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This is sort of a follow up to AJ's recent gig post.

 

I'm curious those that play or have played gigs with your Gibbys, what live set up do you have?

 

it would be good to compare and perhaps get some tips.

 

For me the chain is like this.

 

SWD / Furch - Fishman Aura DI - Marshall AS100D - House board (if required)

 

Both guitars have Fishman pickups inside (Infinity and Prefix)

 

We use Shure SM58 and 57Beta mikes respectively. On a couple tracks I use a Jamman looper to provide some rhythm when I play a lead part, but generally try to avoid the looper.

 

I normally use some hall or room reverb that comes from the Marshall and slight, slight compression from the Aura.

 

For hard driving, bass focused or strong sustain I use the SWD. For tracks that have a more balanced, woody tone (radiohead, crowded house, david gray) I use the mahogany Furch OM.

 

Would love to hear your set up and choice of guitars.

 

Cheers!

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I am afraid I have little to offer in the way of enlightenment.

 

Which guitar depends on my mood and whether or not I will be playing slide.

 

I slap one of these across the soundhole of a flattop.

 

DeArmond210-4.jpg

 

Plugged into some 1960s Valco goodness (sitting atop a cab with a pair of 12" Jensens)

 

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I don't own any mics but can borrow something like an old Shure if I need it.

 

Add a cable and that's all folks.

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Just to summarise my previous response:

 

SWD and Tak 12 string into individual channels in a Marshall AS50. Reverb set to around the middle - depends on room, mood etc. Very very occasional chorus - a little.

 

Shure SM58 into another Marshall AS50 - a little reverb.

 

There are certain songs for which I will use the SWD or the Tak but for others, it might be what's in my hands and whether or not I can be bothered to swap (again).

 

That's it. No pedals or other effects.

 

Sometimes, I play my Strat live. Straight into an Epiphone Valve Special. I do have a Digitech pedal but I've had it for 3 years and still don't know how to work it properly. Nice bluesy gain from the Epi but it's not loud enough for even a small pub gig, so I rarely wheel it out.

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This is set-up for practice. Sorry about the Martin (K&K Pure Mini inside), my Souther Jumbo doesn't have a pick-up (yet).

Fender Acoustasonic, Shure SM57 for vocals, little Mackie for guitar and cajon, a Meinl cajon with a mic inside that I can tap with foot to get rhythm thing going ;-)

 

Looking to trade up to a Fishman Loudbox sometime.

 

practicesetup.jpg

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I try to keep things simple. When I play out I plug one of these..... (Taylor 612C, Gibson AJ, Gibson LG1)

 

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into this.... (Genz Benz Shenandoah 200 Stereo Deluxe)

 

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Sometimes I just bring a guitar and my LR Baggs PARA acoustic DI and go direct to the PA system, but I like having my amp to adjust more.

 

Lately I have been plugging into my 1960 Americana branded Magnatone Custom 413 and using the beautiful pitch shifting tremolo. For my Christmas music I am playing fingerstyle, it is simply an amazing tone that is almost Violin or Cello sounding from my guitars. While it is an amp made for an Electric guitar (or possibly even an accordian?) It sounds beautiful with an acoustic guitar especially when using either of the Gibsons with the K & K mini's in them. My Highlander UST still sounds best when plugged into the PARA DI and then adjusted prior to going into the amp.

 

Here is my Maggie!

 

 

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I have an AER compact 60 amp, which has a 6 hour run-time battery unit on board. So, plugged or un plugged works the same. I use a Sennheiser e835 vocal mic, and play my guitar through LLBaggs active pickup. No special effects. Try to run it as clean as possible, but the amp does have some effects like reverb, etc.....that can be added.....pretty simple.

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I play all instrumentals (if you heard me sing, you'd know why). I take 3 guitars to a gig: 1) 1930 National Style 1 tricone (for slide), 2) 1917 Dyer Symphony Harp Guitar, 3) vintage Gibson 6 string or modern Kim Walker Gibson-inspired work of art (we're talking 9 year wait). I only mic these guitars (SM58) and play either through my AER Compact 60 amp or the house PA. On those rare occasions when I need to plug in because I'm playing a noisy club, I plop a Baggs M1 active in the sound hole of one of my old Gibbies and use that guitar for my whole set. Saturday night in Liverpool, UK:

.
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I play all instrumentals (if you heard me sing, you'd know why). I take 3 guitars to a gig: 1) 1930 National Style 1 tricone (for slide), 2) 1917 Dyer Symphony Harp Guitar, 3) vintage Gibson 6 string or modern Kim Walker Gibson-inspired work of art (we're talking 9 year wait). I only mic these guitars (SM58) and play either through my AER Compact 60 amp or the house PA. On those rare occasions when I need to plug in because I'm playing a noisy club, I plop a Baggs M1 active in the sound hole of one of my old Gibbies and use that guitar for my whole set. Saturday night in Liverpool, UK:

.

