This post is inspired by in interview I just did with Mississippi Allstars guitarist Luther Dickinson, a cool dude and a deep player. I’m digging the band’s new album,
. (And for better or worse, that praise comes from someone who hates almost all modern blues albums.) You can read the interview here.
Anyway, Luther was talking about how his entire style is a quest to create a loud, electric version of acoustic country blues. He mentioned how he was more drawn to the Mississippi blues players who went electric by slapping DeArmond pickups on their acoustics, as opposed to, say, Muddy Waters, who swapped his acoustic for a Telecaster. Luther also mentioned that DeArmonds are still his favorite way to amplify an acoustic guitar
Fender King Vintage Acoustic Electric Guitar
At some point it occurred to me that I’d never actually played an acoustic with a DeArmand. So I picked up a 1950s RHC-B and popped it into my old Martin 0-18. Have a listen:
I’m a longtime fan of magnetic pickups on acoustic guitars. I had a Sunrise in my Lowden for 15 years and loved it, but it croaked last year. I replaced it with one of those hybrid models that combine a mag pickup with an internal mic, and it works fine. But after a year or so, I don’t think I’ve ever used the mic sound. I just like the way the mag pickup sounds.
But is it still acoustic guitar? I’m not sure. I increasingly view amplified acoustic as a guitar category unto itself, residing somewhere between acoustic and archtop.
Dearmond Soundhole Pickup
And the DeArmond? Between its noisiness and reticent highs, it’s probably not the best choice for every occasion. It’s also a bigger pain to install and remove than modern mag pickups. But I dig how it sound in the video, and I’m definitely keeping it!The sound of a magnetic pickup on a steel-string guitar can be a unique thing. Just listen to old recordings of Lightnin’ Hopkins to hear the way his DeArmond soundhole pickup helped provide a sound world not possible with a straight acoustic or electric guitar, mixing the woodiness and warmth of an acoustic with the grittiness of an overdriven tube amp.
Pickup wizard Curtis Novak recently launched a new line of magnetic soundhole designs that deliver a wide range of vintage-style tones. These pickups are available in three models—the single-coil G-coil and D-coil, as well as a humbucker—with a variety of mounting options. From various gold-foil styles ($225) to a more low-key slimline design ($195)—all of which can be enclosed in materials like ebony, maple, rosewood, ivoroid, or tortoiseshell—these are handsome pickups that make a striking impression.
I was taken by the gold-foil D-coil before I even tried it. The pickup’s retro diamond design and ivoroid mount added just the right flair to my Iris OG. I easily demoed the pickup on my guitar using Novak’s suggested adhesive for short-term use, though it can be installed permanently using the included brackets and installing an input jack.
Vintage 1980s Bill Lawrence Soundhole Acoustic Guitar Pick Up
Sure enough, I plugged into my 1949 Fender Deluxe and it instantly sang. The D-coil offered a warm, compressed tone that easily pushed my amp into overdrive, with controllable feedback at a low volume. The optional volume and tone control unit ($50) made it easy to dial things back, but I found myself keeping everything turned up for maximum effect. With this setup,
I felt transported back in time, and bluesy riffage flowed out naturally. That feeling wasn’t lost when I tried other amps, including a couple of silverface Fenders and an old Ampeg Mercury.
The G-coil has a similar sound, but with a more subtle and dimensional tone that feels more obviously acoustic while retaining the electric warmth of the D-coil. Whatever the choice, Novak’s new line definitely fills a much-needed niche in high-end acoustic guitar pickups, offering well-crafted models that provide tonal options outside of typical acoustic-electric sounds.
Looking For Info On This Vintage Melody Mike Soundhole Pickup
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Sure enough, I plugged into my 1949 Fender Deluxe and it instantly sang. The D-coil offered a warm, compressed tone that easily pushed my amp into overdrive, with controllable feedback at a low volume. The optional volume and tone control unit ($50) made it easy to dial things back, but I found myself keeping everything turned up for maximum effect. With this setup,
I felt transported back in time, and bluesy riffage flowed out naturally. That feeling wasn’t lost when I tried other amps, including a couple of silverface Fenders and an old Ampeg Mercury.
The G-coil has a similar sound, but with a more subtle and dimensional tone that feels more obviously acoustic while retaining the electric warmth of the D-coil. Whatever the choice, Novak’s new line definitely fills a much-needed niche in high-end acoustic guitar pickups, offering well-crafted models that provide tonal options outside of typical acoustic-electric sounds.
Looking For Info On This Vintage Melody Mike Soundhole Pickup
Will earn a small commission (at no cost to you) when you click through and make a purchase. Thanks for your support!
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