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.
Ratings
Pros:
Snappy tone, well made, lightning-fast neck.
Cons:
Limited tonal options compared to its active cousins. A bit pricey.
Tones:
Playability:
Build/Design:
Value:
Street:
$1,699
Ernie Ball Music Man Caprice
music-man.com
To check out the other end of the spectrum, I soloed the bridge pickup and pushed the tone back up to full tilt. The snap that allows articulation and precision—and draws many to a Music Man instrument—is there, but with a bonus. A bridge pickup running by itself can generally be weak and thin, but I found the Caprice can be used in quite a few musical settings with just the bridge wide open. It’s very responsive and tight, which will speak to my fingerstyle friends and the R&B faithful.
With all the controls dimed to bring the two tones together, the Caprice sounded like what a bass should sound like in many situations: clear, rounded, and full with just the right amount of articulation and bottom. If one were to rip the knobs off the Caprice and leave it in this setting, this bass would still find a home just about anywhere.
Many revere the sound of a Music Man, but the company’s “traditional” tone definitely falls into its own category. It’s undeniably remarkable, but not for everyone. The Caprice isn’t necessarily meant to nudge aside anyone’s favorite passive bass, but it will allow players to get into a Music Man without, well, getting into “that” sound. It’s about as straight-ahead as a bass can get, and I like that. I can’t help but compare the Caprice to other Music Man offerings, but I feel they have successfully crafted an instrument for passive-bass devotees who want a more distinctive tone.
The Verdict
The meaning of the word caprice is “a sudden and unaccountable change of mood or behavior.” That seems fitting enough for a company steeped in its own legacy that decides to break from their usual model. The body is different, the neck a little thinner, the feel is more traditional Jazz, and the tones are passive, but it is still a Music Man. The Caprice has made a strong entrance by both remaining true to its roots and setting itself apart to bridge the gap between the passive and active faithful. The Caprice may not have the shimmer or boom of its active cousin, but it can definitely hold its own in most any musical situation.
Watch the Review Demo:
This test simply measures frequency response (and sometimes a speaker’s corresponding impedance curve, a subject we’ll explore later) in an idealized environment, so the test power amp is important. When comparing two different manufacturers’ speaker graphs, we assume that different speakers are tested under similar conditions to assure a realistic comparison. Makes sense, right? Sure, as long as all manufacturers use the same procedure. Which begs the question: Do they? Theoretically yes, assuming they use similar equipment and test environments. In reality, there are procedural and technical variations from manufacturer to manufacturer. Absent a rock-solid baseline, that makes the comparison somewhat subjective. This sounds discouraging until you consider that what happens to a guitar speaker in a tube amplifier makes much of this testing precision seem rather moot.
A solid-state power amp is going to depart in performance from a tube power amp in a couple of important ways that turn out to be crucial in choosing a speaker for a particular tube amplifier. First, as explained above, a solid-state amp is relatively distortion free, and secondly, its low effective output impedance reduces its interaction with the behavior of the speaker.
Most players assume that power tubes have a unique “sound” that’s largely responsible for the sound of their amplifier. This is one of two common myths about tube amps. If that were true, how then do you explain all the “linear” hi-fi tube amps of the ’50s and ’60s? The simple fact is, tubes are generally neutral regardless of type, with the most obvious differences in behavior being attributable to their operating environment—meaning the circuit design, operating voltages, and transformer designs associated with them.
Eminence’s Anthony Lucas generating a SPL (sound pressure level) versus frequency graph. Image courtesy of Eminence
The second myth is that tube amp sound is due to special added distortion. The fact is that any amplifier can be induced to add distortion of one kind or another. The question is, what kind and how much? I’ll cover this in more detail in an upcoming column, but here’s what we need to know right now: How you operate a power amp determines how much distortion it produces, and in this respect distortion can be set aside for the purposes of our discussion.
When discussing speaker behavior, the most important difference between solid-state and tube power amps is source (output) impedance. Our solid-state amp, having a very low effective output impedance, will force a speaker to behave in a more linear fashion. Conversely, a tube power amp exhibits a much higher output impedance, and this allows the speaker to influence the behavior of the power amp. In other words, the solid-state power amp will restrain speaker behavior, producing a flatter graphical profile, while a tube power amp and speaker form a system in which each is an integral part of the sonic result we all know and love.
In addition, the special reactive relationship between the speaker and tube power amp is influenced by the size, shape, and resonance of the speaker cabinet itself. At this point it should be apparent that the test environment described above seeks to eliminate that resonant reactive behavior. So now is a good time to ask: How helpful is a graph of speaker performance stripped entirely of its normal operating environment in making an informed speaker choice? The answer: It depends.
This graph shows the frequency response of Eminence’s EJ-1240, the company’s 40-watt Eric Johnson signature alnico 12". The red line represents frequency response and the tan line indicates the speaker’s corresponding impedance curve. Image courtesy of Eminence
It may surprise you to learn that many amplifier manufacturers don’t put a lot of initial stock in these graphs when deciding which speaker to use for a given amp design. While they’re very useful in making a final decision between two candidates with very similar signatures, the real work takes place long before we ever get to the nitpicking graph comparison stage. That means we, the amp manufacturers, have made the most critical decisions about sound, application, and overall performance much earlier than that. Once we get close to final production design, we may pay a little more attention to the graphs to fine-tune the amp/speaker/cab relationship in ways that the player would be wise to think about before replacing the stock speaker with another unit.
What a speaker graph shows is that most guitar speakers perform similarly on paper, and all bets are off when you install them in your amplifier. With that in mind, the first step in making a speaker purchase should be to establish your desired outcome. Then look at the manufacturer’s recommendations about the models you feel line up with your goals and fit your budget. Forums can be a valuable resource, but try to avoid getting into the weeds when soliciting opinions online by carefully vetting responses that address your specific application.
After you’ve narrowed your search, it’s time to have a look at those graphs. Pay particular attention to the more prominent peaks they reveal. Those are the areas that are most subject to operational variables like output impedance and cabinet resonance. The higher the impedance, the greater the impact those peaks will have on your amplifier’s performance and, consequently, the more they will drive cab resonance. And since internal feedback (more on this in a future column), as found in most power amp designs, plays a role in output impedance. A power amp designed with low or no feedback—such as in AC30-style amps—will exhibit higher effective output impedance and further exaggerate those curvalicious peaks!