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Acoustic Guitar Pickups: 8 Things to Know

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Taylor Expression System

Acoustic amplification is always a controversial subject, often leading to debate between the purists who consider the very idea appalling, and gear-lovers who are always eager to try the latest technology of the hour.  The fact is that for many musicians a good pickup and amplification system are a necessity, some might say a necessary evil.  Here are a few things to keep in mind when choosing the best pickup system for you:

1.  It is impossible for any pickup to accurately replicate the tone of your acoustic guitar, and even the very best systems available are inevitably a compromise.  The very physics of amplification makes this a fact, and while there are very good systems out there that get close, nothing will sound exactly like the instrument.

2.  For studio or home recording purposes, there is no guitar pickup that will sound better recorded than a good microphone.  We all fall in love with our acoustic guitars while sitting and playing them, and nothing inside or on the guitar will replicate the sound waves that we hear when we play.  A microphone does a much better job of replicating our ear, and the recording results are always better.

3.  Most of the time, the only advantage of getting a guitar with electronics pre-installed is having the preamp and controls mounted in the side of the guitar for easy access.  Other than that, the majority of those very same systems are available for installation in any guitar you choose, often with controls mounted conveniently inside the soundhole.  (Note: the Taylor Expression system and the Cole Clark Faceblend are two exceptions to that rule)

4.  The worlds greatest guitar can sound incredibly poor with the wrong pickup system, and conversely a very poor guitar can sound good with the right pickup.  Just having great guitar or an expensive pickup system is not enough, you need to choose the right system for both your individual guitar and your individual amplification needs.

5.  As of now, there is not one end-all, be-all system.  Our customers get the best results when the system they choose is tailored to their use.  Someone who is playing acoustic guitar in a loud band with drums will have different pickup needs than someone who is performing solo at an open mic night.  One of the advantages to picking a system after you choose your guitar is being able to match the right pickup system to your personal needs.

6.  While there are many brands and variations available, currently there only three classes of acoustic pickups:  Undersaddle piezos, soundhole-mounted magnetic pickups, and sound board transducers.  Piezos and magnetics are typically great for the aforementioned band players, while soundboard transducers are often favored by solo musicians for their natural sound.  Sometimes these are combined together or blended with a mic, but at the core, there are only three pickups to understand.

7.  While this will probably seem rudimentary to some, it is worth mentioning that acoustic pickups are meant to replicate the tone of an your acoustic guitar, not to make your acoustic guitar sound or act like an electric guitar.  Also, even the best acoustic pickup system will not sound "acoustic" through most popular electric guitar amps.  If you want a guitar that can sound like both an acoustic and an electric at the same time, you'd be better served by hybrid guitars like the Taylor T5, or the Godin Multiacs.

8.  An "acoustic amp" refers to an amp that can produce the full range of an acoustic guitar.  Acoustic pickups put out much more bass and treble than a standard electric guitar amp can reproduce.  Acoustic amps are very useful in rehearsal spaces, as onstage monitors, or in place of a PA system in small venues.  If you are usually performing through a PA system, an acoustic amp isn't always necessary.  Many PA systems will amplify an acoustic guitar just as well.

There is a sea of products available now to help amplify your acoustic.  If you need someone to help you navigate the options, feel free to give us a call.  Personally, I spend way too much time tinkering, testing, and thinking about the different pickup solutions available (just ask any of the other guys here at the shop).  I'd be happy to share what I've learned and help you reach your own ultimate amplified acoustic tone.

Ryan Fitzsimmons

 
  

Comments

Hi Ryan, this is a fantastic article. A lot of people can benefit from this knowledge as the first thing you tend to go for is the piezo, and I don't think many people even realize that the soundbard transducer is an option that sounds pretty natural. Have to agree that nothing captures the tone like a good mic. Any recommendations there? Do you have a favorite?
Posted @ Tuesday, March 02, 2010 8:56 PM by Acoustic Guitar Junkie
Thanks for the comment! There are many great mics in the world, and everyone has their favorite flavor. For a good mic in live situations, we are big fans of the Countryman Isomax 2. It can conveniently clipped on to the top of the guitar, or mounted inside. It has a very true response, and while it will feedback at certain volumes, the threshold is a bit higher than some other similar mics available. Several nationally touring bluegrass flatpickers we work with are using this mic with great results. We've also tested it against some more expensive, similar mics and we feel that it is a fantastic value. 
 
Having the mic mounted inside, or clipped on to the top of guitar removes the proximity issue you'll run into when using a stationary mic. Mounting a microphone inside the guitar will always give you a much different tone than you are used to hearing un-amplified, but it will help to fight feedback and can be very useful. 
 
Guitar players who move while playing will often get inconsistant results in front of a stationary mic on a stand. However, if you are the type of player that moves very little, you can get great results from a small diaphram condenser such as a Shure SM81. These mics are very sensitive, but are directional enough to deliver pretty fantastic results, as long as your stage volume isn't too hot! 
 
A good microphone will always sound better than a pickup, but there isn't a mic made that will not feedback in certain situations. Also, pickups will cut through a full band mix much more easily than a mic can. It really all depends on your personal situation, and I'm always happy to advise anyone looking to find a good solution. 
 
Posted @ Wednesday, March 03, 2010 12:34 PM by Ryan Fitzsimmons
I agree with AcousticGuitarJunkie. This really gives a great perspective on what's actually going on behind the wood of your acoustic. 
 
I'll admit that I've had some really bad recording sessions with guys that don't invest enough in good microphones. The mics might sound great for certain vocals and what not, but when they're up against my Takamine acoustic, the sound just isn't right. 
 
I'm happy to say that one of the engineers actually realized his mistake later and offered to rerecord my tune with a more appropriate mic. Happy ending :] 
 
Good post!
Posted @ Monday, June 28, 2010 11:16 AM by Guitar Music Lessons
That is certainly a valid point! Many studio engineers have honed their skills miking everything from electric guitar amps to vocals, and all too often miking acoustic guitars is an afterthought.  
 
Before selecting a studio to record in, it is always a good idea to find out if they record acoustic guitars frequently, and ask to listen to an example of their work. High quality microphone and pre-amps are preferable, and the skill of the engineer at the selection and placement of the microphones is essential to a great recording!
Posted @ Monday, June 28, 2010 11:55 AM by Ryan Fitzsimmons
Great points Ryan. You obviously know your stuff. When I recorded a CD entitled Venture out, we used a couple of different methods including a good mic.  
 
Sometimes it's helpful just to close the eyes and listen to what sounds best- which in most cases would be that which replicates the guitar well. Other times I've found a change can be OK if the ears decide it's good.
Posted @ Monday, June 28, 2010 1:08 PM by Tim Hillwood
It’s not hard to teach one on one but students tend to get away from the “feel” on their own and bog down. Direct imitation with immediate feedback from me seems to work really well but all the abstract instruction on the web seems to make students over analyze it and forget that sympathetic motion is ultimately a feeling. Teaching it is much like teaching someone to roll their Rs – the technical information can actually get in the way of “getting it”. 
stagedive  
Posted @ Wednesday, July 28, 2010 1:18 PM by stagedive
It’s not hard to teach one on one but students tend to get away from the “feel” on their own and bog down. Direct imitation with immediate feedback from me seems to work really well but all the abstract instruction on the web seems to make students over analyze it and forget that sympathetic motion is ultimately a feeling. Teaching it is much like teaching someone to roll their Rs – the technical information can actually get in the way of “getting it”. 
stagedive  
Posted @ Wednesday, July 28, 2010 1:21 PM by stagedive
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