#16
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#17
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With respect, RustyAxe, don't knock the flavor til you taste the ice cream. It's pretty yummy...
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 1930 National Style 1 tricone Square-neck 1951 Rickenbacker Panda lap steel 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo, K&K's 1967 Gretsch 6120 Chet Atkins Nashville 2024 Mahogany Weissenborn, Jack Stepick Ear Trumpet Labs Edwina Tonedexter |
#18
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Huh??? I didn't "knock" anything ... just made the suggestion that the OP take a look at what the flavor of the month was last month, and last year, and five years ago. Glad you're happy with your purchase, but really, it is not the be-all and end-all of such units. It's just one more.
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#19
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#20
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I haven't tried the Tonedexter but it's not just another preamp.
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#21
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I think it is fair to say (not to try to turn the thread into a Tonedexter promo) that this is something with an entirely different and new way to attack the problem of overcoming the acoustic pickup's shortcomings. There is simply nothing to compare it to and it is unfair to the product to toss it into the bucket with all the other preamps that have gone before, IMHO. Just sayin'....
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 1930 National Style 1 tricone Square-neck 1951 Rickenbacker Panda lap steel 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo, K&K's 1967 Gretsch 6120 Chet Atkins Nashville 2024 Mahogany Weissenborn, Jack Stepick Ear Trumpet Labs Edwina Tonedexter |
#22
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Fire Eye Red Eye user here. Works great with the K&K, especially with an EQ pedal in the loop.
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2022 Martin D-18 Authentic 1937 VTS 2019 Guild F-512E 2016 Martin D-28 Authentic 1937 VTS 2015 Gibson J-45 Vintage 2007 Gibson SJ-200 True Vintage |
#23
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1) does your acoustic amp have a midrange tone control? 2) What is the speaker configuration and size on the amp? 3) what body size and wood combination is your guitar?
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"One small heart, and a great big soul that's driving" |
#24
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#25
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If you like a horrible acoustic tone, and from what I see at open mics and such plenty do, plug your K&K or any other piezo transducer directly into a mixing board. Otherwise, read the instructions that come with your K & K pickups and play them through a device with a 1 meg ohm input impedance, be that a DI or a preamp. An acoustic amp has the correct impedance designed in, or a switch to get you there.
There are also big differences in the quality of electrical parts and then there is design. A cheap pre or DI sounds like what it is, but is better than nothing. A well designed unit like a RedEye sounds way better, the new offerings from Sunnaudio sound better than that. A Baggs PARA DI is solidly good, but doesn't sound as good as a RedEye.
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2007 Martin D 35 Custom 1970 Guild D 35 1965 Epiphone Texan 2011 Santa Cruz D P/W Pono OP 30 D parlor Pono OP12-30 Pono MT uke Goldtone Paul Beard squareneck resophonic Fluke tenor ukulele Boatload of home rolled telecasters "Shut up and play ur guitar" Frank Zappa |
#26
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"One small heart, and a great big soul that's driving" |
#27
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I have K&K's in all my guitars, past and present. A decent acoustic amp will get you where you need to be as long as it has a decent EQ section, which most do. That said, running through a separate preamp before getting to the amp will help even more. I've used many and most were really good. The Fire-Eye Red-Eye is great for simplicity. You get a boost and treble boost which is sometimes enough. I also have the little K&K belt clip preamp which also works great. I like that unit for when I want some on the fly (attached to me) EQ and volume control. This is helpful for open mics and what not where you're at the mercy of whatever the 'house' gear is.
Probably my tried and true fave though is the PARA DI. Built like a tank, a ton of EQ power with sculpting mids and notch. But I think you can't go wrong with any decent preamp. It depends on what you want to spend and how much time you want to play around to get a decent tone. My three choices are in the relatively inexpensive and easy to dial in camp. For the live playing we do, a lot of the tone is lost in the crowd noise anyway. Nobody cares except for maybe the lone AGF guy in the crowd that plays and knows that the struggle is real. But for the rest of them, as long as your guitar is in tune and you can sing/hit the notes, that's all they care about. |