New Pickup from Go Acoustic

[conecaster]

Originally Posted by guitaniac

These comments are especially relevant to me. I THINK it means that you could rig up an internal mic to be phase compatible with the LB6 in my medium jumbo. The LB6 ISN’T compatible with the Lyric system in the same guitar. Oh how I wish that I’d opted for an Enke UST for that guitar. Even at moderate volumes I think a bit of (conventional) UST signal would thicken (and improve, for my taste) the Lyric sound.

I refer back to my comments either here or on The Sound Hole forum. Most look at our system and re imagine it as something they are familiar with.

I repeat the difference, other pickups sum the signal of all strings before the voltage leaves the bridge. Go AA pickups are a zero sum bridge out put. There are 6 signals for each string, not 1 signal carrying 6 strings.

So in our system the Mic signal is a 7th input into our preamp. the summing happens after the Strings and Mic are individually compensated for hz and frequency ranges in the input circuits.

Only after input circuitry does summing phase 3 strings against the mic.

The Go Acoustic pickup is a Zero sum pickup design. It is a very different pickup than a LRB 6. Our system is a sound system onboard to manage many issues a Sound engineer could not unless he had a signal from each string.

[guitaniac]

Thank you for the correction, Paul. I now understand that your system is only similar to the LB6 and the Barbera in that it employs phase cancellation to inhibit feedback. I can’t pretend to understand how a mic signal is integrated with the six saddle signals, but I get the impression that it involves something more sophisticated than simply assigning separate frequency ranges to the string signals and the mic signal.

In any event, the proof is in the pudding. Your system obviously manages to sound very good in high volume settings. Congratulations on that.

[Marshall]

Wow. I just watched the installation directions.

https://www.goacousticaudio.com/shs_install_animated

That is the most thorough set of instructions I've ever seen. You even include a a tool to keep the endpin from rotating when tightening the washer and nut. I've been using a #4 or #6 nail for years on pickup installs. Even the discussion out leaving 0.1" short on the large diameter of the endpin jack. That's a circumstance I found out myself the hard way several years ago. I've never seen it described so well before.

The rest of it looks thorough and easy to follow. The graphics are terrific. Amazingly well done. Good work.

[conecaster]

[QUOTE=Robin, Wales;7365817]^^^^^^ I think that if we were chatting in the same room we would be agreeing on a lot. It is just that on line typing of thoughts can be clumsy and literally, black and white - missing the shades of grey.

Most players who gig with acoustic guitars are asking the instrument to do something it was basically not built to do. Often that is around where it balances in the mix - and to some extent overall volume. Singers have the same balance problems (try singing with no p.a. over a drum kit and electric guitars). >>

Robin, I have been making fully acoustic guitars for stage applications for 25 years.

The instrument is not designed to be high vol, which makes the challenge all the more compelling.

But until you have used what we offer at high vol, with other instruments, you will not be able to understand it is not just another Pickup like you have used many times, run through a bag of devices to manufacture a sound with.

We do not recommend clients use compressors and other devices, Although the Acoustic Exciter is a nice enhancement.

Someday you will see. Its very hard to convey what we have with just videos and words.

But then there is a fall back, Lots of specific application upgrades for OEM products.

[conecaster]

Originally Posted by guitaniac

Thank you for the correction, Paul. I now understand that your system is only similar to the LB6 and the Barbera in that it employs phase cancellation to inhibit feedback. I can’t pretend to understand how a mic signal is integrated with the six saddle signals, but I get the impression that it involves something more sophisticated than simply assigning separate frequency ranges to the string signals and the mic signal.

In any event, the proof is in the pudding. Your system obviously manages to sound very good in high volume settings. Congratulations on that.

Thank you,

Sorry if my explanation is not clear enough.

the difference is how the 6 strings are summed into one signal. You could invert all 6 strings against the mic signal, but our system inverts odd and even strings so its more than a simple mic inversion, there is more to the circuits. Barbera does a simple inversion by reversing phase of the bi-morph PZT crystals. This has some effect but its not the same as a differential circuit. Getting the inversion efficiency is involved math.

