Best Pickup for 46 Gibson L7

[LJS]

Hi,

I've used K & K Pure Archtop pickups on a pair of L50s in the past. Recently, I've acquired a '46 L7 non cutaway, and I went to the K & K website, but saw that they were advertising the Destiny system (pickup + preamp) for archtops and I didn't find the Pure Archtop pickup advertised on their site any longer. So, I have a few questions that I hope folks on the forum can answer.

1. Why the change at K & K? I felt the Pure Archtop did the job, and I used my own preamp (LR Baggs Venue).

2. Any strong recommendations for a pickup for the L7 other than K & K? I'm not averse to adding a floating pickup, but I don't want anything that compromises the top by digging into it, like seating a humbucker, for example.

Thanks,

Lou

[urlkonig]

For pure acoustic sound, I use a Schertler DYN-G on my 37 Epiphone Broadway. You have to find the optimal position for it, but once you do, it sounds great!

[Steve DeRosa]

Originally Posted by LJS

...Any strong recommendations for a pickup for the L7 other than K & K? I'm not averse to adding a floating pickup, but I don't want anything that compromises the top by digging into it, like seating a humbucker, for example...

I used to have an early '47 script-logo, low A-Series L-7 myself (#A-19x), so I'm kind of a traditionalist in this respect; IMO the only way to properly amplify an old Big-Band box is with a suspended single-coil pickup like the old DeArmond 1000/1100 - and good luck finding an original in decent, complete condition for under $1000. Although Guild has resurrected the "redhead" Rhythm Chief 1000 for their current A-150 and Artist Award, TMK they're not available as an add-on at present; there is, however, an exact repro available from Swingmaster - not exactly cheap at 244 euros, but still about 1/4 the cost of a gennie '50s version:

http://www.swingmasterpickups.com/index.php?id=102

There's also a Kent Armstrong single-coil available through archtop.com for under $200, that claims to have the same response characteristics; maybe so, but personally I can't get past the hi-tech, flat-black epoxy/hex-screw cosmetics. The good side is that it's not only adjustable to compensate for acoustic (PB or 80/20) or electric strings, there's also a coil-tap provision (switchable if you want it) for either 8K or 13K operation; could be a handy solo/rhythm feature, or P-90/PAF tone selector with some cap-load tuning on the hot (13K) side...

[upsidedown]

My buddy uses a Pickup Of The World archtop p/u on his L7. He's happy with it.

[rpguitar]

I think it's a bit too limiting to state that the only proper way to amplify a vintage Gibson non-cut is with a kilobuck DeArmond. And I have an 1100 on my '47 L-5, so I know it sounds great.

I also have a PUTW under the bridge on my Super 400. And I've tried the K&K Pure Archtop on an L-7. I'm less than enthusiastic about these, although the PUTW is useable to me.

In my opinion, the transducer style pups don't adequately allow the nuances of an acoustic archtop to fully translate through amps and speakers. They all emphasize peaky mids and need drastic EQ to be tolerable. Only a high quality condenser mic really works if you want the guitar to sound faithful to itself when amplified. And the DeArmond models sound really great, but they give you a thick electric jazz tone, not at all an acoustic one.

[Archtop Guy]

I'll second all of Roger's remarks, plus...

I've tried K&K, and PUTW, and I currently have a Schrertler dyn-G on one of my guitars. The K&K required LOTS of EQ and never sounded great. The PUTW is much better. The dyn-G is the best, but it still doesn't really capture the true acoustic tone.

Of course I like a great mic in front of the guitar. But for live work my cheap AKG C1000 is good, and I have even used a SM57 at open mics. The 57 is OK and still better than any of the transducers, but you will need to move around a bit to find the right spot. (For live setups, where S/N is everything, the mic should be over your picking hand, or maybe between your picking hand and the bridge, not over the twelfth fret.)