Back in the days before we had direct recording outs and stereo effects loops, if a guitarist wanted to take his favorite amp’s tone and make it LOUDER, it was done by something called amp slaving. This is accomplished by taking the signal of one amp and boosting it via the power section of another…
I am always intrigued in how things developed. How did the guitar develop to what it is today? How do our views change on what constitutes good tone? Those kind of questions keep me occupied during the slow moments of a day, and one day I was asking myself the question: why do we, as electric guitar players, predominantly use sound systems based on electromagnetism and not on piezo-electrics?
Acoustic guitars have always presented a problem when playing at higher volumes. Back in the day (as the kids say), if you wanted a louder acoustic guitar, you bought a bigger acoustic guitar. Bigger bodies = more volume, as there is more wood to vibrate and project the sound towards the listener. But what if you have to play a big club or theater with hundreds or thousands of people? Huh? HUH? You could get a guitar the size of the stage itself, but I bet you wouldn’t like how it sounded! This article will explain some of the difficulties that acoustic guitarists face when wanting just to be heard.
We all do it. Buy a new instrument, play it, say it’s the greatest thing, and then start pouring through the Seymour Duncan website, looking to get that little bit “extra” out of your sound. For many bassists (myself included), this usually means installing an active preamp into your bass. But what about those folks that have an active bass but want to make it passive? Yeah, it happens.
Some thirty odd years ago active pickups hit the market and they were doing something amazing. Lots of output paired with no hum, noise or buzz. What else could you ask for? As time went on, players demanded more and more. More tone, more dynamics, more nuance in their playing. And yet it’s still a…
D-TAR is a sister company of Seymour Duncan, and consist of partners Rick Turner, co-founder of and luthier to the stars, and Seymour Duncan, the electric pickup maker. D-TAR stands for Duncan-Turner Acoustic Research and focuses on acoustic guitar products like pickups and preamps. The Mama Bear is sort of a specialized digital preamp and direct box for acoustic guitar, but it really does much more than that.
Much like a gallon of paint brightens up a room, installing an active preamp into a bass will open up the onboard capabilities that are available to the user. At the top end of tonal options sits the Seymour Duncan STC-3 Active Tone Circuit. A combination of tonal controls and customization options make this active tone circuit an ideal replacement for your existing setup, or for a new build.