Equipment (2018)
How things change!
Microphones
Yes, more experimentation and my workhorse now is the German made Sennheiser e935. Why? I was looking for a good microphone for a band-member that suited her vocals whilst playing harp. It had to have a wider polar pickup than the AKG D7. Enter the e935 - it works well, really well. It's tough, durable, produces a more even sound when it can be difficult in keeping in the microphone's sweet spot. The wider pattern is a little more forgiving than the D7 and I find that in a band situation you sometimes have to look at other members or for other reasons move your head in relation to the mic stand. It's not such a big issue for vocalists who just sing but for those who play an instrument and sing and depend on a mic stand, it can be a challenge to stay in the sweet spot. The cardioid pattern of the Sennheiser just makes it a little bit easier. Another contender is the Rode M2 as a condenser option. It is very nice in quiet venues but it has more feedback issues than the Sennheiser so for the least amount of problems, I find myself regularly reaching for the Sennheiser.
Guitars
My "workhorse" steel string guitar is the Maton SRS808. It's a brilliant Australian-built all-rounder. It's big enough for a full-sound and compact enough to be ergonomically comfortable for extended playing. It's practical and sounds great. My "workhorse" nylon string guitar is the Cordoba GK Studio Negra. It just works well plugged in and sounds great. My "workhorse" jamming guitar - a Recording King with OM body. It's loud enough for unplugged jams and small enough to play for hours comfortably. Enough quality to sound good but not so expensive so that I have to worry when playing in crowded areas where people crash into each other or outdoors where it might rain.
DI BOX
I'be gone through a few. The current favourite is the LR Baggs Session DI. It's super practical, no-nonsense, makes setup a snap and actually improves the guitar sound. It's the little things that count like a signal strength meter that allows you to get a good gain structure before sending signal to the desk. It avoids clipping and makes it versatile for getting the right gain for all types of acoustic instruments including those with passive pickups. It has a battery that lasts for ages and will tell you how full it is with a simple press of a button (I wish all stomp boxes had this feature.). The mute switch is useful for swapping instruments or tuning (very useful for the Maton which has no on-board tuner). The compression and saturation helps improve the sound, particularly for strumming.
How things change!
Microphones
Yes, more experimentation and my workhorse now is the German made Sennheiser e935. Why? I was looking for a good microphone for a band-member that suited her vocals whilst playing harp. It had to have a wider polar pickup than the AKG D7. Enter the e935 - it works well, really well. It's tough, durable, produces a more even sound when it can be difficult in keeping in the microphone's sweet spot. The wider pattern is a little more forgiving than the D7 and I find that in a band situation you sometimes have to look at other members or for other reasons move your head in relation to the mic stand. It's not such a big issue for vocalists who just sing but for those who play an instrument and sing and depend on a mic stand, it can be a challenge to stay in the sweet spot. The cardioid pattern of the Sennheiser just makes it a little bit easier. Another contender is the Rode M2 as a condenser option. It is very nice in quiet venues but it has more feedback issues than the Sennheiser so for the least amount of problems, I find myself regularly reaching for the Sennheiser.
Guitars
My "workhorse" steel string guitar is the Maton SRS808. It's a brilliant Australian-built all-rounder. It's big enough for a full-sound and compact enough to be ergonomically comfortable for extended playing. It's practical and sounds great. My "workhorse" nylon string guitar is the Cordoba GK Studio Negra. It just works well plugged in and sounds great. My "workhorse" jamming guitar - a Recording King with OM body. It's loud enough for unplugged jams and small enough to play for hours comfortably. Enough quality to sound good but not so expensive so that I have to worry when playing in crowded areas where people crash into each other or outdoors where it might rain.
DI BOX
I'be gone through a few. The current favourite is the LR Baggs Session DI. It's super practical, no-nonsense, makes setup a snap and actually improves the guitar sound. It's the little things that count like a signal strength meter that allows you to get a good gain structure before sending signal to the desk. It avoids clipping and makes it versatile for getting the right gain for all types of acoustic instruments including those with passive pickups. It has a battery that lasts for ages and will tell you how full it is with a simple press of a button (I wish all stomp boxes had this feature.). The mute switch is useful for swapping instruments or tuning (very useful for the Maton which has no on-board tuner). The compression and saturation helps improve the sound, particularly for strumming.
