A1.2-22R UST
The pickup in this system is ultra-thin, to not interfere with the string vibrations passing through the saddle and bridge. The design also makes for easy mod-free installation.
iP-1
This system’s pickup is sensitive to pressure changes from all directions and captures the tonal qualities of the wood and the structure of the instrument, not just direct string sound through the saddle.
Soloist
This engineered saddle contains micro-electro-acoustic structures within itself, which allow for sound reproduction that does not amplify microphonic noise from the instrument’s surface.
Matrix Infinity
This system features switchable voicing to accommodate all guitar body sizes, soundhole-mount rotary dials for volume and tone, and an LED low-battery indicator.
FanTaStick Western
The six piezo crystals in this pickup are surrounded in a flexible, ultra-thin material that ensures the guitar’s vibrations reach the crystals with virtually no interference, so the string signal is not overemphasized.
AK 15 Plus
This two-source system aims to capture the true sound of an instrument by utilizing both an undersaddle piezo pickup and a condenser mic that is integrated into the endpin preamp.
Motif
Battery changes aren’t required for this undersaddle pickup/class-A preamp combo that requires just a 60-second charge via the output jack for six hours of acoustic amplification.
AS93U
This system’s AT93 pickup uses piezo film in a layered (bimorph) format that allows for lower-output impedance. Because the film runs the length of the pickup, any number of strings or any string spacing can be used.
Lydia EQ ST
Designed with natural sound and dynamics in mind, this system’s class-A internal preamp allows for on-the-fly tweaking via the volume, treble, and bass pots that attach in the soundhole.
Element Active System VTC
This system features a proprietary circuit that incorporates a low-frequency suppressor and a streamlined pickup design that substantially improves the sensitivity of the transducer.
Featuring delay, mix, repeats, and a somewhat unusual volume control, the handwired Vick Audio Hypocenter Delay serves up 25–450 ms of delay from a Princeton Technologies PT2399, a digital chip often used to more affordably approximate analog-echo tones.
The Vick’s volume control achieves unity gain between 9 and 10 o’clock, and at its higher reaches (combined with generous mix settings) it really brings out the PT2399’s unique sonic character. I wouldn’t call it analog-sounding in the sense that fans of, say, a Maxon AD999 or even an Ibanez Echo Shifter, would think of it, but it’s not digitally pristine, either—it’s a stringy, lo-fi texture that’s quite intriguing with everything from slapback settings to longer repeats where you harmonize with yourself on syncopated lines.
The down side is that, even at moderate volume settings, the Hypocenter emits audible digital clocking sounds when delay is set past 2 o’clock. And while dexterous feet might coax semi-spacey sounds by manipulating delay time while your hands play, the Vick never really conjures more than four or five repeats, so unfortunately full-on weirdness and self-oscillation aren’t possible.
Test gear: Schecter Ultra III, Eastwood Sidejack Baritone DLX, Goodsell Valpreaux 21
Clip #1 — Schecter Magna'Tron bridge pickup: Vol 10 O'clock, Delay - Noon, Mix - Max, Repeats - MaxClip #2 — Schecter Magna'Tron bridge pickup - All Knobs Max
Ratings
Pros:
Solid build. Intriguing sonic textures.
Cons:
Audible clocking noise at high settings. Meager repeat capabilities.
Street:
$139
Vick Audio Hypocenter Delay
vickaudio.com
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