Yes I hear you JJ, I would like to show more of the horns exits. They are actually shown, but I agree not 100% clear. There are many other features I would like to put in this ad, but a half page is not much room, so I am open to changes and hope for the best. I am reserving for three issues, so for an added cost I can change the add if needed. I might consider a better way to show how the horns work, and show how the upper and lower chambers work. I do have beautiful tone in the ad, and that is not a stretch.
My goal is get people to see this in the AGM digital world, that is far more people than the magazine itself. I do like color hard copy, so I will get a few extra issues to save, and maybe mail out to very specific companies. I hear that advertising effectiveness rates are very low, so...we shall see.
One of the issues that is hardest for me to convey is how the sound comes from the entire guitar itself. I assure you when I play, or when somebody else plays, you don't hear music ONLY coming from the horns, not even close. The dB meter does in fact show the highest level inside the horns, then next highest level at the mouth of the horns, but in a close third place is the soundboard, the back of the drivers of course, but up against your body, so you can feel it as much as you hear it. Even the sides and back of the guitar. I never ever try to hold my head down to get closer to the horns to hear, it is just one big sound (surround?) from the guitar that you hold in your arms. For me at least, it is a much different experience than a standard acoustic guitar by itself, or amped up.
So I have a folded horn speaker system, and on top of that I have a hollow body guitar, and of course a sound board pumping out sound. Does the horn system influence the hollow body portion? I believe it does. Does the guitar have far more resonance than a standard acoustic guitar, big time. More sustain, not even close. If I am playing in open E with a slide, and I crank up the power, you better not take your hands off the strings for too long, just keep jamming and let the guitar explode with sound. Of course you don't always want that, turn it down and barely touch the strings with some light picking, big beautiful sound. How do I put that in a half page ad? 🤣
Anyway we will see what changes AGM comes up with, I told them I am very open to their suggestions. They told me they now understand I am trying to sell my IP, not the guitar itself, so a different animal. Once they understood that, and saw an ad that did not suck, they started responding right away, stay tuned!
My goal is get people to see this in the AGM digital world, that is far more people than the magazine itself. I do like color hard copy, so I will get a few extra issues to save, and maybe mail out to very specific companies. I hear that advertising effectiveness rates are very low, so...we shall see.
One of the issues that is hardest for me to convey is how the sound comes from the entire guitar itself. I assure you when I play, or when somebody else plays, you don't hear music ONLY coming from the horns, not even close. The dB meter does in fact show the highest level inside the horns, then next highest level at the mouth of the horns, but in a close third place is the soundboard, the back of the drivers of course, but up against your body, so you can feel it as much as you hear it. Even the sides and back of the guitar. I never ever try to hold my head down to get closer to the horns to hear, it is just one big sound (surround?) from the guitar that you hold in your arms. For me at least, it is a much different experience than a standard acoustic guitar by itself, or amped up.
So I have a folded horn speaker system, and on top of that I have a hollow body guitar, and of course a sound board pumping out sound. Does the horn system influence the hollow body portion? I believe it does. Does the guitar have far more resonance than a standard acoustic guitar, big time. More sustain, not even close. If I am playing in open E with a slide, and I crank up the power, you better not take your hands off the strings for too long, just keep jamming and let the guitar explode with sound. Of course you don't always want that, turn it down and barely touch the strings with some light picking, big beautiful sound. How do I put that in a half page ad? 🤣
Anyway we will see what changes AGM comes up with, I told them I am very open to their suggestions. They told me they now understand I am trying to sell my IP, not the guitar itself, so a different animal. Once they understood that, and saw an ad that did not suck, they started responding right away, stay tuned!
Shown from our perspective, who are already familiar with it and what's going on.
By "audacious" I mean something like purple smoke / backlit illuminated (from inside the horn) shooting out. I mean really in your face, down your throat emphasis on that aspect. Then put all the feels and tone description on top of that; most will then quickly realize what you're selling. You have the amount of time it takes to turn a page, to capture a readers attention.
Theatrics play some role in attention grabbing. Once "hooked" the more serious analysis can follow, like your comparative SPL versus frequency chart - which of course would be on the URL link, that someone could follow up on.
I hate "icons", but they're ubiquitous in ads these days. I guess they're an understandable bullet point in pictorial form that people visually oriented these days quickly grasp. If you were to iconize the above statement, what would it look like?