Equipment (2015)
Ah.. gear, there's always a new purchase 'round the corner. My current favourite microphones are the AKG D7 and the CAD e300s. The D7 is probably one of the best dynamic microphones in the world for live performance. The D5 is very similar and is priced much cheaper because it's made in China, whilst the D7 is made in Austria. The sound you get from the D7 and D5 is absolutely awesome, almost like a condenser microphone. It's fully detailed. You've just got to watch out for its supercardiod polar pattern, because it's easy to sing outside of the optimum pickup zone.
The CAD e300s is a little known thoroughbred unit which is a terrific vocal recording microphone. The CAD engineers who put this thing together really knew what they were doing. It's got a massive 1.1" diaphragm which picks up all the nuance from your vocals. The CAD M179 is a workhorse, general purpose guitar good for recording most things, but not for vocals. It's personality is very flat, which is good for some things, but there's no "sizzle" in its vocal recordings. The Rode M3 is just awesome for everything, and particularly good for recording guitar.
I'm using a Soundcraft mixer now and am really pleased with it. It's a quality workhorse unit with all the money spent on quality componentry rather than any "flashy" options. The preamps are top-notch, clear and transparent. If I had to upgrade, I might move to the the Allen & Heath mixers. These Welsh mixers share a similar philosophy to Soundcraft, putting priority on sound quality first and "whizz-bang" options second. They are solid, ready for the road and tend to have more features than the Soundcraft stable of mixers.
On the guitar front, I still am passionate about the Cordoba 'GK Studio'. Awesome... a real performer! The GK Studio is a first rate guitar if you're into nylon. If you can't make this guitar sound good, it's your playing, not the guitar. On steel strings, I'm over dreadnoughts, and prefer to play OM, concert or 000 sized guitars. The dreadnought size didn't only made it's appearance just after World War I, and today it is the default size guitar for 90% of acoustic players. After persisting with this for years, I've moved towards the smaller guitar (like the Sigma OMRC-28E), particularly for stage use. Unplugged, you can't beat the volume of the dreadnought, so it still gets used, but for anything amplified and regular playing I recommend a smaller guitar to most people nowadays.
On other bits and pieces - coated steel guitar strings are nice, but if I can find a good price on uncoated strings, I'll just buy them. They sound just as good, they just oxidise a little earlier. My TC Helicon Harmony G XT unit just sits in a cupboard nowadays. You just cannot replace good harmonies from a fellow singer, with a box.
Feb 2015
Ah.. gear, there's always a new purchase 'round the corner. My current favourite microphones are the AKG D7 and the CAD e300s. The D7 is probably one of the best dynamic microphones in the world for live performance. The D5 is very similar and is priced much cheaper because it's made in China, whilst the D7 is made in Austria. The sound you get from the D7 and D5 is absolutely awesome, almost like a condenser microphone. It's fully detailed. You've just got to watch out for its supercardiod polar pattern, because it's easy to sing outside of the optimum pickup zone.
The CAD e300s is a little known thoroughbred unit which is a terrific vocal recording microphone. The CAD engineers who put this thing together really knew what they were doing. It's got a massive 1.1" diaphragm which picks up all the nuance from your vocals. The CAD M179 is a workhorse, general purpose guitar good for recording most things, but not for vocals. It's personality is very flat, which is good for some things, but there's no "sizzle" in its vocal recordings. The Rode M3 is just awesome for everything, and particularly good for recording guitar.
I'm using a Soundcraft mixer now and am really pleased with it. It's a quality workhorse unit with all the money spent on quality componentry rather than any "flashy" options. The preamps are top-notch, clear and transparent. If I had to upgrade, I might move to the the Allen & Heath mixers. These Welsh mixers share a similar philosophy to Soundcraft, putting priority on sound quality first and "whizz-bang" options second. They are solid, ready for the road and tend to have more features than the Soundcraft stable of mixers.
