EQUIPMENT REVIEW
HEADWAY HE1/G2
Under Saddle
Active Piezo Transducer Pickup -
Headway Partnership
Many of you reading this article will, at one time
or another, use some system of amplification for your classical
guitar - perhaps for restaurant work; or maybe the more
lucrative sphere of weddings, corporate functions and the like;
and on the occasion of concerto work. Not everyone will agree
with that use, but in performance with a body of orchestral
instrument it is paramount that the guitar should be heard
clearly, and not either be obliterated or otherwise cause string
players to artificially restrict their bow action (for example).
I'm aware of the counter arguments. I fully respect the
philosophies behind them, but we must each do what we feel best.
I am in favour of amplification.
For years I've used an AKG shotgun condenser microphone or
otherwise a stick-on AKG transducer. Both are good. But I have
never been completely happy, simply because there's always the
risk of feedback with the former, and the second is a make do
and mend affair, no matter how good the equipment, with the
possibility of cable vibrating on the soundboard, even the
chance of the bug vibrating off. Psychologically too, then,
problems in both camps.
Headway Acoustic Guitar Pickup - Acoustic Pickup -
Classical Guitar Pickup - Classical Pickup
Thus during the last year or so I've noted other people's
built-in pickup equipment and assessed it. I've tried and
rejected various electro-acoustic guitars because, at the end of
the day, they didn't simply feel as good as instruments as
either of the guitars I play. I determined to wait until I came
across something really good, something I'd be prepared to take
a risk with. Because if you're going to drill holes in an
instrument valued at around £2500, it is a risk.
Recently I came across Headway Electronic, developers of superb
under saddle pickups for a variety of acoustic instruments -
which they play themselves - guitars, mandolins, bouzoukis,
bass. After hearing, discussing, agonising I decided to take the
plunge. And I can report a total success; I am delighted.
The instrument I decided to modify is a 1984 Martin Fleeson,
which has always had a delightfully light feel and instant
response, as well as a terrific natural sonority. I wish Martin
were still alive to hear it now. I always instinctively felt
that it would be a 'natural' for conversion with the right
equipment, and so it has proved. I feel absolutely vindicated!
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The HE1 comprises the pickup to be fitted invisibly
into the bridge beneath the saddle, a pre-amp with
treble/bass/mid-range/volume controls, a battery pack and an end
pin jack. There was no way I could do this fitting myself and I
decided to have the work done by a London specialist luthier in
this field, Paul Hathaway. For a standard £50 fee he undertook
this with great care and I was able to have the external
controls fitted exactly where I wanted, near the guitar's heel
and also the precise exit siting I wanted for the jack plug.
I was very impressed by Paul's workshop, with some beautiful
mandolas, citterns, lutes, baroque guitars and more. A real
craftsman with traditional forms, he also knows what he's doing
with the conversion to amplification. I give his contact details
here, as doubtless some readers may want to consider fitment:
Paul Hathaway, 47 Langley Drive, Wanstead, London E11 2LN.
Headway Acoustic Guitar Pickup - Acoustic Pickup -
Classical Guitar Pickup - Classical Pickup
So, with the HE1 fitted to the Fleeson, now plugged into my
Trace Elliot TA100R, I set the amplifier graphics to mid all
round, the gain to about a quarter and swallowed hard - the
moment of truth. The first notes confirmed all my hopes; the
guitar sounded exactly as it had always done, nothing altered
except for the increased volume. I must say I was delighted. The
sound was as clear as a bell and with no extraneous noise
whatsoever. Throughout the course of the afternoon I
experimented with the amp's equalisers, with the reverb programs
and levels and - of course - with my on-board treble, bass and
mid-range. The possibilities are wide, anyone would know that.
If you want a screeching tinny rattle or a great muddy thump you
can get it. But if you want a wholesome and natural reproduction
of the instrument's inherent sound (and that's what you should
be chasing) then here it is. I suppose it's pointless me
describing where I ended up on the graphic equalisers and the
guitar's tone control, what reverb I liked and how much - these
things are subjective and will in any case alter from one
environment to the next, Suffice to say that with several hours
of adjusting I arrived at settings from which I probably won't
depart too much. Our CG colleague Steve Marsh was in Cambridge
at this time and I took the opportunity to show him the goods -
he is very familiar with such things. His opinion? 'Well, I'm
pretty experienced with using amplification in concerts, as you
know, and like you I use a Trace Elliot. This is an excellent
amplified sound, simply the best I've heard.'
Headway have a comprehensive leaflet on this product, very
readable and this goes into the detail of why it works as well
as it does; better to read this in its original form than me
clumsily reproduce a summary. What you want to know is - does
this thing work? The answer is an unequivocal 'Yes', no
regrets whatsoever. I'm really pleased. It's absolutely
everything I hoped it might be.
All I need now are matching earplugs for the brass players....
Chris Kilvington CLASSICAL GUITAR
MAGAZINE
Headway Acoustic Guitar Pickup - Acoustic Pickup -
Classical Guitar Pickup - Classical Pickup
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