Maybe the classic picture of an atom, with the guitar as the nucleus, and the two words "360 sound". Doesnt even matter if it really does that, you simply want to convey your sense of "big sound" at a glance. That's probably why the icons are so prevalent; one's got a feather in it, another a dollar sign, another a person sleeping, another crushed fingers - or an ear split in two by a lightning bolt.
Your advertising design team my be able to iconify some of your claims which would be a difficult read otherwise, within this 1/2 page window into what you're doing.
I started with a brand shown below, but if I sell my IP, others will use their own brand, so not pushing this. I do need a good Logo, like a simple black and white sketch showing the guitar with sound waves coming out the horn mouths and everywhere on the guitar. I could get a trademark for this. Personally I believe the 20 year Utility Patent is the granddaddy of IP.
Designing Mother of Pearl art is pretty easy, actually doing it, now that is a very different story, I need a real Luthier to pull this off! 😉
More Ad detail might make more sense to people that would not buy anything anyway, so not terribly concerned about that. The slightly mysterious details that people pretty much understand, just might get them to bite on the Website and YouTube video. The WTF is this factor! 🤣
Today I jammed with the mag pickup closer to the strings, unbelievable what I was missing, just love it. Pair it with a Piezo (that I refuse to use by itself), what a combo. When the mag pickup throws sound through the horns, it makes the entire guitar body and soundboard resonate like crazy. This must have some effect on the piezo. Even though it is under the bridge, and not on the body. I think the combinations are doing things that I don't fully understand, but I sure do like it. Nobody knows for sure, because nobody has built this type of guitar before.
I say at work, and I will use it for my guitar also: I am interested in ideas and theories, but I am very focused on WHAT WORKS! This is where the results shine!
Designing Mother of Pearl art is pretty easy, actually doing it, now that is a very different story, I need a real Luthier to pull this off! 😉
More Ad detail might make more sense to people that would not buy anything anyway, so not terribly concerned about that. The slightly mysterious details that people pretty much understand, just might get them to bite on the Website and YouTube video. The WTF is this factor! 🤣
Today I jammed with the mag pickup closer to the strings, unbelievable what I was missing, just love it. Pair it with a Piezo (that I refuse to use by itself), what a combo. When the mag pickup throws sound through the horns, it makes the entire guitar body and soundboard resonate like crazy. This must have some effect on the piezo. Even though it is under the bridge, and not on the body. I think the combinations are doing things that I don't fully understand, but I sure do like it. Nobody knows for sure, because nobody has built this type of guitar before.
I say at work, and I will use it for my guitar also: I am interested in ideas and theories, but I am very focused on WHAT WORKS! This is where the results shine!
Even though your guitar with speakers built into the body is unusual, the combinations you describe have been understood and dealt with (with varying degrees of success) for more than 4 decades by those who deal in amplification of acoustic instruments.
After more than 50 years, and having his guitar designs copied by Takamini early on, Lloyd Baggs has come up with a new Acoustic Electric Guitar, the AEG-1, selling for $1599. It's 2.5" total depth is similar to the "acoustic" portion of your FHAG.
Many of the AEG-1 construction details may help you understand details that could help your design.
https://www.lrbaggs.com/guitars/aeg-1-acoustic-electric-guitar
The tour of their Korean partner company "Crafter" warehouse and aspects of the AEG-4 design and build process is fascinating and informative:
Art
Thanks much Art, I recently noticed this Lloyd Baggs AEG-1 guitar ad in Acoustic Guitar Magazine, I think it is EXCELLENT! This is what I am thinking about, people using innovation and CNC machines to design and build guitars that are not just different, but much improved. WOW!
I am rooting for Lloyd to do well with this guitar in production, he is way ahead of me, no big surprise for a veteran of the industry. I will be following it closely. Speaking of AGM, they have responded with some pretty good ad ideas. The AEG-1 and my guitar will likely be in the same issue of AGM. Will this be stiff competition, yes!
I mean come on, this guitar hollow body volume is probably about ten times more than the Acoustasonic. With his nice mic and piezo combo, boy that does it, I can hear it on the video, very much a clean acoustic guitar sound. Maybe I can get his mic to work in my guitar without feedback. Maybe my 1/2" chamber divider will help this. Not sure, so far a no go, but something to consider. BTW I love Ry Cooder's slide guitar playing (Little Village, Get Rhythm...).
I think his guitar will do very well in a live performance. It will also do very well in the studio, but I think I can compete in the studio. One area that I might be able to do well is just playing the guitar by yourself, or with a smaller band, and BAM, music explodes from the horns and drivers, my guitar strength. Every guitar has its strength and weaknesses in my opinion.