On the guitar front, I still am passionate about the Cordoba 'GK Studio'. Awesome... a real performer! The GK Studio is a first rate guitar if you're into nylon. If you can't make this guitar sound good, it's your playing, not the guitar. On steel strings, I'm over dreadnoughts, and prefer to play OM, concert or 000 sized guitars. The dreadnought size didn't only made it's appearance just after World War I, and today it is the default size guitar for 90% of acoustic players. After persisting with this for years, I've moved towards the smaller guitar (like the Sigma OMRC-28E), particularly for stage use. Unplugged, you can't beat the volume of the dreadnought, so it still gets used, but for anything amplified and regular playing I recommend a smaller guitar to most people nowadays.
On other bits and pieces - coated steel guitar strings are nice, but if I can find a good price on uncoated strings, I'll just buy them. They sound just as good, they just oxidise a little earlier. My TC Helicon Harmony G XT unit just sits in a cupboard nowadays. You just cannot replace good harmonies from a fellow singer, with a box.
Feb 2015
Equipment (2011)
For technophiles?
Some people get really curious about instruments, microphones, sound systems etc. so for those technophiles out there who really want to talk about gear, I've got the blurb below.
Guitars
My two favourite guitars are the Cole Clark "Fat Lady" and Cordoba GK Studio. The Cole Clark is simply a beautifully constructed guitar, produced locally in Melbourne, by expert luthiers who really know their craft. While they have some fancier looking models, the beauty in this model is in its simplicity, subtlety and quality of sound. Whilst relatively simple in terms of looks, they've put it together with some really innovative patented designs. It has the best sound plugged in, that I know of, beating comparably priced Martins, Matons and others (in my humble opinion). Unplugged, its actually not as loud as my other main guitar but its voice is beautiful, subtle and accurate. Like my classic guitar, the electronics do a great job in reproducing the authentic raw acoustic sound through an amp, in fact it probably does it better, because it cleverly utilises the bracing in the guitar's top panel, to accurately pick up the body's harmonics.
I just cannot find anything wrong with my GK Studio (Gypsy Kings). It is beautifully made and has an absolutely awesome tone. I had the GK shipped in from the U.S.A. It's a great nylon string instrument, with a slightly narrower neck, 50mm rather than traditional 2" or 52mm nut width. It has a Fishman pickup with two microphones, one near the sound hole and the other under the bridge. It produces a great balanced sound, reproducing very well, the natural sound of the guitar unplugged.
Another favourite guitar which I've had for a long time is the Admira 'Malaga'. A spanish-made classical guitar, it's got a solid cedar top with sapelle back and sides. Despite the laminates used in the back and sides, the cedar top and overall workmanship produce a wonderful resonance in the body and a beautiful, even tone with good projection for both bass and treble notes. Sometimes, (though not very often) cheaper guitars can provide surprisingly great tone and another guitar I use is a Kala hybrid classical guitar with a very narrow neck. I got this very cheaply in Hawaii (where I busked with it). I've modified the pickup system slightly by drilling and cutting (very carefully!) into the guitar and adding an externally accessed battery compartment. The old 'Shadow' system required you to access the battery via the sound hole. It is a good universal guitar when trying to play sets which span wide playing styles.
As well as the Cole Clark, I also play a couple of dreadnought acoustic guitars imported by Artist guitars (Sydney) and they make great working guitars. I have one set to a lower action for fingerpicking and the other to a high action for flatpicking. They both have an excellent tone when unplugged (louder than the Cole Clark) and the Fishman pickups helps the sound quality a lot when plugged in. I've had a lot of positive comments from other musicians about the Artist guitars after they've heard them. I think that this is the best kind of feedback you can get, from hearing the guitar's voice, and not just looking at the apperance and brand of an instrument. Sometimes, when practising and tutoring, I play a Yamaha F310P. It's cheap, but definitely not nasty. I think it is a great beginner's guitar but I recommend checking the action and lowering it possibly. The bottom strap button is a little cheap, but it has a good tone for what it is, and I don't have to worry so much about heavy handed use or transportation damage.
Guitar Picks/Plectrums
Pick or plectrum choice is a little like choice of strings. It all depends on style and personal preference. I rotate mainly between two picks, the Dunlop Tortex Delrin 1.14mm and the D'Addario 1.21mm nylon picks. The purple coloured tortex pick is great for flatpicking and the D'Addaro pick offers an alternative mellower sound, with a little more flex due to its softer construction. Just experiment, it does make a difference. Remember - picks are cheap!
