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Ultra Tonic Pickups by James May
Although I'm not really interested in the Tone Dexter (nothing digital in my signal path), I am very interested in James May's take on sound-board transducers. I was looking at the way his system deals with the tubbiness usually associated with K&K style pickups, and frankly, it looks pretty cool. The installation/setup looks a bit involved, but it seems worth it. So... Has anybody tried this pickup in a real world gigging situation, better yet, into a good analog preamp? I would appreciate anyone's thoughts on this.
Here's the pickup (it has been discussed around here before)... http://jamesmayengineering.com/products/ The install instructions... http://jamesmayengineering.com/wp-co...tions-v1.1.pdf |
#2
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I have gigged a few times with mine. I plug straight into a Fishman Platinum Pro EQ, then usually into a Loudbox Mini for monitoring.
I'm really impressed with the pickup. It's has incredible clarity compared to other SBTs I've heard, and has a very balanced sound. I've had no feedback issues either, even using wedges (though never at very high volumes) On the EQ I cut a few dB at around 1-1.5k and take a little treble and brilliance off I find it sounds very much like my guitar sounds acoustically. I do think you need an EQ with sweepable mid to get the best from it. I would certainly recommend it! Last edited by Jim_Cross; 10-18-2018 at 02:59 PM. |
#3
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sounds like it's getting the job done then!
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#4
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I have been using them for a while. They work and sound great, similar to K&K but with much more clarity and feedback rejection. I still use my Baggs Anthem guitar when I want to plug and play with a mic based system but I would say that the UT is easily the best passive pickup on the market.
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#5
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Just a quick reflection on the TD - it doesn’t sound digital!!!
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------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#6
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I think the entire point of the Tonedexter is that it doesn't sound digital (apologies for towing the thread off topic).
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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 |
#7
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Quote:
Ultra Tonic article I have found two notable advantages to this pickup over competing SBT's:
Regarding installation, I believe we all have K&K to thank for helping us move beyond that first reaction of 'Get away from my guitar with that super-glue!' I think James May has introduced us to what may be the next step in the development of the SBT: a user-configurable system. I happen to have the test equipment to set up the DIP switches on the circuit board mounted to the endpin jack, so I use it, but it is not a prerequisite. If desired, you can readily set up the onboard feedback suppression by ear, as well as tweak a setting on site, if needed. Live performance is where the pickup really shines. The feedback suppression deftly supports your amplified acoustic sound without having to devote an EQ (graphic, parametric, sweepable mids knob, notch filter, etc) to the monumental task of just keeping the howling down. You can free up your favorite preamp to do what it does best: sweeten your overall sound. |
#8
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so it is possible to setup the feedback suppression without the special test equipment? That did put me off of it a bit seeing I would have to buy the little speaker driver accessory for vibrating the top along with the already expensive pickup. Last edited by rockabilly69; 10-21-2018 at 03:20 PM. |
#9
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Quote:
In order to set the pickup by ear, you are hunting for the one DIP switch that, when set to ON, yields the lowest bass response. While that setting will produce the maximum feedback control, it may not be the optimal setting for your ears. You can often land on a comfortable setting by first locating the one DIP switch that yields maximum feedback suppression, turning that switch back OFF, then setting the switch next to it (on either side) to ON, instead (or maybe even move down one more switch, away from your max suppression switch). My suggestion is to conduct the setup with the guitar plugged in to an amp or PA, and turn up the volume to a point very near or at feedback. Make the DIP switch circuitry do it's job and help you reduce feedback while giving you the pickup's maximum tone. |
#10
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Quote:
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#11
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I decided to install the Ultra Tonic in a boomy D28 guitar and it sounds perfect. No feedback supression needed. Could not get it right with a K&K or a Schatten HFN, love the sound of my Dazzo-equipped OM28.
Preamps I use are RedEye, Grace Felix, Tone Dexter, even tried it with a plain GE7 or a Countryman Active D.I - all sounded great. A tiny bit of EQ for the mids, and everything is fine.
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Blazer & Henkes, vintage Martins & Gibsons, Altman, Martin 00016 Streetmaster mandolin family, Weissenborn, dobro, lap steel, pedal steel, 5-string banjo live gear: Dazzo, Schatten, K&K, Mimesis Kudos, Schoeps CMC6MK4, DPA4061, Neumann KM85, Grace Felix 2, SunnAudio, ToneDexter, RedEye https://www.youtube.com/@roberthasleder1526 |
#12
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+1 to guitarman68’s post.
My guitar is a CEO7 though. Ultra Tonic works. |
#13
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Quote:
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Steve Mcilroy A25c (Cedar, English Walnut) with Schatten HFN (custom MiSi Crystal Jack Preamp, putty install.) Maton 75th Anniversary OM 50th Anniversary Fender Am Std Strat. Gretsch 6120 Nashville Players in Blue. Line 6 Helix. If I played as much as I read threads, I'd be a pro.... |