Acoustic Guitar: Electrify Your Ax

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Electrify Your Ax
With more acoustic-amplification products than ever before, determining which signal path will best suit your needs can be a real brain-twister. Here we explain how to understand differences between the various types of pickup systems, as well as the role of other important components—such as preamps, DIs, amplifiers, and digital processors—so you can make an educated choice that helps you sound your best.

By Teja Gerken

Photo Credit: Ray Larsen and Teja Gerken

With more acoustic-amplification products available than ever before, determining which signal path will best suit your needs can be a real brain-twister. Here we explain how to understand differences between the various types of pickup systems, as well as the role of other important components—such as preamps, Dis, amplifiers, and digital processors—so you can make an educated choice that helps you sound your best.

Next to speculations about the tonal advantages of Brazilian rosewood, the topic of how to amplify your acoustic guitar is guaranteed to be discussed just about anywhere performing pickers gather. With countless possible combinations of guitars, electronics, playing styles, and venues, there is no such thing as a “best” rig that works for all players and in all situations. And, unfortunately, you can’t necessarily take gear cues from your favorite artist, either, because they often have a bigger budget and can drastically vary their equipment for different circumstances—and, besides that, the same gear usually responds differently from one player to the next simply because of how they approach the instrument.

So, if you’re serious about amplification, you may have to try out a few different rigs under your typical playing conditions to find out which works best for you—and doing that can be expensive. But, if you understand the differences between the options and know what each is best suited for, you’ll find it easier to narrow the choices. Although amplification may also involve microphones, Pas, amps, and other equipment (much of which is often provided by the venues you play), let’s look at the components that you typically buy yourself and have control of: pickups, preamps, and Dis.

PICKUPS
Unless you forego onboard amplification altogether and play through an external microphone, your amplification chain starts with a pickup. There are at least three approaches to acoustic pickups, and they’re radically different from one another.

UNDERSADDLE PICKUPS
Pickups mounted under the guitar’s saddle have dominated acoustic amplification ever since they first appeared as after-market add-ons in the early ’80s. The reasons are simple: Undersaddle pickups yield consistent sound; once in place, they’re practically invisible; and they have minimal effect on the instrument’s acoustic voice.

WHAT THEY ARE Most undersaddle pickups use piezo technology, which generates voltage in response to pressure. The first models used piezo crystals, either embedded in a saddle or in a thin element mounted underneath the saddle. The L.R. Baggs LB-6 ($129 list/$90 street), Fishman AG-125 ($109.95 list/$70 street), and original Ovation pickup are examples of piezo systems that use a crystal under each string. To avoid balance problems (certain strings being louder than others), it’s crucial to buy a pickup that matches your guitar’s string spacing (most are available in a variety of formats). The benefit of piezo-crystal designs is that they produce a strong signal that works without a preamp.

In effort to eliminate string-balance issues, many undersaddle pickups now use a pressure-sensitive film (often surrounded by another material) instead of crystals. The Fishman Acoustic Matrix ($169.95 list/$120 street) uses layers of foil to create a rigid element. The L.R. Baggs Ribbon Transducer ($129 list/$90 street) film is encased in rubber. Others use a braided cable (which contains the piezo material) as the pickup sensor. The Highlander IP-1 ($189.95 list/$160 street), and D-TAR Timber-Line ($159 list/$120 street) use round cables that sense movement around their entire axis, while the L.R. Baggs Element ($149 list/$100 street) and D-Tar Wave-Length ($159 list/$120 street) pickups use a flat format for simplified installation. The unique Shadow SH NFX-AC ($160 list/$130 street) undersaddle pickup has a small preamp mounted directly on the sensor, allowing installation without guitar modification.

Some undersaddle pickups use proprietary materials and/or approaches. The B-Band UST (starting at $139 list/$110 street with the A1.2 preamp) uses an ultra-thin electret film to produce a signal, and the Schertler Bluestick ($225 list/$180 street) has a miniature microphone in the center of its sensor.

WATCH OUT FOR Although every undersaddle pickup has its own tonal signature, virtually all current models have the potential to provide great sound. But proper installation is crucial—so have a professional handle the job. Also, results can vary from one guitar to the next, so don’t be surprised if the pickup you love in one instrument doesn’t work as well in another.

