Looking for ways to amplify without having to be confined to being near a condenser mic on a stand.
Anyone had any good/bad experience with transducer pickups for the mandolin?
Looking for ways to amplify without having to be confined to being near a condenser mic on a stand.
Anyone had any good/bad experience with transducer pickups for the mandolin?
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Loar LM-520-VS
Parkwood 360M
Gibson J-50
I think Mike may reference you to several threads about this topic. You can also do a search as it has been discussed many times here.
THE WORLD IS A BETTER PLACE JUST FOR YOUR SMILE!
In that case let's get this started. I use a K&K with a RedEye preamp. I have tried many preamps and this is by far the best I have found. I have a really nice sound that captures the sound of my mandolin. I have had other mandolin players with many more toys compliment me on my sound, and with the RedEye I EQ very little.
THE WORLD IS A BETTER PLACE JUST FOR YOUR SMILE!
+1 on the RedEye. Best non instrument pice of gear I own.
Silverangel A
Arches F style kit
1913 Gibson A-1
Twin internal, I didn't want to drill the endpin so I used a Tapastring jack.
THE WORLD IS A BETTER PLACE JUST FOR YOUR SMILE!
WWW.THEAMATEURMANDOLINIST.COM
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THE WORLD IS A BETTER PLACE JUST FOR YOUR SMILE!
The advantage of a transducer is that you can achieve higher levels before feedback. The disadvantage is that it will not match a microphone in sheer 'quality' terms. It may be good enough.... only you can decide.
The advantage of a mic is that you capture the full sound of your mandolin, including the 'air'. With a highly directional mic, or with very close-mic systems such as a clip-on, you can get very good output levels before feedback, though not quite as high as you could achieve with a soundboard transducer under similar conditions..
It really comes down to how loud you need to go, in the end....
For my own purposes, I get more than adequate levels from a stand mounted condenser mic: though I also have ATM350 and DPA4099 clip on mics available if required... not that I tend to need them myself. I also have an AKG C411 transducer installed in my Ellis (via Tapastring jack), but I don't think I've used it more than once in the past 3 or 4 years....
Gibson F5 'Harvey' Fern, Gibson F5 'Derrington' Fern
Distressed Silverangel F 'Esmerelda' aka 'Maxx'
Northfield Big Mon #127
Ellis F5 Special #288
'39 & '45 D-18's, 1950 D-28.
However if you’re prepared to stump up the readies in your quest I have heard these working miracles, taking a jj baggs source and turning it into a crisp clear Neumann acoustic sound. Incredible bit of pro level kit. Rent the mic for the set up on all your instruments, then save (& backup) & you’re set for studio quality ‘acoustic’ sound from your pickups on stage.
http://audiosprockets.com
I’ve no connection to them, just stunned by how well they do the job.
Eoin
"Forget that anyone is listening to you and always listen to yourself" - Fryderyk Chopin
Schertler offers what is a contact microphone.. advantage , to a mixer its just another microphone ..
channel has the preamp.
Installed , opting for their end button jack there is a TRS connection,
you can get balanced mixed plug TRS one, XLR on the other end.
Passive version I have fount the signal strong enough to just use the guitar amp input..
A pickup will of course hear mostly what it is attached to..
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