[conecaster]

Originally Posted by Marshall

Wow. I just watched the installation directions.

https://www.goacousticaudio.com/shs_install_animated

That is the most thorough set of instructions I've ever seen. You even include a a tool to keep the endpin from rotating when tightening the washer and nut. I've been using a #4 or #6 nail for years on pickup installs. Even the discussion out leaving 0.1" short on the large diameter of the endpin jack. That's a circumstance I found out myself the hard way several years ago. I've never seen it described so well before.

The rest of it looks thorough and easy to follow. The graphics are terrific. Amazingly well done. Good work.

Thank you Marshall, we want people with any kind of ability to be able to install Go AA. It is best to have relationships we build with the guitar public and we work hard to make that part of what we do.

Our system come with kits that include specialized tools to bridge any issue.

BTW- I use 2 allen keys to hold the jack while tightening. 3mm and 2mm. you insert the 3 mm first then lay the 2mm at an angle to catch the cross hole.

This provides a lot of counter leverage.

[JackB1]

Originally Posted by Marshall

Wow. I just watched the installation directions.

https://www.goacousticaudio.com/shs_install_animated

That is the most thorough set of instructions I've ever seen. You even include a a tool to keep the endpin from rotating when tightening the washer and nut. I've been using a #4 or #6 nail for years on pickup installs. Even the discussion out leaving 0.1" short on the large diameter of the endpin jack. That's a circumstance I found out myself the hard way several years ago. I've never seen it described so well before.

The rest of it looks thorough and easy to follow. The graphics are terrific. Amazingly well done. Good work.

Yes the installation guide is well done, but this is WAAAY more complicated and involved than a simple Anthem install. Not sure many folks are going to want to tackle this themselves. I've done many pickup replacements and not sure I would want to give this a go. I think this complex installation procedure is going to be the biggest hurdle for this pickup.

[Marshall]

I don't necessarily agree. Though I haven't installed one yet, obviously. But in my experience, most (all?) installation instructions leave out some miniscule details that cause unanticipated problems. At least this looks more thorough than most.

Twice while installing HiFi's I had one of the two units remain fixed to the installation jig, not the bridge plate. I learned to use a very small piece of double stick tape to hold the unit to the jig, so it will release before the main tape does. Even a small hunk of tape caused problems.

Bad words were spoken.

[conecaster]

Originally Posted by JackB1

Yes the installation guide is well done, but this is WAAAY more complicated and involved than a simple Anthem install. Not sure many folks are going to want to tackle this themselves. I've done many pickup replacements and not sure I would want to give this a go. I think this complex installation procedure is going to be the biggest hurdle for this pickup.

Jack,

If its intimidating you should not get I to it.

But I work with end users all the time and its not that difficult.

For a Taylor owner is very easy.

Once you get into the string balancing you will love it.

[conecaster]

https://youtu.be/IdGjcZWBhh4?si=JjJ-MyUrJpxaXDRr


This Shane Hennessey

He is playing one of my Guitars with an earlier Go AA system featuring Graph tech pickups.

There are no effects, the amp is a Fender Acoustic 100

[conecaster]

you can see the installation instructions here.

https://www.goacousticaudio.com/es-r...llation-manual

[conecaster]

Originally Posted by Petty1818

That was my thinking as well. It's kind of like those demo videos where someone will test a pickup by playing the guitar in front of the mic/phone with the amp behind them. This is obviously going to pick up a ton of the unplugged tone.

I do like the concept of this pickup though. Anything that can get close to the Takamine system is a win for me. I wonder though, is the saddle attached? I am assuming so which means you are stuck to using that saddle.