Some players have problems with undersaddle pickups sounding “quacky” (an oft-used term describing harsh initial attack). Poor installation, extremely light-gauge strings, and a bad match with other equipment, such as preamps and amplifiers, are often the culprits. Aggressive players may also find that their heavy attack causes too great a voltage spike for the tone to remain natural sounding. In these cases, it’s worth trying to adjust playing technique or pick material, but sometimes a different style of pickup will be a better match.

BEST SUITED FOR As demonstrated by their popularity, undersaddle pickups can work well for most playing styles and in a wide variety of playing situations. Whether playing in a café with a small amp, a bar with screaming monitors, or an arena with a million-watt PA, it’s easy to get consistent results from one stage to the next. For this reason, many players have found that undersaddle pickups are the ideal “working in the real world” setup. Although they’re never as accurate as a great external mic through a quality PA operated by a skilled engineer, undersaddle pickups are usually an excellent compromise. Fingerstylists and gentle strummers are the most likely to achieve a natural sound going this route, and band players will find that undersaddle pickups work well at all but the loudest volumes.

MAGNETIC (AKA SOUNDHOLE) PICKUPS
Mounted in a guitar’s soundhole, magnetic pickups use the same technology as electric- guitar pickups.

WHAT THEY ARE As their name implies, magnetic pickups are based on a series of small magnets (usually one for each string) that are surrounded by a coil of copper wire. This assembly senses string movement and turns it into an electric signal. Soundhole pickups are available as single-coil or humbucking designs. Single-coils are usually less expensive (basic models such as the Dean Markley Pro-Mag start at $99.95 list/$50 street), and many players find that their bright sound stands out well in an ensemble. However, single-coils often pick up extraneous noise or “hum” from surrounding electronics (such as fluorescent lights) and this can frustrate a quest for pristine tone. Humbuckers such as the Fishman Rare Earth Humbucking ($219.95 list/$160 street) and the Sunrise ($222 list/$180 street) use a second coil to cancel out most interference, resulting in a quieter, fatter sound.

The L.R. Baggs M1 ($199 list/$140 street) and M1 Active ($249 list/$170 street) humbuckers offer a unique approach. Both pickups feature a second coil that’s suspended in a unique array (inside the plastic casing) making the pickup also sensitive to vibrations of the top—which yields a response somewhat like what you’d expect from an internal microphone.

WATCH OUT FOR Due to their similarity to electric-guitar pickups, the biggest issue with magnetics is that they often don’t have as authentic an acoustic sound as some other options. This is often manifested in midrange-heavy tone that sounds a little like an electric guitar played through an amp with clean tones. Because most soundhole pickups don’t sense sound from the body or bridge, the host guitar’s sonic personality is less likely to be transmitted through the pickup. Also, the large, heavy size of some soundhole pickups can adversely affect tone—and that becomes a hassle if you don’t want to take the pickup out every time you want to play unplugged. And, finally, soundhole pickups don’t work with nylon-strings because their magnets can’t detect a signal from strings that don’t contain metal.

BEST SUITED FOR Because they’re easy to install, readily available at most guitar shops, and are often quite affordable, many players begin their amplified adventures with magnetic pickups. Though most players who gig a lot choose to wire their magnetics to an endpin-jack, it’s also possible to pop these pickups in temporarily. Many come with a cable that can be hung out of the soundhole; this lets you use one pickup for several guitars, and makes them ideal for use with guitars you don’t want to modify. Soundhole pickups are also the most feedback-resistant pickup type, which makes them a great choice for high-decibel playing. Players who find undersaddle pickups too bright or snappy often find salvation in a magnetic pickup’s warmth and smoothness. Also, many fingerstylists who use lowered tunings and techniques such as harmonic slaps find that magnetics are perfect for their sonic explorations because they yield a powerful low-end response.

SOUNDBOARD TRANSDUCERS
Attached directly to the instrument’s top, soundboard transducers (SBTs) come in the widest range of prices and options.

