Incremental improvements can be had using an AKG C411 or the Schertler's that employ an electret vs. If you do specifically want a pickup, the K&K's (or JJB's) really do a very good job with minimum fuss and at reasonable cost. As to comparison with a microphone (any microphone) not even close. Exceptionally prone to 'thump' and handling noise, and take a lot of messing around with EQ to sound even half-decent. along with the dreadful Fishman bridge pickup the Baggs Radius is one if the nastiest sounding transducers I have ever encountered. I was interested in something removable.This is entirely subjective. I was wondering how that putty used for the Braggs affects old thin shellac finishes. I am also debating if I should get the Braggs, or one of the clip on microphones. I am curious about your experience with the Braggs radius. I asked him about it before the gig, and he wrote: Then, when a cafe member needed one for a one-time gig, I loaned it out, sent it to him through the mail to use. I got a lot of thump, bump extraneous noise, and low threshold for feedback, so I took it off. I ran the radius straight into my amp to try it at home, and didn't like what I heard, but it was not an ideal setup. I haven't gigged at all with the mandolin, too comfortable with the guitar, but I'm going to change that now, after two years of playing at home and jamming a bit. I know it did the job for the guy I bought the mandolin from, he used it for several years playing professionally. I was interested in something removable.I really don't have any experience with the Baggs radius. But I much prefer the mic, much better sound and still the ability to move around the stage. My mandolin has an internal K&K twin, and in loud or otherwise sketchy situations I use that with a Fire Eye Red Eye preamp. The only times I've had problems with the clip-on is when someone else is running the sound who loves loud monitors. I should add that the UI-12 has built-in feedback suppression, but we use wedge monitors (at a low volume) with condensers and very seldom have a problem. If you're using a system with adequate headroom and EQ, it's easy to get plenty of volume from the Pro 35. We also set up a low condenser (about belly button high) that the banjo player and I step up to for solos. When I'm using my own system, it then goes into a Soundcraft UI-12, where I roll off the low end on the EQ. I use a Pro 35, clipped onto the Toneguard below the treble ff-hole and pointed at the ff-hole. It's a condenser mic just like any other. Unless it's a model with on-board EQ, a preamp won't do a lot for a clip-on.
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