I really like the AEG-1 design using Poplar "plywood" for the body, very strong. Harps sometimes use Baltic Birch "plywood" for soundboards. Personally I would use the term laminated, both are actually correct, but plywood makes people think of Home Depot.
Lloyd is absolutely correct about the neck. My opinion is the neck must be very strong, but the attachment to the body must also be very strong, and the body you are connecting to as well. Two out of three does not cut it, need them all.
I also like his soundboard and Rosewood back, very well done. I am a bit surprised he did not have a Patent to protect him early on, but that was a long time ago, you know. He has many Patents now, you can find this on Google Patents, and I have no doubt he has first inventor to file for the AEG-1, so all good.
I see he is partnering with a long time supplier in Korea, and why not? Their operation looks pretty damn good. I wonder if they would be interested in buying my IP? I think I may need to buy an AEG-1 and give it a go! Stay Tuned!
I am rooting for Lloyd to do well with this guitar in production, he is way ahead of me, no big surprise for a veteran of the industry. I will be following it closely. Speaking of AGM, they have responded with some pretty good ad ideas. The AEG-1 and my guitar will likely be in the same issue of AGM. Will this be stiff competition, yes!
I mean come on, this guitar hollow body volume is probably about ten times more than the Acoustasonic. With his nice mic and piezo combo, boy that does it, I can hear it on the video, very much a clean acoustic guitar sound. Maybe I can get his mic to work in my guitar without feedback. Maybe my 1/2" chamber divider will help this. Not sure, so far a no go, but something to consider. BTW I love Ry Cooder's slide guitar playing (Little Village, Get Rhythm...).
I think his guitar will do very well in a live performance. It will also do very well in the studio, but I think I can compete in the studio. One area that I might be able to do well is just playing the guitar by yourself, or with a smaller band, and BAM, music explodes from the horns and drivers, my guitar strength. Every guitar has its strength and weaknesses in my opinion.
I really like the AEG-1 design using Poplar "plywood" for the body, very strong. Harps sometimes use Baltic Birch "plywood" for soundboards. Personally I would use the term laminated, both are actually correct, but plywood makes people think of Home Depot.
Lloyd is absolutely correct about the neck. My opinion is the neck must be very strong, but the attachment to the body must also be very strong, and the body you are connecting to as well. Two out of three does not cut it, need them all.
I also like his soundboard and Rosewood back, very well done. I am a bit surprised he did not have a Patent to protect him early on, but that was a long time ago, you know. He has many Patents now, you can find this on Google Patents, and I have no doubt he has first inventor to file for the AEG-1, so all good.
I see he is partnering with a long time supplier in Korea, and why not? Their operation looks pretty damn good. I wonder if they would be interested in buying my IP? I think I may need to buy an AEG-1 and give it a go! Stay Tuned!
No nylon string version for me...
Rant; I find it interesting that certain shoes can cost as much as a guitar and they come in sizes in 1/2 size steps. Guitar necks, on the other hand, are one size fits all. Which is ridiculous. Tell me how playing a guitar should not be as comfortable for the size of your hand, as a shoe fits for the size of your foot. Maybe 1/2 size steps is a little much for a guitar neck, but "whatever's most popular" is all you can get is a turn off for me!
The 1/2" chamber divider reduces the mechanical transmission from the horns, but doesn't reduce soundboard and sound hole transmission.
As you recently experienced the inverse distance effect on magnetic pickup proximity to the strings, you should understand it's effect on the microphone better now. Since your loudspeaker exit is so much closer than a PA loudspeaker or monitor, and it's frequency response is quite peaky, gain before feedback is limited.
That said, the "Silo" mic housing design and parametric EQ certainly could improve your FHAG gain before feedback.
The sound hole design AEG-1 also is an important feature in it's feedback resistance, lowering the guitar body Helmholtz resonance, while also reducing direct pathways for external higher frequencies to the mic.
The internal frame of the AEG-1 increases it's neck/body strength, while reduces the role of top/bottom bracing, allowing more free movement, increasing the output of the pickup system.
Guitar necks come in an endless variety of lengths, widths, depths, contours, and fret depth and shape.
In general, nylon strings, being thicker and lower tension, require wider necks, which does tend limit their variety more than steel string guitars.
