDDI, no compression of EQ. Just meant as a basic means to compare the pickups inherent sounds. Also, I didn't solo either pickup, just both wide open.

Look forward to my gigs this weekend, but given my already great experience with the 4 string set, I feel very comfortable I will love these live. So far these are only reinforcing the love I have for Lollar pickups. I have a Pbass loaded with Lollars as well.

@Pbassmanca ... this is the N3 Vs. Lollars post

 

[Pbassmanca]

@Pbassmanca ... this is the N3 Vs. Lollars post

Ok, grazie mille!

 

[Gianni "Orlandez" Orlati]

Ahahah ... very well stated indeed !

 

[BlueTalon]

I would have to say that Gen 4's are more lively and brighter a bit, but still similarly compressed sounding to the split coil jazz pickups out there. I actually have a used set of the vintage noiseless and the samarium cobalt noiseless that Fender put out that I'm not using. If you're interested in trying a set out, I'm thinking of putting them up for sale on the classifieds.

Out of the Fender noiseless varieties, I liked the the vintage the best with a preamp. The samarium cobalts are similar sounding to the N3 pickups, but almost get over compressed at times, and the 4th gen models really need that preamp to shine to get the highs out. The 4th gen are super even sounding though, and don't tend to favor any one string or part of the spectrum. I think they just lack too much in the highs without a preamp. The vintage actually sound pretty good passively with higher value pots! Hope that helps!

How would the N4 pickups compare with Super 55s in your opinion?

 

[JIO]

How would the N4 pickups compare with Super 55s in your opinion?

Before all else the N4 is a single and the Super 55 is a split coil. I use and love both but one growls and the other does clean rather nicely.

 

[UmamiBass]

How would the N4 pickups compare with Super 55s in your opinion?

I actually just put a set of super 55's in my main jazz bass this week! So far, they're much more responsive, and have a better interactive quality to them. I didn't have to EQ much to get them to sound good. They're also a bit hotter than the stacked coil designs. I need to spend a little more time with them to get a fuller idea of the differences though. I really like them though! I also got them off of ebay for $80 for the set, so they're a great value so far!

 

[Gianni "Orlandez" Orlati]

I actually just put a set of super 55's in my main jazz bass this week! So far, they're much more responsive, and have a better interactive quality to them. I didn't have to EQ much to get them to sound good. They're also a bit hotter than the stacked coil designs. I need to spend a little more time with them to get a fuller idea of the differences though. I really like them though! I also got them off of ebay for $80 for the set, so they're a great value so far!

Waiting to try them well with a Flexcore installed in lieu of the stock preamp on my MM jazz bass ..

 

[eastcoasteddie]

I have put myself into a dilemma.
My Squier VMJV came with Fender-Designed pickups. I’m sure many of you are probably familiar with them, the pickups in mine are VERY bright. I have to keep the tone rolled off about 75% to keep the zing tamed. Another thing that bugs me about them is that to get the tone I want out of the bridge pickup, I need to set it really close to the strings.
They ohm’ed out at 7.5k neck and 7.8k Bridge. The windings are probably some sort of cheap copper-alloy material (darker in color than 100% copper), and the windings are not very neat. A couple of the alnico magnets are chipped on the edges.

About 9 months ago, I bought a used set of Duncan QP’s. They sound absolutely HUGE. Big bottom, decent midrange, not at all too bright. They sound great with 50-100% tone, but below 50% they seem to lose a bit of midrange. At 0% tone, they have a huge bottom presence, upper-mids are almost gone.

This brings be to an interesting observation regarding these two sets. The Fender pickups are mega-scooped when both are used, but seem to have more midrange when one pickup is soloed. The Duncan’s have huge midrange when both are used. But when soloed, they seem to have a bit less.

I would like a pickup that sort of morphs the characteristics of both of these sets. High-output with big bottom, but not lose the midrange so much, and a brightness that is somewhere between the two.
Is that even possible?

This bass has an SD 2-band Blackout preamp along with the passive tone control.
Would an Audere 3-Band Jazz plate give me more midrange for the QP’s?
[Invalid or Expired Link Removed]
Or will I be on the quest for yet another pickup, winding up with 10 sets before I find the right one?

 

[NKBassman]

I have put myself into a dilemma.
My Squier VMJV came with Fender-Designed pickups. I’m sure many of you are probably familiar with them, the pickups in mine are VERY bright. I have to keep the tone rolled off about 75% to keep the zing tamed. Another thing that bugs me about them is that to get the tone I want out of the bridge pickup, I need to set it really close to the strings.
They ohm’ed out at 7.5k neck and 7.8k Bridge. The windings are probably some sort of cheap copper-alloy material (darker in color than 100% copper), and the windings are not very neat. A couple of the alnico magnets are chipped on the edges.

About 9 months ago, I bought a used set of Duncan QP’s. They sound absolutely HUGE. Big bottom, decent midrange, not at all too bright. They sound great with 50-100% tone, but below 50% they seem to lose a bit of midrange. At 0% tone, they have a huge bottom presence, upper-mids are almost gone.

This brings be to an interesting observation regarding these two sets. The Fender pickups are mega-scooped when both are used, but seem to have more midrange when one pickup is soloed. The Duncan’s have huge midrange when both are used. But when soloed, they seem to have a bit less.