JT.....That Walker guitar is just fantastic. I really like it. I'm all for breaking the mould. I understand, that Kim can wring every last tone out of a guitar, and I'll bet it is a joy to play. Great guitar.

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JT.....That Walker guitar is just fantastic. I really like it. I'm all for breaking the mould. I understand, that Kim can wring every last tone out of a guitar, and I'll bet it is a joy to play. Great guitar.

 

Thanks! My Q3 video gizmo didn't survive my son's last band practice. So, all I've got to offer on the new Walker is this sound file.

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When I solo, I sing into a Shure SM-58 and mic both my SongBird Deluxe and my TV SJ with a Shure SM-27 Condenser. Both mics are fed into my small Behringer mixer and then into my Marshall AS-50D amp. I can plug directly into my SongBird Deluxe(it has a Fishman pick-up), but it's easier to just mic both guitars(just grab the one I need and let 'er rip!) I will add that Behringer mixer was worth every penny! (small, but with all the bells and whistles you need).

 

When I gig with the bluegrass band, we have a small sound system. I still end up just micing my guitars.(with my Shure SM-27 Condenser).

 

+1 on the Marshall AS-50D and the Marshal 100D acoustic amps. Very versatile and they sound great!

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When I solo, I sing into a Shure SM-58 and mic both my SongBird Deluxe and my TV SJ with a Shure SM-27 Condenser. Both mics are fed into my small Behringer mixer and then into my Marshall AS-50D amp. I can plug directly into my SongBird Deluxe(it has a Fishman pick-up), but it's easier to just mic both guitars(just grab the one I need and let 'er rip!) I will add that Behringer mixer was worth every penny! (small, but with all the bells and whistles you need).

 

When I gig with the bluegrass band, we have a small sound system. I still end up just micing my guitars.(with my Shure SM-27 Condenser).

 

+1 on the Marshall AS-50D and the Marshal 100D acoustic amps. Very versatile and they sound great!

 

Doesn't feedback cause you troubles?

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Not when adjusted correctly. The condenser was a little tricky to start with, but after I found the right settings it's a breeze!

 

I'm interested in how you got it working. I have a couple of decent AT condensers, and I like the mic'd sound about one trillion times more than the piezo pick-up. It just that I can't get the volume up enough before the dreaded feedback starts.

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I'm interested in how you got it working. I have a couple of decent AT condensers, and I like the mic'd sound about one trillion times more than the piezo pick-up. It just that I can't get the volume up enough before the dreaded feedback starts.

 

Hey Danner! It was tricky to start with. I use a Shure SM-27 Condenser Mic. I put it at about 12"-16" from the bridge of the guitar I'm amplifying. I use the little Behringer mixer for the settings and tone controls. I use a higher level on the Gain, and lower the Volume level on the mixer (I think this is where the feedback is eliminated). The Master Volume is done on the Marshall AS-50D. No feedback at all! Granted, the Marshall AS-50 is limited to a crowd of 30-50 people or a small bar or pub. Any venue larger than that, I go out from the Behringer to the main amp or house P.A.

 

Let me add that the Behringer mixer between the mic and the amp makes a world of difference. A LOT more control of the tone (and feedback). Behringer is not the only maker, as there are many. I'm not pushing one over the other, just saying that it's a good piece of equipment to have in between the mic and amp. My set-up works great for me, hopefully it can give you somewhere to start or play around with. Good luck in your pursuit of the perfect tone!

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Larry, very interesting set up.

 

I bought a Shure SM57beta to do backup vocals but also to possibly use to mike a guitar up, in particular my CW which doesnt have a pickup and i would like to play it out sometimes in the right venue. However the problem I find when using mike is you have to stay in the same darn position the whole evening. I like to sort of switch a bit between sitting, standing and in between. So this is a limitation for me.

 

If I played some small cafe where i can sit in corner and play softly the mike option I think would work.

 

Also, which Behringer mixer is it Larry, would love to know.

 

Thanks to everyone who have contributed here, there is a lot of great information and definitely gave me some food for thought how to make some adjustments to my own set up.

 

cheers !

 

Hey Danner! It was tricky to start with. I use a Shure SM-27 Condenser Mic. I put it at about 12"-16" from the bridge of the guitar I'm amplifying. I use the little Behringer mixer for the settings and tone controls. I use a higher level on the Gain, and lower the Volume level on the mixer (I think this is where the feedback is eliminated). The Master Volume is done on the Marshall AS-50D. No feedback at all! Granted, the Marshall AS-50 is limited to a crowd of 30-50 people or a small bar or pub. Any venue larger than that, I go out from the Behringer to the main amp or house P.A.