Well, I notice the AEG-1 has a bolt-on neck; I assume with enough $ to pay a luthier, the OEM neck could be swapped out for something that fits me a bit better down at the nut, ~1.9" seems ideal for me. Is the Baggs pickup system all under the saddle and soundboard? If so, it shouldnt care about strings' effect on magnetic fields.
You guys are on it! You got that all right Art, no surprise. 🤣 I forgot to comment on the sound hole, it looks like it is part of the side and internal structure that is a great CNC design and build. A "why didn't I think of that" moment, very cool.
Personally I do wish there was more video with his guitar only, he should get Leo Kottke to play an instrumental song, he probably knows him!
I am very interested in trying his mic, especially with my mag pickups closer, boy are they rocking, I would love to experiment with a mic and mag combo. I might need to buy two AEG-1 guitars, so I can rip one apart and see everything, but a pretty expensive option.
I have given some criticism of other acoustic guitars on this thread, and people have given me some criticism regarding parts of my guitar design and build, that is OK, that's how you learn. When I see a great new guitar design, and see how it can bring even more potential for the guitar industry, pretty awesome.
One more thing I would like to hear is Lloyd's AEG-1 just acoustically. With the large hollow body volume, I would expect it to be pretty good. I will look for more videos, the review below is great, but does not praise unplugged. Hey maybe this guitar is meant for plugged in for the most part, OK. When it sounds that good you can probably pull that off.
JJ- just keep practicing, I can pick up just about any guitar and play it with ease. Not because I am very good, just because I am used to it over many years. Once you hit a certain comfort zone (which takes many years), you will be able to play just about any guitar.
Personally I do wish there was more video with his guitar only, he should get Leo Kottke to play an instrumental song, he probably knows him!
I am very interested in trying his mic, especially with my mag pickups closer, boy are they rocking, I would love to experiment with a mic and mag combo. I might need to buy two AEG-1 guitars, so I can rip one apart and see everything, but a pretty expensive option.
I have given some criticism of other acoustic guitars on this thread, and people have given me some criticism regarding parts of my guitar design and build, that is OK, that's how you learn. When I see a great new guitar design, and see how it can bring even more potential for the guitar industry, pretty awesome.
One more thing I would like to hear is Lloyd's AEG-1 just acoustically. With the large hollow body volume, I would expect it to be pretty good. I will look for more videos, the review below is great, but does not praise unplugged. Hey maybe this guitar is meant for plugged in for the most part, OK. When it sounds that good you can probably pull that off.
JJ- just keep practicing, I can pick up just about any guitar and play it with ease. Not because I am very good, just because I am used to it over many years. Once you hit a certain comfort zone (which takes many years), you will be able to play just about any guitar.
The AEG-1's two "HiFi" peel and stick transducers are located on the bridge plate under the bridge, on either side of the "Silo" microphone. Piezo transducers don't use magnets.
There are no magnetic pickups in the AEG-1 to effect strings in any way.
Yep, no problem for nylon strings if you like them, they have a nice tone.
JJ you may want to get more used to a steel string guitar. It rocks way more, and has way more power, just acoustically, but that is just my personal preference!
JJ you may want to get more used to a steel string guitar. It rocks way more, and has way more power, just acoustically, but that is just my personal preference!
Art , have you ever experienced any issues with this type of piezo losing mounting strength due to the peel and stick design?
The mic and magnetic pickups will require separate equalization, and the mic won't add much positive to the horn sound, since your horns don't do much above ~2kHz.
Baggs' M1 humbucking magnetic pickup has adjustable pole pieces, which would help balance string output compared to what you are using now.
It is only 2.5" thick, and not a large guitar.
I wouldn't expect to sound like a normal size acoustic guitar.
Yes, it is meant to be plugged in, hence it's name: "Acoustic Electric Guitar" (AEG).
No experience with taping pickups since the 1990's with the Barcus Berry "C-ducer", which didn't stick well after a few install/removal cycles. Should have got new tape for it after each piano installation, but being ignorant rock and roll heathens, we just used gaffer's tape.
https://forum.lrbaggs.com/forum/main-category/main-forum/1004-adhesive-problems-with-lyric
Not surprisingly, sounds like the 3M 4952 tape sticks better to a filled, smooth surface.
Art
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Holy ****, I did not see the M1A has adjustable poles before, just bought it!
I wonder if Lloyd would be interested in another guitar with my drivers/horns in the bottom chamber, and his design (revised) in the top chamber. Yeah I know, very large and heavy, might be a feedback machine, but worth thinking about the possibilities!
