Professional quality at hobbyist prices make these new small-footprint pedals immensely attractive. Each was developed specifically for acoustic guitars and offers solo artists and band members expansive options.
(press each pedal to learn more)
The blender lets create two separate mixes of two different audio sources, the reverb three adjustable options, Hall, Plate, and Spring. The looper has WAV file transfer via USB and 24-bit / 44.1kHz recording quality, and the EQ/preamp has five bands, including Low Cut and Brilliance, and phase control. Plus, they are all conveniently small in size.
Create separate A and B mixes from two audio sources
AFX Pocket Blender Mini A/B/Y + DI Changes Everything
Fishman AFX Pocket Blender Mini Features include:
* Balanced D.I. Output with Ground Lift
* Innovative Dual Path Routing
* Super Compact Design Fits Almost Anywhere
* 9V External Power Required (sold separately)
All the essential tools in one compact pedal. A level-adjustable A/B pedal. A built-in DI output with ground-lift. A boost pedal. An output Y-splitter. A two-channel mixer. The AFX Pocket Blender is the ultimateA/B/Y pedal combining four essential tools:
1 – an Input Mixer that lets you continuously adjust the level of audio source(s) connected to the TRS input
2 – a D.I. output featuring Fishman’s balanced line driver circuit that can be used to send to a house PA or amplifier
3 – an ABY output to split a signal or connect to one or two stage amps
4 – an A/B Mode switch determines the overall behavior when the footswitch is pressed
This is the classic Pocket Blender in a small footprint.
Without even touching the A/B features, it’s a mini two-channel mixer allowing you to connect two audio sources and blend them together. This is perfect for dual-source systems such as Fishman sound hole pickups that feature a mic or body pickup.
Build on the simple blender by setting up an “A mix” and a “B mix” where pressing the footswitch toggles between one mix and the other. You could balance your onboard pickup (50%) with your onboard mic (50%) on mix A. Then on mix B, which you use to take solos, you could boost the pickup to 75% while leaving the mic on 50%. All with a single stomp of the footswitch.
Hall, Plate & Spring provide ambiance while preserving acoustic tone
The Reverb Time knob controls how long you hear the effect, and ranges from short to very large spaces. Tone knob affects only the reverb and not your direct sound. Similarly, the Level knob adds the effect into your signal chain without overwhelming the sound of your instrument.
Three reverbs designed for acoustic guitar
Spring
Recreates the classic sound of a spring type reverb found in many electric guitar amplifiers
Hall
An all-around reverb with natural, resonate spaces capable of replicating rooms both small and large, with long reverb decay times
Plate
Recreates the dense reflections and metallic characteristics of mechanical plate reverbs used throughout the 50’s, 60’s, and 70’s
If this is truly only the direct signal heard in this video, I must say this could be a game changer. This ship to dealers in May 2023. I look forward to the independent reviews.
Baggs claims that their new HiFi system offers two bridge plate sensors in a non-invasive design featuring high-fidelity electronics. The holy grail of dynamics, definition, and balance, is promised to be achieved with good feedback resistance. Peel-and-stick installation seems similar to the K&K method and the pickups are light of weight, enough to have no discernible effect on the natural acoustic tone. The onboard preamp is designed to get the best tone from these new pickups. It also comes with a tone and volume control accessible along the rim of the sound hole. $199.
Help Spoon Toward His Next Album – which microphone?
The previous test had some tech flaws. This one is better.
You can listen to the MP3 online.
But you must go to the link and download the actual wav file if you want to hear the hi res version. (click on the upper right where it says SOUNDCLOUD.)
Please let me know which of these 8 mic parings you like best, you can comment on as many as you wish.
Thanks!
Blind Test for Now. I will reveal the mics in a few days.
Same guitar, and the mics were set up in the same positions and same distance from the guitar (quick measuring tape confirmations.)
One of the six examples sounds much more like the actual guitar than the others. But for me that is not important, compared to what listeners hear and “that sounds good” or “pleasing” or “listenable without fatigue” etc., when it comes to someone listening to a 45 minute album of guitar music, etc.
There was no EQ or compression etc. I just played the same piece over and over six times, as fast as I could switch microphones and adjust levels.
I was surprised how different some of them sound in terms spacial effect in the virtual soundstage.
I am curious to know what YOU hear, think about the six mic pairings in this test. Which one(s) do you like?
Please use the comment form below, or contact me via oneman@onemanz.com
I have gotten some confirmation from within Martin on the following:
Typos on the spec sheets – All instances of 2-3/16″ string spacing are incorrect.
All models with the High Performance taper have string spacing of 2-5/32″. The change was universal when they first made it. If you see 2-3/16″ on the spec sheet of a current model it is a typo. I saw at least three models listed that way in the past couple of days.
The new D-28 (2017) – it is NOT a typo that it has forward-shifted non-scalloped braces.
I had expected this makeover to go with scalloped bracing, as the D-18 had.
But after the sonic success of the GPC-28E, they decided to add forward-shifted bracing to the D-28, but keep the braces non-scalloped. I can’t wait to hear the results in person. I liked the sound of the GPC-28 a lot.