 

Let me add that the Behringer mixer between the mic and the amp makes a world of difference. A LOT more control of the tone (and feedback). Behringer is not the only maker, as there are many. I'm not pushing one over the other, just saying that it's a good piece of equipment to have in between the mic and amp. My set-up works great for me, hopefully it can give you somewhere to start or play around with. Good luck in your pursuit of the perfect tone!

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Hey Danner! It was tricky to start with. I use a Shure SM-27 Condenser Mic. I put it at about 12"-16" from the bridge of the guitar I'm amplifying. I use the little Behringer mixer for the settings and tone controls. I use a higher level on the Gain, and lower the Volume level on the mixer (I think this is where the feedback is eliminated). The Master Volume is done on the Marshall AS-50D. No feedback at all! Granted, the Marshall AS-50 is limited to a crowd of 30-50 people or a small bar or pub. Any venue larger than that, I go out from the Behringer to the main amp or house P.A.

 

Let me add that the Behringer mixer between the mic and the amp makes a world of difference. A LOT more control of the tone (and feedback). Behringer is not the only maker, as there are many. I'm not pushing one over the other, just saying that it's a good piece of equipment to have in between the mic and amp. My set-up works great for me, hopefully it can give you somewhere to start or play around with. Good luck in your pursuit of the perfect tone!

 

Thanks for that. I'll give that a try. I have that little Mackie mixer, so I should be all set. One difference, I have alway put the mic at about the 12th fret pointed toward the sound hole. Never tried the bridge location.

 

Cheers...

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I forgot to add, sometimes I run mic and Amp through Presonus Acousti-Q tube pre-amp......very "warm" sound......

 

 

I have an AER compact 60 amp, which has a 6 hour run-time battery unit on board. So, plugged or un plugged works the same. I use a Sennheiser e835 vocal mic, and play my guitar through LLBaggs active pickup. No special effects. Try to run it as clean as possible, but the amp does have some effects like reverb, etc.....that can be added.....pretty simple.

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I wish you guys would post your "RECORDING" set ups too.......I think that would be VERY helpful....

 

Considering that my playing is pretty much restricted to my house where I'll only expose my family and dog to my playing, this pretty much covers everything: My "live" setup is one of my guitars strung up with a set of D'Addarios. My recording setup is a Sony PCM-D50, which I think provides really nice results. (I think this might also provide a simple, easy way for those of you that play actual live gigs to capture your efforts.)

 

All the best,

Guth

advanced_jumbo.jpg

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SJ200 w/matrix>Fishman Aura16>

>Boss TU3> guitar through Harmony GXT > Keeley 4knob compressor>AFX Delay>AFX Chorus> to channel 1 Fishman SA220// vocals with Blue enCore 200mic to channel 2

J45 w/aura pro>............... +

 

 

DSCN1644.jpg

 

DSCN1649.jpg

 

 

Works good

 

[thumbup]

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Thats some serious set up youve got there man !

 

I was just wondering if you find the overall sound 'quality' outpout drops when you have some many boxes plugged in and playing acoustic ?

 

I recall that when i added a jamman looper to my aura spectrum the tone really suffered and had to plug it directly into the amp..

 

SJ200 w/matrix>Fishman Aura16>

>Boss TU3> guitar through Harmony GXT > Keeley 4knob compressor>AFX Delay>AFX Chorus> to channel 1 Fishman SA220// vocals with Blue enCore 200mic to channel 2

J45 w/aura pro>............... +

 

 

DSCN1644.jpg

 

DSCN1649.jpg

 

 

Works good

 

[thumbup]

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To my ear my signal chain through the Fishman SA220 handles the signal exceptionally well. I find very little loss . That said it is NOT as pure as just the air between the sound and one's ear. I went all Fishman for a reason . Together they all complement the sound.Very balanced and complementary to each segment of the signal chain. I used the Keeley because I could boost the signal when called for. It is used mostly at a very low setting mostly to increase/punch & sustain and is considered a clean box when bypassed.

I find the AFX's are very quiet and are true by-pass when not in the signal. If all are in the SA220 has enough gain control to give an increase if it is needed and still keep the guitar an honest "wooden" experience in sound and feel .Just my humble opinion , and your mileage may vary...

 

I used a Jamman too, and found like you did it was a detriment to the signal seems the Aura just does not play well with some effects. The SA220 has an FX loop and used through that the looper was better but overall I found the results unsatisfactory. I don't use it any more. I am still searching for a 'looper' that will compliment the chain no luck so far.

I have experimented with my Boss GT-10(it can be seen in the background lower left) using my wooden guitars and the sound is very 'processed' BUT that said there are some interesting patches that do quite well with my SJ200 and J45 going to a DI then direct to the FOH board

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