I wonder if Lloyd would be interested in another guitar with my drivers/horns in the bottom chamber, and his design (revised) in the top chamber. Yeah I know, very large and heavy, might be a feedback machine, but worth thinking about the possibilities!
https://acousticguitar.com/l-r-baggs-lyric-review/
Specifically, "mounted in a special housing that places the mic capsule a mere three millimeters from the bridge plate’s surface, the mic is designed to sense only the sound coming from the top of the guitar. The Tru-Mic is designed to cancel reflections from the guitar’s back. ... Much of the Lyric’s success is due to its patent-pending preamp technology. Built into an endpin-mounted circuit board and powered by a nine-volt battery, the design uses specific preset EQ curves and frequency-specific compression and limiting to eliminate problem areas that often plague internal mics."
That's a lot. The "Anthem" is similar, except it combines the output of an ordinary saddle piezo - but only for frequencies below 250 Hz. Who know's what else specific preset EQ curves and frequency-specific compression he's got going on in that one.
Then, from his Silo mic description "Leveraging our acclaimed TRU•MIC technology, Silo employs a new microphone capsule and tuned suspension for enhanced ambience and dimension. It excels in providing isolation and feedback resistance". And, who knows what electronic tuning he's got going along with that one in addition to the "tuned suspension".
So "one does not simply" stick an electret microphone inside a guitar, clamped to the preamp box via a little gooseneck. I'd be inclined to trust Bagg's designs as not having feedback problems, as one would expect from just "a microphone". You'll pay him for that, of course, but I'd expect his designs to work much, much better than the usual dregs.
Looking at the Silo construction and reading it's leveraged from the TRU•MIC, which is arranged to cancel sound from inside the guitar that's not soundboard sound, I'll guess he's got two back to back capsules wired out of phase, an operating principle sorta like the old Grateful Dead wall of sound mics, just from the symmetry of it. Plus whatever electronic tuning on each, plus the tuned mechanical suspension.
From my own recent experience attempting to mic the outside soundboard of a guitar via a guitar attached microphone the "tuned suspension" part makes or breaks the whole idea. In other words, you dont simply attach a mic capsule hard and fast to the side of the guitar and expect it to sound anything like if it was held as close, but on a separate floor referenced mic stand. Where you perform like your guitar is held in a vise...
I think it'd be fascinating to see what Baggs would do with your invention. If anyone's going to make it work really good, my guess would be that guy. He's been to the patent office a few times from what I've read, so he'd probably be having you sign NDAs around his modifications. Never the less, hit him up on it. The worst he could say is not interested. From my perspective, that would be hard to imagine, unless he's just too busy with his own inventions.
Specifically, "mounted in a special housing that places the mic capsule a mere three millimeters from the bridge plate’s surface, the mic is designed to sense only the sound coming from the top of the guitar. The Tru-Mic is designed to cancel reflections from the guitar’s back. ... Much of the Lyric’s success is due to its patent-pending preamp technology. Built into an endpin-mounted circuit board and powered by a nine-volt battery, the design uses specific preset EQ curves and frequency-specific compression and limiting to eliminate problem areas that often plague internal mics."
That's a lot. The "Anthem" is similar, except it combines the output of an ordinary saddle piezo - but only for frequencies below 250 Hz. Who know's what else specific preset EQ curves and frequency-specific compression he's got going on in that one.
Then, from his Silo mic description "Leveraging our acclaimed TRU•MIC technology, Silo employs a new microphone capsule and tuned suspension for enhanced ambience and dimension. It excels in providing isolation and feedback resistance". And, who knows what electronic tuning he's got going along with that one in addition to the "tuned suspension".
So "one does not simply" stick an electret microphone inside a guitar, clamped to the preamp box via a little gooseneck. I'd be inclined to trust Bagg's designs as not having feedback problems, as one would expect from just "a microphone". You'll pay him for that, of course, but I'd expect his designs to work much, much better than the usual dregs.
Looking at the Silo construction and reading it's leveraged from the TRU•MIC, which is arranged to cancel sound from inside the guitar that's not soundboard sound, I'll guess he's got two back to back capsules wired out of phase, an operating principle sorta like the old Grateful Dead wall of sound mics, just from the symmetry of it. Plus whatever electronic tuning on each, plus the tuned mechanical suspension.