I would like a pickup that sort of morphs the characteristics of both of these sets. High-output with big bottom, but not lose the midrange so much, and a brightness that is somewhere between the two.
Is that even possible?

This bass has an SD 2-band Blackout preamp along with the passive tone control.
Would an Audere 3-Band Jazz plate give me more midrange for the QP’s?
[Invalid or Expired Link Removed]
Or will I be on the quest for yet another pickup, winding up with 10 sets before I find the right one?

Dimarzio Model J?

 

[Zoobiedood]

I have put myself into a dilemma.
My Squier VMJV came with Fender-Designed pickups. I’m sure many of you are probably familiar with them, the pickups in mine are VERY bright. I have to keep the tone rolled off about 75% to keep the zing tamed. Another thing that bugs me about them is that to get the tone I want out of the bridge pickup, I need to set it really close to the strings.
They ohm’ed out at 7.5k neck and 7.8k Bridge. The windings are probably some sort of cheap copper-alloy material (darker in color than 100% copper), and the windings are not very neat. A couple of the alnico magnets are chipped on the edges.

About 9 months ago, I bought a used set of Duncan QP’s. They sound absolutely HUGE. Big bottom, decent midrange, not at all too bright. They sound great with 50-100% tone, but below 50% they seem to lose a bit of midrange. At 0% tone, they have a huge bottom presence, upper-mids are almost gone.

This brings be to an interesting observation regarding these two sets. The Fender pickups are mega-scooped when both are used, but seem to have more midrange when one pickup is soloed. The Duncan’s have huge midrange when both are used. But when soloed, they seem to have a bit less.

I would like a pickup that sort of morphs the characteristics of both of these sets. High-output with big bottom, but not lose the midrange so much, and a brightness that is somewhere between the two.
Is that even possible?

This bass has an SD 2-band Blackout preamp along with the passive tone control.
Would an Audere 3-Band Jazz plate give me more midrange for the QP’s?
[Invalid or Expired Link Removed]
Or will I be on the quest for yet another pickup, winding up with 10 sets before I find the right one?

Well, 2 QPs on together will sound pretty big. A 3 band EQ will help, no matter if it is ours or someone else's. But a 3 band EQ with sweepable mids would be the best.

 

[Gianni "Orlandez" Orlati]

Well, 2 QPs on together will sound pretty big. A 3 band EQ will help, no matter if it is ours or someone else's. But a 3 band EQ with sweepable mids would be the best.

Zobie you work for SD? Super good ... shall I go for SD Antiquity I (AlNiCo 2 right?) to look for Jaco or Antiquity II?
Planning to make my Fender MM jazz bass a passive one ... need powerful bug mid-rich bass tone from bridge pickup

 

[Zoobiedood]

Well, this is the thing...Antiquity is more late 50s.. the II is early 60s... they are a slightly different sound. The original Antiquity has a flatter EQ and lower output than the II, which is more scooped, and more output.

 

[winegamd]

I would say try some Nordstrand NJ4's with alnico 3 magnets in the 60's wind.

 

[eastcoasteddie]

Well, 2 QPs on together will sound pretty big. A 3 band EQ will help, no matter if it is ours or someone else's. But a 3 band EQ with sweepable mids would be the best.

I actually really like the SD 3-band preamps, but I don’t think all those wires and module will fit into a standard Jazz compartment...which is why I chose the Blackout preamp.

I also thought about getting the 67/70 pickups, which aren’t as hot as QP’s, but have more midrange.
I had a set of SD’s hat came out of a Jazz V 24, I thought they were 67/70’s but I am not 100% positive. The 4-string Jazz 24’s had QP’s, but not the 5’s...

The ones I had, if indeed they were 67/70’s, really had some nice growl to them.

 

[rmars]

Well, this is the thing...Antiquity is more late 50s.. the II is early 60s... they are a slightly different sound. The original Antiquity has a flatter EQ and lower output than the II, which is more scooped, and more output.

Late 50’s what? Jazz Bass? Is that hypothetical? Like, if a Jazz Bass actually existed in the 50’s the Antiquity I would sound like that? Sorry, just joking around.

Antiquity II is great but doesn’t sound much like an actual aged early 60’s to me.

 

[winegamd]

Nordstrand also offers what they call the "El Camino" wind, I which is a 10% overwind. The 60's El Camino wind is pretty close to a DiMarzio model J, but with more clarity and top end. If you want fat and growly with clarity and a little sparkle, that would be my choice.

 

[narud]

Well, this is the thing...Antiquity is more late 50s.. the II is early 60s... they are a slightly different sound. The original Antiquity has a flatter EQ and lower output than the II, which is more scooped, and more output.

expect that you cant generalize like that because they're all wound with different amounts of turns and thus varying dcr's from set to set.

 

[Zoobiedood]

expect that you cant generalize like that because they're all wound with different amounts of turns and thus varying dcr's from set to set.

Well my generalizations about those classic eras' pickups were the tonal goals when the different Antiquities were designed. I know that real vintage pickups varied greatly, but in general, the sound of a Fender pickup made in the 50s differed from the ones in the 60s, as well as the design of those classic basses.