Guitar Strings
I used to not care about strings until I started experimenting and testing different types, then I realised that using the right strings does make a difference. Whilst I like D'Addario strings, I'm currently tending to sway more towards coated strings like Elixir Nanowebs. I normally use D'Addario EJ16s (light gauge). Sometimes I use medium gauge strings but the lighter strings are better for finger picking, which I do a lot of. The EJ16s are an industry standard and have been around for a while. You can get them at great prices on the internet. They're reliable, consistent in quality and most importantly sound great. The EJ17s (medium guage) are good too and are better suited for flatpicking and louder volume music. The D'Addario phoshpor bronze strings will last longer if you give them a quick wipe down with a clean cloth after extended playing.
Elixir strings are coated with anti-oxidising agents which help the strings last longer; there is a more consistent tone and lastly, the coating makes the strings much smoother and easier to play. I do like them but I'm going to go through a few sets of these before I have a firmer opinion.
In terms of nylon strings, I tend to favour the D'Addario EJ46 hard tension strings for some guitars and sometimes also EJ45 normal tension strings. I think the hard tension strings give a little more volume and definition to the sound with a small sacrifice of increased tension, so I use the EJ46 strings on my classical guitars that have a truss rod. There are a heap of brands out there, but for me, this choice is about consistent good sound at a fairly cheap price (get them in packs). At the end of the day, strings are a personal choice, so play and try them out for yourself. Most people will notice an improvement (or fault) in your playing style rather than a change of strings, so technique is always more important than string choice.
Amps
I like playing unplugged but most venues require some amplification. In order to best meet the needs of a wide variety of sound situations, I use a few different options. Where power is an issue, such as busking, I use a Roland Street portable sound system. For better audio and where power is available, I sometimes use an Ibanez Troubadour T35 system; it's light and produces a decent sound. For best sound in a small venue, I use a Marshall AS50D on a small stand to help with projection, it's specifically designed for acoustic instruments and the sound quality is hard to beat.
Microphones
I've played around with lots of microphones and my favourite has got to be the Rode M1 for live use. It's a great all-round dynamic microphone with excellent feedback rejection and it's Australian made. For better sound/wider pick-up range, I've used the Rode M2 which is a condenser microphone that requires phantom power, sounds great but it is more prone to feedback. It's also good for recording instruments too! Alternatively, I sometimes use the AKG D7, it's an Austrian built dynamic microphone with condenser microphone qualities, requiring no phantom power and the sound is absolutely crystal in quality. To complete the numerical sequence, I've got a Rode M3 which is excellent all-round microphone but I think it works better than the M2 for instrument recording due to a more focused pickup pattern (in my humble opinion).
For recording I've got a few large diaphragm condenser microphones but the collection is growing in the search for better audio quality. I've been using a Samson CL8 and Behringer B1 and T-47 but the microphone I'd really like to own is the Rode K2 (and perhaps the CAD E100s). I need to save up for that one but I think it'll be worth it. The K2 is a completely professional and versatile tube condenser microphone with an excellent reputation. It will give any top-end microhone a run for it's money. Beyond this, it's about providing tonal options and recording versatility. Regardless of what some technophiles say, the most common limiting factor in the signal recording chain isn't really the microphone but rather, the vocal ability of the singer. The microphone only brings out the qualities of the vocals or instruments, as they say "garbage in - garbage out".
Effects
I don't have a lot of effects but a pedal which I'm using more is a TC Helicon Harmony G XT. This is great for providing harmony backing for certain songs. It uses the signal from your guitar and voice to generate up to two other voices when you press the harmony pedal. It is still your voice, so you've got to be careful, because if you sing badly, your generated harmonies will be bad too. This is useful for solo performances but I wouldn't recommend this for a band, it's always much better to have real voices where possible.
Public address system (PA)
For larger venues and for multiple performers I use a full PA system. Inputs go into a mixing desk, to a rack with various bits (growing collection) and then eventually to 2 x 15" Wharfedale speakers on speaker stands, run passively through a power amp. There are a lot of pros and cons for active versus passive speakers, but I find that once speakers and amps are matched, it is just so much simpler for set-up and take-down to run just one set of cables (usually mono-bridged) from the amp to the speakers. It's simpler and there are no additional power cables to trip over. I'm not a sound engineer, so to tune a room, I sometimes use a sound analyser on a laptop to spot the feedback spikes and then use parametric equalisers on a portable 19" rack to cut back the dBs on those particular frequencies. I also sometimes use automatic feedback destroyers which are so convenient! I'd love to be able to do it all just by ear like some professional sound engineers, credit to you if you can do it this way, but in my case, I'm more than happy to let technology help me.