WHAT THEY ARE Most SBTs use technology similar to undersaddle pickups, but instead of sensing string pressure, they sense vibrations from your guitar’s top. Some SBTs, including the Dean Markley Artist ($69.95 list/$40 street), Shadow SH 2001 Quick Mount ($78 list/$65 street), and Schertler DYN ($450 list/$400 street), use a sensor inside an enclosure about the size of a large bottle cap (with an attached cable). They typically mount to the outside of the top with a finish-safe putty, making them excellent choices for temporary installations and for instruments that don’t accommodate other pickups.

Many SBTs are permanently glued to the inside of the instrument’s top, and then connected to a standard output jack. The B-Band AST (starting at $149.98 list/$120 street with A1.2 preamp), the K&K line of Pure pickups (starting at $115 list/$85 street), and L.R. Baggs iBeam (starting at $129 list/$90 street) are all popular examples. The very high-end of SBTs is dominated by a single manufacturer, Trance Audio. The company’s Acoustic Lens pickup is similar to the legendary FRAP (Flat Response Acoustic Pickup) transducer from the 1970s—which was used by such notable players as Michael Hedges and Neil Young—in that it senses vibration in three dimensions and is therefore extremely sensitive to a guitar’s nuances. Trance’s Amulet system ($495 direct), which pairs two Acoustic Lens SBTs with a preamp, has found many fans among acoustic connoisseurs.

WATCH OUT FOR It often takes significant skill to optimize SBTs for live sound, and therefore they can be problematic for venues where you’re not allowed time for a soundcheck or where the sound equipment and/or engineers are of questionable quality. SBTs that are externally mounted may also harm a guitar’s finish.

BEST SUITED FOR SBTs tend to be the least predictable. They can be amazingly microphone-like, but may also suffer from a tinny, hollow sound. The guitar itself, as well as how and/or where the pickup is installed, has a big impact on the end results.

Players with modest volume requirements tend to get the best results out of SBTs because their feedback threshold is relatively low. Solo fingerstylists are obvious candidates, and many nylon-string players also opt for them. Some bluegrass flatpickers find that SBTs work well on their dreadnoughts, allowing a natural sound that doesn’t require sitting in front of a microphone. The Schertler DYN pickup is a favorite among Gypsy-jazz players because it seems to be a good match for the pronounced midrange of their Selmer-style guitars.

MULTIPLE PICKUPS
Many guitarists find that combining two or more pickup types yields the best overall results. This used to require wiring the guitar with multiple outputs, and using a mixer or “blender” to combine the signals. Today, several manufacturers offer systems that combine multiple sources with a simple onboard preamp and controls.

The most popular combination consists of an undersaddle pickup and an internal microphone. With these rigs, the fundamental sound comes from the pickup, and the mic adds the dimension of the guitar’s “wooden” tone. The L.R. Baggs Dual Source ($299 list/$220 street) pioneered the concept of onboard blending, and the Fishman Ellipse Matrix Blend ($299.95 list/$200 street) and AER AK-15 Plus ($219 list/$200 street) offer those companies’ takes on the concept.

The microphone-like character of SBTs also makes them a common choice for pairing with undersaddle pickups. The B-Band A2.2 XOM system ($249.98 list/$199.99 street) uses the company’s undersaddle AST and UST soundboard transducers. The L.R. Baggs iMix ($329 list/$230 street) matches its popular Element and iBeam pickups, and the Schertler Dual ($595 list/$495 street) features a modified DYN SBT and a Bluestick pickup.

Several magnetic pickups include microphones and onboard blending. The Fishman Rare Earth Blend ($429.95 list/$300 street) has a mic installed on a flexible gooseneck for optimum placement, while the Seymour Duncan MagMic ($393 list/$290 street) includes a mic in the pickup housing. The Dean Markley Trilogy system ($499.95 list/$230 street) takes the idea of combining multiple pickups to its limit by uniting a microphone with magnetic and undersaddle pickups.

BEST SUITED FOR Multiple sources mean increased flexibility. Because the overall mix usually leans toward one of the sources (usually the undersaddle or magnetic pickups), it’s important that you like how that pickup sounds. For example, the addition of an internal mic can really put an already really good pickup sound over the top, but it won’t be much aid for tone that’s not happening in the first place.

