I always found the stock options rather limiting with tone/volume pots and a toggle selecting bridge/all/mid-neck p/u's. In stock configuration the bridge could be soloed so that hasn't changed but hearing the center p/u by itself was interesting.....as JPS put it, there is a p-bass vibe from it and when it is used with the bridge it thickens things up and takes the edge off of the boarderline harshness of the bridge.
The neck p/u soloed is a little too "thick" perhaps even a little "muddy" for use on it's own (IMO) but is great for adding some grunt and filling in tone gaps to either/both of the others. It's not that it sounds bad by itself it just lacks definition relative to the mid/bridge p/u's.
It's certainly interesting hearing the different characteristics of the p/u's related to positioning and how they blend with each other. I always just left the controls cranked previously and now I find my self tinkering more. Dialing the neck p/u down or off leaves a full tone with more detail evident......for the type of music I play and considering the band I play in a "delicate/polite" tone isn't usually suitable but it does come in handy for some intros and melodic bridges. Most of the time I still have the controls cranked but I do enjoy exploring other options a bit.
I also swapped out the bridge for the Hipshot "A". Not completely necessary but I prefer the aesthetics over the ABM and like the top-loading feature for string changes as well.
All of the mods are completely reversible with the exception of some light routing done to open up the control cavity a tad......more room to squeeze in the stacked pots and extra wiring. For a collectors piece the value may have taken a slight hit but, since I'm a player, the function is more important and I can't see ever wanting to take the tonal options away.
(gratuitous pic of LK with recently completed Mesa 400+/Powerhouse 1200 rig......so much for downsizing)
Can you tell me what Hipshot you went with , I see they offer many string spacings .
