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Post by Deleted on Nov 25, 2008 21:52:28 GMT
OK
My Beltona has a Humbucker at the neck end and a piezo around the bidge/cone area.
Acoustically it somehow doesn't do what I thought it would, but I haven't had it long or played it as much as I might have. But last week at a pub in Orpington, Kent, I jammed with a harp player. The guitar went through a Marshall amp.
The sound was perfect. It sounded very loud acoustic to me, and the sustain I got with the cheap Dunlop brass slide was remarkable.
But this is a guitar built as an electric resonator, so perhaps the rules as above don't apply to it?
I shall play it acoustically soon, and then get the Cannon because it will sound better!!!
Barry
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Post by digitalshrub on Apr 27, 2016 15:48:28 GMT
Hi all,
Apologies for resurrecting an old thread, but I took my pick of the several "amplifying resonator" threads on here.
My situation: I play in a fairly loud folk-rock band. I'm on mandolin, electric guitar, and usually a second electric guitar (Les Paul) set up for slide playing in open G or D. But I have an awesome National Triolian (equipped with what I was told was the last existing Flatbucker in new condition) that I greatly prefer playing over my Les Paul. I've been trying to incorporate my Triolian into rehearsal to see how it sounds, running it through an amp. Not surprisingly, I'm getting some feedback issues, particularly from the lower strings (anything tuned to D just starts humming along unless I'm muting the strings). I'm aware that good muting technique is crucial for clarity in slide playing, but this in another issue altogether. Playing lead lines up the neck around the 12th fret, and that sort of thing, all sounds great, and I can mute very well in that position. But fingerpicking licks on the lower strings and frets is creating some issues.
I usually run my Les Paul through an overdrive and/or distortion pedal for solos on certain of our songs. And this is where the Triolian's feedback issues become greater (obviously). Again, the "lead line" stuff on trebly strings isn't an issue, but any kind of chording involving open strings just gets out of control with feedback.
Any suggestions for taming this? Or am I on a fool's errand?
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Post by Michael Messer on Apr 27, 2016 16:23:31 GMT
Hi digitalshrub,
Welcome to our forum.
I think that what you are trying to achieve is not going to be easy with a Triolian. I am not a great fan of plugged in National guitars, but I do have 40 years experience and hopefully between me and other forum members, you will get some help. Trying to turn any acoustic guitar (even more so with a National) into an overdriven electric guitar with a magnetic pickup is fraught with danger from feedback issues. The best way to amplify your Triolian is to use a Highlander plugged into the PA, but you will lose the electric guitar tone. If you want a resonator to turn up and put through overdrive and distortion pedals, then a National Res-Electric would be much more suitable.
Nice to see a thread from 2008 revived!
Shine On Michael.
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Post by digitalshrub on Apr 27, 2016 16:35:47 GMT
Thanks Michael! Been a lurking, non-member here for a few years, happy to have made it official!
I know that what I'm trying to do is sort of inadvisable and not what a guitar like the Triolian was designed for. On the tunes where I play "clean", the Triolian actually sounds decent through an amp. Using overdrive/distortion sounds intermittently pretty good (to my ears) but is just so unwieldy. I greatly prefer a number of characteristics about the Triolian over my Les Paul (objectively, it's way easier for fingerstyle; subjectively, I just like how it plays better). For the record, I also play the Triolian in my other band (more traditional prewar blues and folksy material), where I just mic it or run it through the PA. I'm probably pushing the boundaries of what it's capable of too far with the electric amplification side of things.
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Post by Michael Messer on Apr 27, 2016 16:57:52 GMT
Hi digitalshrub,
I think you probably are pushing it beyond where it is comfortable. I have plugged Nationals in with all sorts of things over the years, but it does sound to me like you are over pushing it.
I came to a conclusion at some point in my life, I forget when, but it was that acoustic guitars are 'acoustic' guitars and electric guitars are 'electric' guitars, and that one cannot be the other. Of course there are always exceptions to rules, but that's how I see it.
Shine On Michael
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Post by Dessery on Apr 28, 2016 11:45:08 GMT
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Post by mitchfit on Apr 29, 2016 21:27:21 GMT
www.google.com/?gws_rd=ssl#q=small+in+body+acoustic+guitar+microphonesoddly enough, having the mic inside the guitar body can shield it ~some~ from amplifier feedback by reducing sound wave entry. the mic can not come into contact with the body or cone, this would eliminate the barrier from the exterior sound waves. any part of the flex-boom that touches the body should be layered with a dense foam to prevent telegraphing vibrations to the mic. downside- for this application a long semi-rigid mic boom/neck would be required to find a spot inside the body that will be similar to how it sounds outside of the body. this is much easier to accomplish with a standard acoustic sound hole than with "F" holes. more downside- the mics offered for this type of application that i am aware of are not up to the quality reproduction of even low priced full size mics specifically designed for this sort of task. for live sound i doubt this will be an issue worth consideration. even then, i haven't had a lot of luck getting EXACT external, well placed mic sounds. just close. another viable form of live sound trickery can be multi-gain stages. use your preferred acoustic mic into a low powered amp that is close mic'ed into the house PA, and placed where the speaker doesn't get picked up well by the instrument mic. a sonic barrier/wall around the small amp will allow even higher gain from the venue PA. $0.02, mitchfit
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Post by Dessery on Apr 30, 2016 6:10:31 GMT
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Post by Deleted on May 25, 2016 19:12:09 GMT
Anyone tried one of these?
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