The GPC-28E, OMC-28E, 00-28, and soon to be released GP-28E and OM-28E are all moving to this new styling, with the aging toner and tortoise guard, antique white binding and mother of pearl dots of the new D-28. This decision came pretty late, so the latter two were not ready for the show.
The 00-28, and all OMs are retaining their scalloped 1/4″ bracing. But we can expect to see all large guitars made in Standard Style 28 to have non-scalloped bracing from now on.
I got a “probably soon” as to if the current OM-28 was going to lose the herringbone, short pattern diamond fret markers and grained ivoroid binding.
I got silence regarding the 000-28. But may learn something soon.
Likewise nothing on the HD-28, but I assume it is safe for now since the D-28 did not get scalloped bracing or herringbone.
The Jason Isbell model – spec clarification
Tim Teel confirmed this guitar has Golden Era style bracing and bridge plate – except it is rear-shifted. That is a first that I know of, unless someone has ordered customs like that. I bet it is a monster. Can’t wait to see and hear for myself.
It has High Gloss thin finish, not the Vintage Gloss of the Authentics. The spec sheet currently says “Gloss.”
Million Dollar Babies
Lloyd Loar Gibsons to Bring a Tear to Your Eye
and Put a Song in Your Heart
About this same time each year a good friend of One Man’s Guitar visits this part of the country to see old pals and meet some new ones, while enjoying good food, good talk, and good music. Social calls are made, cases appear from behind doors, and coveted old instruments are cradled like newly arrived infants, inspiring the same sort of onlooker responses of delight and preciousness.
Few vintage instruments inspire such devotion, and price tags, like Lloyd Loar Gibsons, the exquisite vintage guitars and mandolins made at the Gibson Musical Instrument Company during the tenure of Lloyd Loar. And on this particular day you couldn’t swing a dreadnought without hitting a priceless Loar – shutter the thought.
Mr. Loar began working at Gibson in 1919 and left in 1924, apparently after disagreements with new management. Among Loars many innovations, he is credited with developing the F-hole archtop design, similar to a violin or cello, and for the floating fingerboard, which, like violins, extends over the soundboard without touching it, and is now a standard feature of the modern archtop guitars used for Jazz music. But when they debuted, archtop guitars like the L5 were used for all sorts of music, and at times that holds today. For example, Maybelle Carter played her Old Time tunes on an L5 made in 1928, and fingerstyle acrobat Howard Emerson plays sliding bottleneck blues on his 1930 TGL-5, which had been converted from a tenor guitar to a 6-string 1935 (see comments below.)
We played an L5 from January 1925, which would have been built during 1924. It had maple for the back and sides, instead of a birch back used on earlier examples. And alongside it was played a 1930 L5, with large block inlays on the headstock. Dry and punchy, each guitar had a clear voice with surprising volume.
But it is the mandolins for which Loar is most remembered, like the one played by Bill Monroe, the father of Bluegrass music. Monroe’s was graced with a flower pot inlay on the headstock. But the ones with the fern are much rarer, and will command prices in excess of $200,000. Although Loar is credited with making one A-Style mandolin, with a symmetrical teardrop body, it is the fancier carving on the F-Style mandolins that are admired for the craftsmanship they exhibit, even if both styles can provide the classic ting and ring Bluegrass musicians revel in.
There were two Loar F5 mandolins present, a fern signed by Loar on March 24, 1924, and one without the fern signed on April 12, 1923. Also present was a stunning K-5 Mandocello, one of only six known to exist. This one was signed by Loar on October 13, 1924. With serial number 76980, this instrument is not listed in the mandolin archives.
1925 L5 Guitar
1923 F5 Fern Mandolin
(click photos to enlarge)
1923 K5 Mandocello
Golden Age Oldies
In addition to the Gibsons, there were two Martin C-3 archtops from 1934, two serial numbers apart from one another. And with Brazilian rosewood backs that undoubtedly came from the same log. Interestingly enough, the grain pattern on the backs are upside down from each other. While it was an archtop kind of day, flattops were well represented by the 1937 D-18, belonging to a guest, which is one of the supreme examples from what is considered the supreme year for pre-war D-18s.
1934 Martin C-3 Backs
Martins Most Expensive Model of 1934
(click photos to enlarge)
Room Full of History
And that is one man’s word on…
Lloyd Loar Gibsons, Pre-War Martins: Million Dollar Babies
Taylor Guitars celebrates their 40th Anniversary in business with a series of special performances, and a whole new bunch of Taylor guitars at NAMM 2014, January 23 -26, in Anaheim, California.
After 40 years making guitars, Taylor has risen to become one of the most popular brands of acoustic guitars in the country. Their fast, sleek necks and on-board electronics are favored by many electric guitarists when the time comes for playing an acoustic guitar on stage. They are also seen in the hands of acoustic-oriented artists like Jewel, Taylor Swift, and Leo Kottke.
For those not able to attend the show, which is not open to the public, Taylor will be streaming live from their showcase area.
The schedule of performances is currently as follows
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