(2011)
Some people get really curious about instruments, microphones, sound systems etc. so for those technophiles out there who really want to talk about gear, I've got the blurb below.
Guitars
My two favourite guitars are the Cole Clark "Fat Lady" and Cordoba GK Studio. The Cole Clark is simply a beautifully constructed guitar, produced locally in Melbourne, by expert luthiers who really know their craft. While they have some fancier looking models, the beauty in this model is in its simplicity, subtlety and quality of sound. Whilst relatively simple in terms of looks, they've put it together with some really innovative patented designs. It has the best sound plugged in, that I know of, beating comparably priced Martins, Matons and others (in my humble opinion). Unplugged, its actually not as loud as my other main guitar but its voice is beautiful, subtle and accurate. Like my classic guitar, the electronics do a great job in reproducing the authentic raw acoustic sound through an amp, in fact it probably does it better, because it cleverly utilises the bracing in the guitar's top panel, to accurately pick up the body's harmonics.
I just cannot find anything wrong with my GK Studio (Gypsy Kings). It is beautifully made and has an absolutely awesome tone. I had the GK shipped in from the U.S.A. It's a great nylon string instrument, with a slightly narrower neck, 50mm rather than traditional 2" or 52mm nut width. It has a Fishman pickup with two microphones, one near the sound hole and the other under the bridge. It produces a great balanced sound, reproducing very well, the natural sound of the guitar unplugged.
Another favourite guitar which I've had for a long time is the Admira 'Malaga'. A spanish-made classical guitar, it's got a solid cedar top with sapelle back and sides. Despite the laminates used in the back and sides, the cedar top and overall workmanship produce a wonderful resonance in the body and a beautiful, even tone with good projection for both bass and treble notes. Sometimes, (though not very often) cheaper guitars can provide surprisingly great tone and another guitar I use is a Kala hybrid classical guitar with a very narrow neck. I got this very cheaply in Hawaii (where I busked with it). I've modified the pickup system slightly by drilling and cutting (very carefully!) into the guitar and adding an externally accessed battery compartment. The old 'Shadow' system required you to access the battery via the sound hole. It is a good universal guitar when trying to play sets which span wide playing styles.
As well as the Cole Clark, I also play a couple of dreadnought acoustic guitars imported by Artist guitars (Sydney) and they make great working guitars. I have one set to a lower action for fingerpicking and the other to a high action for flatpicking. They both have an excellent tone when unplugged (louder than the Cole Clark) and the Fishman pickups helps the sound quality a lot when plugged in. I've had a lot of positive comments from other musicians about the Artist guitars after they've heard them. I think that this is the best kind of feedback you can get, from hearing the guitar's voice, and not just looking at the apperance and brand of an instrument. Sometimes, when practising and tutoring, I play a Yamaha F310P. It's cheap, but definitely not nasty. I think it is a great beginner's guitar but I recommend checking the action and lowering it possibly. The bottom strap button is a little cheap, but it has a good tone for what it is, and I don't have to worry so much about heavy handed use or transportation damage.
Guitar Picks/Plectrums
Pick or plectrum choice is a little like choice of strings. It all depends on style and personal preference. I rotate mainly between two picks, the Dunlop Tortex Delrin 1.14mm and the D'Addario 1.21mm nylon picks. The purple coloured tortex pick is great for flatpicking and the D'Addaro pick offers an alternative mellower sound, with a little more flex due to its softer construction. Just experiment, it does make a difference. Remember - picks are cheap!
Guitar Strings
I used to not care about strings until I started experimenting and testing different types, then I realised that using the right strings does make a difference. Whilst I like D'Addario strings, I'm currently tending to sway more towards coated strings like Elixir Nanowebs. I normally use D'Addario EJ16s (light gauge). Sometimes I use medium gauge strings but the lighter strings are better for finger picking, which I do a lot of. The EJ16s are an industry standard and have been around for a while. You can get them at great prices on the internet. They're reliable, consistent in quality and most importantly sound great. The EJ17s (medium guage) are good too and are better suited for flatpicking and louder volume music. The D'Addario phoshpor bronze strings will last longer if you give them a quick wipe down with a clean cloth after extended playing.