If you’re playing in a loud band, you may find that a multisource system isn’t a good investment because you can’t use much of the signal from an internal mic or soundboard transducer without getting feedback. Also, if you typically use an external guitar mic in addition to a pickup, you may find that you’ll never turn on your internal mic. However, to get the ultimate sound when playing through nothing but an amp, or to quickly dial in tone during a short soundcheck, it’s hard to beat the complexity available through a multiple-source system. Guitarists who play with percussive techniques also tend to be happy when they add a mic or SBT to their primary pickup, because it helps them better amplify those techniques.

PREAMPS
A preamp can have as much effect on your overall sound as the type of guitar or pickup you’re using. Designed to boost the often weak output of pickups, preamps provide a signal that other equipment, such as amps and mixing boards, can work with. Besides making the signal stronger, preamps are also impedance-matching buffers. Preamps can be mounted inside the guitar (resulting in an “active” system) or they can be used as stand-alone units. Most internal preamps operate with a nine-volt battery, but some (such as the D-TAR 18-volt Timber-Line and Wavelength preamps) use a higher voltage, claiming that it increases headroom and results in more
accurate tone.

Direct-Injection Boxes
If you run your guitar through a PA, you may want to consider getting a DI (direct-injection) box. Although most venues with a PA provide a DI, having your own that you know inside-out will help you get consistent sound from gig to gig.

A DI’s most basic function is to convert the unbalanced signal (from your guitar’s quarter-inch jack) into a balanced signal you can send (through a three-pronged XLR connector) to a mixing board. (Balanced signals can travel long distances without becoming degraded and are less prone to interference.) Also, many DI boxes—such as the L.R. Baggs Para Acoustic D.I. ($229 list/$160 street), Fishman Pro EQ Platinum ($249.95 list/$170 street), and Tech 21 Sans Amp Para Driver DI ($250 list/200 street)—feature active circuitry that enables them to enhance your tone. Such units are basically a DI-preamp hybrid. Even if your guitar already has active electronics, adding one of these units to your signal chain will likely increase flexibility and improve your tone.

DIGITAL PROCESSING
The latest development in acoustic amplification may sound like a contradiction: Using high-tech digital technology to reproduce the low-tech interaction between vibrating strings and wood. Pioneered in electric-guitar amplification by the people at Line 6, digital modeling uses sophisticated processing to mimic the sounds of holy-grail guitars or amps. In the acoustic realm, this can have at least two objectives: To yield more sounds than a single guitar is capable of; and to deliver natural tone onstage or in the studio. The D-TAR Mama Bear ($499 list/$350 street) is at the forefront of the acoustic-modeling concept, offering 16 sounds (including a host of flattops, as well as classical, archtop, and resonator tones). The Boss AD-8 ($395 list/$300 street) includes six guitar patches its stompbox design. Instead of modeling guitars, the Yamaha Magic Stomp Acoustic ($299 list/$200 street) models microphones, allowing you to approximate the sound of a miked instrument.

Fishman has a unique take on digital modeling in its Aura system ($499.95 list/$350 street). Rather than trying to emulate sounds that have little to do with the actual guitar being used, Aura uses “sound images” of your guitar so that you can hear the tone you’ve come to know and love, only at louder volumes. Users can also choose from a large library of images at Fishman’s website—or order custom images.

PLUG IN AND GO!
Like learning to play the guitar, getting a great amplified sound takes a few experiments, practice, and lots of patience. Next time you see a guitarist in concert, pay attention to what gear they’re using and whether you like their sound or not. If you like it, you’ll then know that one or more of the artist’s pieces of gear is worth giving a shot in your rig. But remember, if you don’t like their sound, it may be due to just one out of several pieces of equipment in their signal chain. Before you completely rule out a product based on how it sounds in one player’s rig, you may want to research print and online gear reviews and seek the opinions of performing local guitarists who’ve tried a lot of different types and brands of gear. Once you decide on a setup for yourself, don’t get it installed and go straight to a gig. Spend some time familiarizing yourself with its idiosyncrasies, and learn how to adjust both its controls and your playing for best results.

Whether you’re just getting started in this quest for louder acoustic tone or are a frustrated dabbler who’s been burned by an unfortunate pickup pairing, you’re bound to have a more enjoyable experience if you stop thinking of this gear as a necessary evil and, instead, exult in the amazing technological strides made in recent years. The smorgasbord of tone toys available now offers more—and better—amplification possibilities than ever before.

