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lr baggs acoustic di review

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lr baggs acoustic di review

We’re here to bring you some
pretty cool lr baggs acoustic di review
so guitar players are known for our
accessories are a crucial ma if you will
from the string change kind of mojo that
we get going with the oils and the
polishes and stuff to the pedals that
bring delights to our soul and sunshine
to our rainy days so today we’ve got a
pedal specifically for acoustic guitar
players and that pedal is brought out by
LR bags now this is not an effects pedal
what this is is a very full-featured di
that LR banks has made in order to give
you some studio tools for use in a live
setting so our banks has been making
acoustic pickups and direct boxes for
quite a while their acoustic pickups
have been very well received I’ve got
two in personal guitars I own so there’s
my personal endorsement of LR bags and
they have been installed in a variety of
manufactured guitars and so forth they
make very very good product and lloyd
and his team really know what they’re
doing they came out years ago with the
para acoustic di which is a very
full-featured
di box that has EQ and ground left and a
bunch of settings that till that time
really didn’t wasn’t available in a DI
box specifically for acoustic guitar
players they then came out with a venue
which featured things like a boost and a
built-in tuner things like that their
latest addition into that lineup is the
acoustic session di so let me tell you a
little bit about where this came from
the brainchild of this was Lloyd and his
team putting together what are called
acoustic session videos if you go to
their website at LR banks calm you can
hear the pickups that they make for
different different instruments
different models showcased by artists
and in doing so when these would go to
kind of post editing and mixing they
were finding you know the final product
was fantastic sounding like the sound
that we get here on a really good
recording of an acoustic guitar and the
goal is to try to capture that magic in
a live setting and that’s something that
has long kind of been elusive to
acoustic guitar players

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I mean it’s problematic where we’re
amplifying what’s basically an amplifier
and so you’re dealing with potential
feedback and all of the inherent
problems that come with that as well as
the technology that has come a long way
from where it was back in its early days
but in addition to the importance of
having a good quality pickup in your
guitar you have to get that signal in a
good quality way to the front of house
and give them a signal that they’re able
to mix well with the rest of the band
and be able to on the fly and deal with
situations that you may encounter like
feedback for instance so there’s tools
out there on the market but the primary
tools that are used in a recording
session when doing a mix down for
acoustic guitar a sound engineer is
going to reach for saturation and
multiband compression EQ that’s going to
round the signal it’s going to saturate
it’s going to boost harmonics it’s going
to add a richness and a tone that we
love that our ear likes when we listen
to recording so how do you get that in a
live setting well up until now it hasn’t
been available but the great thing about
the new pick pedal that LR Beck’s has
come out with this di features
saturation and multiband compression EQ
in addition to a wide range of tools
that are available for the acoustic
guitar player now to demo this we’re
going to be using a Taylor K 24 C II
which is equipped with Taylor’s new ES 2
pickup system these are very very
popular a lot of people who play
acoustic guitar up on stages pick Taylor
because all of their models or a good
percentage them tend to come with
cutaway and electronics on them and
there es-tu system the newest pickup
from Taylor is a very very good system
very popular we see it a lot of times
here this pickup or this di rather will
work on any pickup system whether you
have a fisherman system in your guitar
NLR bad
system KNK something from Taylor what
have you this is going to be a great
tool in your arsenal in order to tame
and control feedback and really shape
the sound of your guitar so you can get
a natural acoustic sound that has great
presence good volume good body wonderful
harmonics all the way to the front of
house speaker so we’re going to go
through it today using this to give you
an idea we’ve got the es2 set flat so
the bass and treble are set flat and the
volume also has a notch so we’ve got it
right in the middle and this has this
pick up has a lot of gain to it on your
particular guitar you would probably
want to start with the volume all the
way up to max or pretty close to it if
you wanted to use it for possibly a
boost when you’re doing finger picking
or whatnot so we’re going to go through
some of the settings on the DI and I
hope you get a feel for how powerful
this pedal is of course if you have any
questions you want to give us a call
send us an email or comment on this
YouTube video let’s get to the pedal
alright so the first thing that we’re
going to do is lay down our baseline
right now we’ve set volume and gain
based upon the gain settings for our
recording program as well we’re not
going to be using the notch filter
because we’re not live monitoring this
during the recording so we don’t have a
concern for feedback but here is the
unadulterated guitar tone through the
session di
now what you’ll notice is that the vu
light blinks showing the input game that
I’ve got it’s real important the first
thing you want to do is set your input
gain so you want to have your guitar set
to an appropriate volume usually max and
then bring your input gain up until
you’re seeing the input flashing
regularly if you really lay into it it’s
going to show an increase in gain what
you don’t want to see is red red
basically means that you’re clipping the
input signal causing it to distort and
that’s great for your Les Paul not so
great for your acoustic guitar after
that you want to set your volume level
and make sure that that is appropriately
set for the overall volume that you want
to get and the gain settings on your
mixing board or your amp what-have-you
the knotch filter as I mentioned we have
turned in to the off position the notch
filter on the left hand side bottom
lower part of the the pedal is for
filtering out unwanted feedback if you
start dealing with feedback you want to
sweep the knob from left to right in
order to isolate the signal once the
feedbacks gone you found where the
problem frequency is and you can leave
it there also along the left hand side
is a ground lift in order to get rid of
unwanted ground hum and on the right
hand side along the bottom you have a
high-pass frequency filter allowing you
to basically switch through between four
different frequency high-pass filters to
attenuate the low end if you’re getting
some unwanted signal noise or some
unwanted sounds in that region now we’re
going to turn our attention to the
saturation I should probably mention the
face which if you’re not aware most
guitar pickup systems and D eyes are
equipped with a face which as our amps
generally speaking it’s going to sound
better in one phase or another so when
you get to a new venue try it one way
try the other and see which phase works
best pretty self-explanatory there on
the saturation we’re going to sweep from
left to right so you can hear what
happens basically the signal is going to
get saturated harmonics are going to
increase it’s going to sound fuller as
we turn the knob from left to right so
back to our baseline and then we’ll
sweep through
you
you
now we’re going to listen to what the
multiband compression EQ does so we
sweep from left to right it’s going to
be compressing along predefined gain set
or eq’s and basically squashing the gain
I’m going to adjust my picking so that
you can hear with a softer input in a
louder input it’ll back off and then
come back on in order to round the
signal out and control the overall
volume spikes and frequencies
you
you
now one thing you may have noticed is
that as we brought the compression EQ
all the way to the right hand side some
of the bass dropped out because it’s
clamping down on those frequencies as
I’m playing if we then add the
saturation it’s going to bring some of
that back so we’re going to take the
saturation up to the 12 o’clock position
and see how that’s brought back in
now in this particular setting I’m going
to bring the compression EQ back to
about the 12 o’clock setting and this is
where this pedal really shines is the
two of these basically working in unison
you could hear that it fattened up the
tone and brought some of those rich
harmonics back
despite the compression being turned all
the way back on when you are setting it
up for your system you want to basically
play around with this a little bit this
is with both of them at the 12 o’clock
position
you
so there you have it a really nice
natural sounding acoustic signal brought
on by the wonderful tools we have
through the LR bags acoustic session di
pedal if you have any questions on this
give us a call contact us by email or
post on this video we’ll be glad to get
back to you as soon as possible we keep
these wonderful pedals in stock all the
time and we’d love to help you out with
your acoustic setup thanks for watching

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