Elixir strings are coated with anti-oxidising agents which help the strings last longer; there is a more consistent tone and lastly, the coating makes the strings much smoother and easier to play. I do like them but I'm going to go through a few sets of these before I have a firmer opinion.
In terms of nylon strings, I tend to favour the D'Addario EJ46 hard tension strings for some guitars and sometimes also EJ45 normal tension strings. I think the hard tension strings give a little more volume and definition to the sound with a small sacrifice of increased tension, so I use the EJ46 strings on my classical guitars that have a truss rod. There are a heap of brands out there, but for me, this choice is about consistent good sound at a fairly cheap price (get them in packs). At the end of the day, strings are a personal choice, so play and try them out for yourself. Most people will notice an improvement (or fault) in your playing style rather than a change of strings, so technique is always more important than string choice.
Amps
I like playing unplugged but most venues require some amplification. In order to best meet the needs of a wide variety of sound situations, I use a few different options. Where power is an issue, such as busking, I use a Roland Street portable sound system. For better audio and where power is available, I sometimes use an Ibanez Troubadour T35 system; it's light and produces a decent sound. For best sound in a small venue, I use a Marshall AS50D on a small stand to help with projection, it's specifically designed for acoustic instruments and the sound quality is hard to beat.
Microphones
I've played around with lots of microphones and my favourite has got to be the Rode M1 for live use. It's a great all-round dynamic microphone with excellent feedback rejection and it's Australian made. For better sound/wider pick-up range, I've used the Rode M2 which is a condenser microphone that requires phantom power, sounds great but it is more prone to feedback. It's also good for recording instruments too! Alternatively, I sometimes use the AKG D7, it's an Austrian built dynamic microphone with condenser microphone qualities, requiring no phantom power and the sound is absolutely crystal in quality. To complete the numerical sequence, I've got a Rode M3 which is excellent all-round microphone but I think it works better than the M2 for instrument recording due to a more focused pickup pattern (in my humble opinion).
For recording I've got a few large diaphragm condenser microphones but the collection is growing in the search for better audio quality. I've been using a Samson CL8 and Behringer B1 and T-47 but the microphone I'd really like to own is the Rode K2 (and perhaps the CAD E100s). I need to save up for that one but I think it'll be worth it. The K2 is a completely professional and versatile tube condenser microphone with an excellent reputation. It will give any top-end microhone a run for it's money. Beyond this, it's about providing tonal options and recording versatility. Regardless of what some technophiles say, the most common limiting factor in the signal recording chain isn't really the microphone but rather, the vocal ability of the singer. The microphone only brings out the qualities of the vocals or instruments, as they say "garbage in - garbage out".
Effects
I don't have a lot of effects but a pedal which I'm using more is a TC Helicon Harmony G XT. This is great for providing harmony backing for certain songs. It uses the signal from your guitar and voice to generate up to two other voices when you press the harmony pedal. It is still your voice, so you've got to be careful, because if you sing badly, your generated harmonies will be bad too. This is useful for solo performances but I wouldn't recommend this for a band, it's always much better to have real voices where possible.
Public address system (PA)
For larger venues and for multiple performers I use a full PA system. Inputs go into a mixing desk, to a rack with various bits (growing collection) and then eventually to 2 x 15" Wharfedale speakers on speaker stands, run passively through a power amp. There are a lot of pros and cons for active versus passive speakers, but I find that once speakers and amps are matched, it is just so much simpler for set-up and take-down to run just one set of cables (usually mono-bridged) from the amp to the speakers. It's simpler and there are no additional power cables to trip over. I'm not a sound engineer, so to tune a room, I sometimes use a sound analyser on a laptop to spot the feedback spikes and then use parametric equalisers on a portable 19" rack to cut back the dBs on those particular frequencies. I also sometimes use automatic feedback destroyers which are so convenient! I'd love to be able to do it all just by ear like some professional sound engineers, credit to you if you can do it this way, but in my case, I'm more than happy to let technology help me.
(2011)