Acoustic Amp or PA?
At the end of the amplification chain, the tone you’ve cooked up with pickups, preamps, and DIs will have to be reproduced by a loudspeaker. Many players choose to entrust this last step to whatever system they find at the gig, which is usually a PA system of some sort. Because PAs are made to reproduce a full range of sound (including vocals), they’re great candidates for reproducing the complex tones of an acoustic-electric guitar. However, there are also times when using a dedicated acoustic-guitar amp is also helpful.

An amplifier can serve multiple roles in an acoustic player’s setup. If you’re playing a small venue, your amp may be your only sound reinforcement, and you need to make sure that it’s up to the task. Does it have enough inputs? If you’re singing and playing guitar, it better have at least two channels. Is it loud enough for you to be heard? Wattage ratings alone won’t give you an accurate clue (some 30-watt amps are as loud as others rated at 100 watts), so you’ll have to do some testing with your own ears in a setting similar to your live needs. Talking to an experienced sales person will also be extremely helpful in finding an amp that meets your particular needs.

Even if you play a larger venue with a PA, you may want to use an amp—especially if you’re in a band. An amp gives you control over your stage sound and leaves you less at the mercy of the person mixing the monitors. In such circumstances, you won’t need an amp with as many features as you would were it your only piece of sound-reinforcement equipment; your main concern will be having enough power to be heard over the band.

Why not just use a regular amp made for electric guitars, you ask? Dedicated acoustic amps differ from their rock ’n’ roll cousins by providing a transparent, full-range signal, rather than one that colors the sound. Besides having a high-frequency tweeter (in addition to a larger speaker) and enough headroom for distortion-free sound, acoustic amps generally also come with EQ that’s voiced for acoustic instruments, XLR inputs for microphones, DI outputs, and other goodies that make them incredibly useful.

Suggested Setups
Because every player’s needs and tastes are different, it’s difficult to make specific recommendations for a complete rig, but here are a few suggestions for various performing scenarios: solo singer/guitarists, solo fingerstylists, and acoustic players who are in a band. Not everyone can afford their dream rig, so we’ve detailed setups in three economic street-price ranges: budget ($150 or less), mid-level ($150–$500), and high-end ($500 or more). The more affordable rigs focus on the most essential gear (a suitable pickup and possibly a preamp or DI), while the higher-end setups may include amps and other gear.

SOLO SINGER/GUITARIST
BUDGET: Dean Markley ProMag pickup ($99.95 list/$50 street), Behringer ADI21 V-Tone Acoustic preamp ($49.95 list/$30 street).
MID-LEVEL: L.R. Baggs iBeam Active pickup ($199.95 list/$140 street), L.R. Baggs Para Acoustic D.I. preamp ($229 list/$160 street).
HIGH-END: Fishman Acoustic Matrix pickup ($169.95 list/$120 street), Fishman Aura processor ($499.95 list/$350 street), Genz Benz Shenandoah 100 amp ($859 list/$700 street).

SOLO FINGERSTYLIST
BUDGET: B-Band UST undersaddle pickup with A1.2 internal preamp ($139 list/$110 street).
MID-LEVEL: L.R. Baggs Dual Source system ($299 list/$220 street), Aphex Acoustic Xciter DI ($199.95 list/$100 street).
HIGH-END: Sunrise soundhole pickup ($222 list/$180 street), Trance Audio Amulet system ($495 direct), Pendulum SPS-1 ($1,695 direct) preamp, AER AcoustiCube 3 ($3,399 list/$2,500 street) amp.

GUITARIST IN A BAND
BUDGET: Shadow SH-145 magnetic pickup ($170 list/$130 street).
MID-LEVEL: Highlander IP-1 undersaddle pickup ($189.95 list/$160 street), Tech 21 SansAmp Para Driver DI ($250 list/$200 street).
HIGH-END: D-Tar Timber-Line pickup ($159 list/$120 street), D-Tar Mama Bear modeling preamp ($499 list/$350 street), Fender Acoustasonic Ultralight amp head ($928.50 list/$649.99 street) and 2x8 cabinet ($499.99 list/$349.99 street).

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This article also appears in Acoustic Guitar, September 2006

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