Shane Atkins was playing at a high vol level. You are hearing the acoustic sound from as far away as the Iphone was.

here is a direct recording into a Neve DI onto a studio mixing board set flat.

https://www.youtube.com/watch?v=lowOyyPtm2E

Go Acoustic is growng in South America, this is Diddier Mamanu from a major Bolivian act Kala Marka

https://www.youtube.com/watch?v=e4-mRzYV-xo

[conecaster]

Originally Posted by martingitdave

I think many of us agree that the piezoelectric sensor has a signature sound in an acoustic guitar. Given the limitations of current technology any pickup is going to sound less "natural" than a microphone. And a microphone can be a challenge in many stage settings. Many artists, even the headliners, used Ovations in the 70s. It wasn't because they sounded exactly like an acoustic with a microphone. It was because they were practical and sounded good enough. Many of us use various kinds of piezo systems with success all over the world. None of them sound like a mic. Many of them sound great. Some sound like the Ovations from the 70s. I think this system by Mr. McGill is worthy of consideration, especially for those wanting precise levels of control over their string to string balance. I suppose it's a niche professional product in the sense that such players are not that prevalent, and installation takes some skill.

I'm pleased that people remain passionate enough about the topic to manufacture new products and that they take the time to discuss them in the forum.

Thanks!

Martin thank you for this response. We do encounter guitarist that the string balance is critical too. But struming the strings and placing the guitar in front of a speaker gets the biggest reaction. I think the Piezo tonality issue is greatly mediated by the way the crystals are used in the application.

[guitaniac]

There are two things about the Go Acoustic system which intrigue me, perhaps three if the Go Acoustic in-saddle pickup is actually as feedback resistant as the Fishman Rare Earth Blend mag which I’m currently using. While I DO like the way a magnetic pickup responds to the touch, I’ve never liked the way it obstructs the soundhole to some extent. For that reason I’m thinking the Go Acoustic in-saddle pickup may be the better option, if it actually sounds as good as claimed.

With regard to undersaddle and in-saddle pickups, it’s long been my general perception that the piezo film pickups tend to be more top responsive and sound better (especially the Enke UST), while crystal piezo USTs tend to be less feedback prone. If the Go Acoustic crystal piezo in-saddle pickup actually manages to deliver the best of both worlds (tone AND feedback rejection), that’s a very worthy accomplishment.

With respect to internal mics, it’s always been my experience that they require a lot of EQ help, EQ help which depends greatly on factors like the placement of the mic and the character of the host instrument. I’d always presumed that it was best to EQ the mic signal separately, BEFORE blending with the UST signal. It intrigues me that the Go Acoustic system has a special way of blending the signals onboard which may actually work better than the old method of EQing the mic and pickup signals separately before blending offboard.

[conecaster]

Originally Posted by guitaniac

There are two things about the Go Acoustic system which intrigue me, perhaps three if the Go Acoustic in-saddle pickup is actually as feedback resistant as the Fishman Rare Earth Blend mag which I’m currently using. While I DO like the way a magnetic pickup responds to the touch, I’ve never liked the way it obstructs the soundhole to some extent. For that reason I’m thinking the Go Acoustic in-saddle pickup may be the better option, if it actually sounds as good as claimed.

With regard to undersaddle and in-saddle pickups, it’s long been my general perception that the piezo film pickups tend to be more top responsive and sound better (especially the Enke UST), while crystal piezo USTs tend to be less feedback prone. If the Go Acoustic crystal piezo in-saddle pickup actually manages to deliver the best of both worlds (tone AND feedback rejection), that’s a very worthy accomplishment.

With respect to internal mics, it’s always been my experience that they require a lot of EQ help, EQ help which depends greatly on factors like the placement of the mic and the character of the host instrument. I’d always presumed that it was best to EQ the mic signal separately, BEFORE blending with the UST signal. It intrigues me that the Go Acoustic system has a special way of blending the signals onboard which may actually work better than the old method of EQing the mic and pickup signals separately before blending offboard.

I have no comparison for feedback resistance to a sound hole pickup. but this video at 55 seconds might give you an idea.

https://youtu.be/1uELL3NlLBo?si=OX9JkTrtlx4M8BdR


My need for a system was to provide feedback resistance I relied on RMC to provide. This goal was realized in 2017.

as for Mike EQ. the mike in our system is EQd to overcome internal body compression and to prevent body cavity cycling. Beyond EQ the mike is differentially phased in the summing circuit which provides a very feedback resistant result.

Thanks for asking.

https://youtu.be/1uELL3NlLBo?si=OX9JkTrtlx4M8BdR

This is with mike, the video above has no mike.