I hate my L.R. Baggs M1a, so....

[Stirlander]

I hate my L.R. Baggs M1a, so... I want to get a new pickup and the M80 isn't an option.

I don't mind the sound of most magnetic pickups and I don't want to drill into my guitar to install a Piezo type pickup, nor will the K&K, Dazzo, etc route work for me.

So, pretty much I want a new magnetic soundhole pickup. In truth, I prefer the sound of my Duncan S-1 Acoustic Tube pickup to the Baggs, but have never been satisfied with it's passive design and output. So, I've really looked into getting one of the soundhole + microphone pickups like the Fishman Rare Earth Blend.

My question, then, is does anyone use that model or something similar? If so what are your thoughts? Pros? Cons?

 

[Christopher Cozad]

...does anyone use that model or something similar? If so what are your thoughts? Pros? Cons?

I used a Rare Earth Blend in a custom acoustic 12 string for a few years and was able to command more bass response from the amplification system than the guitar was able to produce by itself. The mic was less than adequate at resisting feedback, though, and added little to the mix, as a result.

I also had (still have - I think it will go into a museum one day) a Sunrise magnetic soundhole pickup that resided in one of my Guild 12 strings for several years, but these were all before the advent of the latest generation of under saddle / soundboard transducers with on board preamps. Why, pray tell, are you heart set on a magnetic (nothing wrong with the pursuit, I am just curious)?

Christopher

 

[Stirlander]

Was yours the newer re-voiced version?

I play solo and with a classic rock cover band. In my experience, UST are VERY prone to feedback, more than the on board mics I've used.

 

[gilded]

[quote="Stirlander"...does anyone use that model or something similar? If so what are your thoughts? Pros? Cons?

I used a Rare Earth Blend in a custom acoustic 12 string for a few years and was able to command more bass response from the amplification system than the guitar was able to produce by itself. The mic was less than adequate at resisting feedback, though, and added little to the mix, as a result.

I also has (still have - I think it will go into a museum one day) a Sunrise magnetic soundhole pickup that resided in one of my Guild 12 strings for several years, but these were all before the advent of the latest generation of under saddle / soundboard transducers with on board preamps. Why, pray tell, are you heart set on a magnetic (nothing wrong with the pursuit, I am just curious)?

Christopher[/quote]

I like Sunrise pickups, though I don't have any at the moment. I still see 'older name players' and 'younger singer/guitarists' with them, though I suspect that's because their sound guys are used to them, as much as anything else.

They are pretty good about damping feedback, but again, that's because they are so heavy. I used one in a small Banner Gibson LG2 and it completely overwhelmed the top. I do like them in dreadnaughts. A friend has good results with a Sunrise in a non-Guild 12.

 

[dapmdave]

The K&K can be had with a special end-pin that does not require drilling. At a price, of course.

Dave

 

[walrus]

Yep, I love my K&K, no drilling, but great sound!

walrus

 

[Christopher Cozad]

Was yours the newer re-voiced version?

No, it was the previous generation, but it sounded fine. The description "LOUD" comes to mind.

I play solo and with a classic rock cover band. In my experience, UST are VERY prone to feedback, more than the on board mics I've used.

I see. Magnetic sound hole pickups make very good sense in your scenario. I have never heard a comparison of the currently available magnetics (all on the same guitar, mind you, and played through the same amp). I would think that would be of tremendous value in making a decision.

Christopher

 

[Stirlander]

Anyone else have any feedback?

 

[taabru45]

But you didn't like feedback... :? :lol: Steffan

 

[Stirlander]

But you didn't like feedback... :? :lol: Steffan

I almost made a joke about that on my own post. I guess great minds think alike, eh? :lol:

 

[taabru45]

But you didn't like feedback... :? :lol: Steffan

I almost made a joke about that on my own post. I guess great minds think alike, eh? :lol:

True dat...

 

[Ravon]

I recently bought a D55 and was considering a pick up as well. Too many options available for me and personally I felt that so many of these PU systems become obsolete too soon but I had every intention of buying something when I went to the music store Sat. I walked in there and decided then just to stay with the tried and true SM57 microphone and picked one up new for under $100. I think they sound great and retain that natural acoustic sound as well as anything out there and it's worked well for countless players before me. Read somewhere that it's sounds horrible on acoustic guitars but sounds good to me! I can also use it to mic my amps as well. I don't move around on stage anyway and I like to keep things simple so this was for me anyway, the way to go.

 

[gilded]

Was yours the newer re-voiced version?

I play solo and with a classic rock cover band. In my experience, UST are VERY prone to feedback, more than the on board mics I've used.

Out of curiosity, do you ever use a soundhole cover, a la 'Feedback Buster'?

 

[Stirlander]

Nope, I never have used one.

 

[gilded]

Nope, I never have used one.

May I suggest that you give one a try? Made a big difference to me.
Of course, you can't hear anything coming from the sound hole, but usually if you are playing with a rock band, you'd only really be hearing the guitar from an amp, a PA speaker, or a monitor speaker, anyway.

If the band is moving a lot of air around you, the guitar top will vibrated and you're gonna feed back. A sound hole cover has always helped me, a lot. I like the D'Addario Planet Waves covers, though I've owned the Feedback Buster brand, too.

I used to use one with a D-Tar Lock'n'Load in a Tacoma D55. The pickup system had volume and tone controls on the edge of the sound hole, so I cut a little section out so I could stick a finger in and adjust the potentiometers. Even that 'little bitty cut-out section' made a lot of difference in terms of increasing feedback (compared to a fully closed sound hole), but the cover still helped a lot.

In fairness, it can take a bit of getting used to. I gave one to my lead singer/rhythm player and he tried it for a while and it just sort of disappeared. When we did sound-check Saturday nite and his acoustic electric started feeding back 'big-time', I think he got the idea. 'Where's your sound-hole cover?' 'Oh, yeah, at home.' 'Too bad, might want to bring it next time.'

It's not a big investment. I think they come in two sizes, 4" and something else.... Measure your sound hole so you don't get the wrong one.

Good luck!