From my own recent experience attempting to mic the outside soundboard of a guitar via a guitar attached microphone the "tuned suspension" part makes or breaks the whole idea. In other words, you dont simply attach a mic capsule hard and fast to the side of the guitar and expect it to sound anything like if it was held as close, but on a separate floor referenced mic stand. Where you perform like your guitar is held in a vise...
I think it'd be fascinating to see what Baggs would do with your invention. If anyone's going to make it work really good, my guess would be that guy. He's been to the patent office a few times from what I've read, so he'd probably be having you sign NDAs around his modifications. Never the less, hit him up on it. The worst he could say is not interested. From my perspective, that would be hard to imagine, unless he's just too busy with his own inventions.
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Looking at the Silo Reflection Cancelling Boundary Microphone's construction and patent, I'd be inclined to think it is a single capsule, tuned by the housing inlets and the shape of the top and bottom of the Silo.
The response of the RCBM without the compensating electronics would be unacceptable.
https://patentimages.storage.googleapis.com/fe/40/26/77b5488e6ae61c/US8989399.pdf
Using a pair of reversed polarity omni microphones (as the Dead used) in the central position of the Silo would cancel virtually all the good and bad sound present within the guitar.
As Baggs patent says:
"When an RCBM is used in an acoustic guitar, a close
proximity between the microphone capsule and the bridge
plate area of the acoustic guitar energizes the microphone
strongly enabling a very high Sound pressure level to be used
in live stage environments. The cancellation of reflections by
the RCBM eliminates the honky boxy sound typical of inter
nal microphones, because the boxy sound which typically
inhabits the 400 Hz-1.5 kHz range is significantly reduced.
Therefore, the frequency range of the microphone can be
extended downward into this range, greatly enhancing the
realism of the sound. The use of an RCBM in this manner
nicely mimics the response of a studio microphone placed in
the traditional recording manner outside of an instrument,
such as an acoustic guitar."
If so, a nice piece of acoustic engineering then, along with the capsule suspension.
Makes you wonder if Baggs himself is doing all the development, or if he has a staff of MEs and EEs working on these solutions.
Thanks for the patent link!
Tommy Linn is (or has been) Baggs lead engineer, and his digital engineer is (or has been) Justin Rucker.
Lloyd Baggs started early on by engineering acoustic guitars to work with amplification, though back then, it took a tall rack to contain all the processing equipment to make an acoustic instrument still sound like one when amplified.
Now all that can fit in something smaller than an acorn.
He knows inside out what works starting with his modal analysis of them:
Early on in this thread, I mentioned how an unmodified Takamine guitar with it's built in pickup blew away every other acoustic guitar on an arena show- Takamine had copied the guitar Baggs built for Ry Cooder.
Anyway, the competition between Lloyd Baggs and Larry Fishman since the early 1980s has led to a lot of good products, but it's nice to see Lloyd return to his luthier roots with the AEG-1.
Art
Lloyd Baggs started early on by engineering acoustic guitars to work with amplification, though back then, it took a tall rack to contain all the processing equipment to make an acoustic instrument still sound like one when amplified.
Now all that can fit in something smaller than an acorn.
He knows inside out what works starting with his modal analysis of them:
Early on in this thread, I mentioned how an unmodified Takamine guitar with it's built in pickup blew away every other acoustic guitar on an arena show- Takamine had copied the guitar Baggs built for Ry Cooder.
Anyway, the competition between Lloyd Baggs and Larry Fishman since the early 1980s has led to a lot of good products, but it's nice to see Lloyd return to his luthier roots with the AEG-1.
Art
Check out the Lloyd Baggs YouTube video above, 2-1/2 hours, I am only halfway thru it, fascinating! Cross section below of the Silo, machined (mounting position I believe) to .0005", that is a tight tolerance that we use in CNC land.
I have the M-1 now, may be able to test tonight, adjustable poles look very effective and easy to adjust. I really like my Fishman mag sound, but man their mounting is lame. The LR Baggs mounting is guided as you move it up and down, nice engineering, kind of a big deal for my setup. Plus it moves so much up and down, you can shim it without needing longer screws. Lloyd is one cool dude, needless to say I am a big fan!
I have the M-1 now, may be able to test tonight, adjustable poles look very effective and easy to adjust. I really like my Fishman mag sound, but man their mounting is lame. The LR Baggs mounting is guided as you move it up and down, nice engineering, kind of a big deal for my setup. Plus it moves so much up and down, you can shim it without needing longer screws. Lloyd is one cool dude, needless to say I am a big fan!