NOTE: If this isn’t obvious, this isn’t product placement. I bought the gear directly, and JP Guitars don’t know me from Adam or Eve. I’m writing this for anyone in the same situation as me looking for experiences and options. I’d say none of this work has been done yet – so I will update this post with my findings.
So, I recently acquired a Martin Tenor guitar from the 1950s. I’ve wanted an acoustic tenor to complement my Gibson ETG-150 from the same decade. You’d be surprised how these “vintage” instruments are remarkably accessible from a price perspective compared to a Les Paul or Fender Tele/Strat from the same period. You see, they aren’t very fashionable instruments except to perhaps folkies. I’d looked at modern equivalents, but they do not have the same tone. And I briefly looked at an archtop Gibson from the same period – but it was too rich for my blood.
Anyway, I believe all instruments should be working instruments either in the studio or, ideally, live as well. Why keep this beauty locked up like some old master for only me to see and hear? Now, there’s the challenge of ensuring this instrument works in the modern context whilst making the least modifications and being as sympathetic as possible. The first issue is the tuning gears – they are loose – well, sometimes. Sometimes, you grab hold of the white buttons, and you can feel them turn in your hands – and loose gears mean restringing will always be a problem, and keeping the instrument in tune is a big challenge. I took the instrument to a luthier friend, Rob, over at RH Guitars, just down the road from me. Alongside creating beautiful instruments, he also does bespoke repair work – he’s a thoroughly decent bloke, and we get on well – get me on the subject of guitar/music. You cannot shut me up.
So Rob recommended the Golden Age 2517, relic nickel replica tuners, which are exact copies of those supplied by Kluson to guitar manufacturers from the 1930s to the 1970s. They are aged/relics, so they fit in with the period of the instrument. They look like a good match, and hopefully, I will keep the instrument in good standing when I am its custodian. My theory is when I shuffle off this mortal coil, it will find its hands of the next player.
https://www.jp-guitars.co.uk/sales/parts_and_spares/tuners/golden_age/golden_age_2517.htm
The thorn issue was amplification. I did source a Fishman PRO-REP-102 Rare Earth Humbucking Soundhole Pickup – This is a perfectly serviceable piece of gear and came recommended by a musician I know who plays the same Martin tenor. However, it didn’t work for me and my playing style. You see, I like to go up the dusty end at times, and as I depressed the strings – the strings would touch the pickup and either buzz or not make a sound. The appeal of the soundhole was that humbuckers are known for their warmth compared to single-coil, and it would be easy to remove. I don’t gig much (or enough) for it to be a permanent fixture – and right now, I have precisely 1-song on the instrument (that’s one expensive song – which has taken 2x tenor guitars to write finally – and what I don’t know is if there more songs on this instrument to be had – I never do). I suspect the Rare Earth, designed for a 6-sting guitar, assumes a slightly higher position of the strings relative to everything else that makes up a guitar – neck profile, soundhole location, bridge, nut, etc.
So the Rare Earth is being sold (I can’t hold on to kit I don’t use – its consumes space – and the month wrapped up in it can be better spent elsewhere. Again, Rob came to the rescue. He found a Tenor pickup made by K&K also on the JP Guitar website:
So, here are a couple of things to say about this pickup style. The piezo style can be considered a bit brittle or unnatural, especially with the characteristic of a ‘piezo-quack, ‘ but that can be managed. I’ve got a Grace Designs Felix2 pre-amp, one of the best (ahem, toe-curling expensive!) pre-amps you can buy. So, I should be able to manage the “quack” with the pre-amp and my DPA 4099 CORE Mic. This is the “gooseneck” clamp-on variety.
For me, the jury out on the DPA – I got over the initial hump of complexity around the Felix2 (thanks to some helpful videos from Jack Badcock and encouragement from Kris Dreaver to stick with the unit) – but I’m not sure about the DPA – and noticed that Jenn Butterworth – whilst using a Flex2 doesn’t use the DPA. I have little nightmares about clipping it and knocking it off whilst playing live, and I also occasionally find I have feedback issues. I can either handle that from the Flex2 or send both 1/4 inch and DPA to the desk and let the sound engineer “fix” it. One easy fix would be to turn down the DPA 0 volume/gain, thus negating my use.
You know, sometimes I do that myself accidentally.
Do I notice the difference?
No, I don’t. Point made. Point taken.
If you are adding complexity and anxiety to your setup – you’re negating the point of having it in the first place. I think the DPA would work for a more proficient guitarist than me – someone who can do their entire set on one guitar (like Jack) and proficiently retune without losing their audience (like Jack). As for me, I need 14 guitars on stage – one for every song – often with just one string different by semi-tone. I’m exaggerating at my own expense. But I often make a rod – or guitars- for my own back. I don’t honestly believe mountains of gear make you a better musician – and one thing I’ve learned in my very brief period as support musicians to the main act – is the more shit you turn up with, the more heartache and grief you bring to yourself – leave that for when you were doing 40mins split bill or even – think of it children – headline your own gig. One can dare but to dream.
Anyway. It’s nearly midnight and I have rambled off the point. So time to wrap up it here.