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Product Documentation


Do I need to modify my guitar to use the2Mic™? 

No.  There is no need to modify any guitar to install the2Mic™.

How long does it take to install the2Mic™ in a guitar?

With some practice, it will take approximately 30 seconds to install the2Mic™.

What is the best way to store the2Mic™ when it is not installed in my guitar?

After removing it from the guitar, the2Mic™ should be returned to the hard plastic carry case that came with the2Mic™.  We have designed the foam interior of the plastic carry case so that the2Mic™ can be placed inside the case with minimal bending to the gooseneck, avoiding excessive bending for the2Mic™.

What is the warranty for the2Mic™?

Every customer receives an automatic 2 year unconditional warranty for the2Mic™ from the date of purchase.  There are optional extended warranty plans available for a modest cost, including the option for an unconditional lifetime warranty.  All warranty repairs needed are performed at the2Mic™ headquarters in Greenville, CA.

Are there any feedback problems using the2Mic™?

If the2Mic™ is used with good quality PA equipment or powered PA speakers mounted on a speaker stand, you should not have problems with feedback.  The2Mic™ is the most feedback-resistant microphone available for classical and flamenco guitars, but it is not “feedback-proof”.  There can sometime be problems with feedback when using guitar amps, playing in very small rooms with reflective interiors, and playing with high volume “rock bands” having electric guitar, bass, drums, keyboard, etc.

Where is the best position inside the guitar for the2Mic™ microphones?

Once installed, the microphone near the padded mounting hook will naturally rest in the soundhole of the guitar, just below the strings.  This is absolutely the best possible location for this mic.

The microphone at the end of the gooseneck should point approximately towards the underside of the soundboard, near the bridge.  However, this mic can be maneuvered to point towards other interior locations of the guitar, and possibly with different results for tone quality and feedback rejection.  Guitarists should feel free to experiment with positioning the mic on the end of the gooseneck to point towards different regions inside the guitar.

Note: Be careful to handle the gooseneck carefully to avoid damaging the mic element (explained further in the next question).

How do I handle the gooseneck to position the mic on the end of the gooseneck?

To provide the best possible shock mounting to the mic element and prevent any possible distortion due to acoustic energy traveling up the gooseneck, both mics are very lightly attached to the gooseneck.  To adjust the gooseneck for the mic at the end of the gooseneck, we recommend holding the gooseneck approximately 1 inch (25 mm) below the windscreen of the mic.  The mic in the middle of the gooseneck, near the padded mounting hook, is always located in the best possible position in the soundhole, just beneath the strings.

What are the two power supplies and which one is best to use?

The2Mic™ is supplied with two different power supplies.  Whenever possible, we recommend using the EPS-2 power supply, which produces a modern low impedance XLR mic level signal and operates via phantom power.  The EPS-2 creates the most stable and reliable signal output to use with PA systems and powered PA Speakers.

The EPS-1 produces a more “old-fashioned” battery operated mono unbalanced line level signal.  The EPS-1 does not require phantom power and is compatible with many types of amplification gear designed for use with pickups using mono ¼” phone inputs (same as used for electric guitars).  Simply stated, both power supplies can produce high quality tone and volume without feedback, but using the EPS-1 is sometimes more complex, and sometimes encounters problems with an impedance mis-match.

What does the term “impedance mis-match” mean?

An impedance mis-match occurs when the inputs of an amplifier are expecting to receive a much stronger signal than what is produced by the2Mic™.  This is because of the lack of uniformity about how mono ¼” phone inputs are valued.  There are no standards for the input values assigned to ¼” mono phone inputs.  However, XLR mic inputs have a very standardized input signal design and using the EPS-2 with its low impedance XLR mic level output is much more reliable to achieve superlative results.

What is the difference between powered PA speakers and acoustic guitar amps?

Most acoustic amps have an overall design to work best when receiving the mono line level signal of a pickup, which tend to focus on mid-range frequencies, and reproduce mostly fundamental tones, with little or no overtones.  The electronics, speakers, and enclosures are all designed to best work with this type of signal.  Some acoustic amps do have XLR input, phantom power, and other features associated with PA speakers, but overall, acoustic amps are more oriented towards being sued with pickups.

Powered PA speakers are designed specifically to receive and reproduce the full frequency response of a microphone.  There are XLR mic level inputs, and usually phantom power (but not always).  Some powered speakers are only “slave speakers”, meaning that there is little or no EQ capacity for the speaker.  But many of the newest powered PA speakers have a small mixer on board the speaker.  Equally important, all of these powered speakers have a cup to mount the speaker on a standard speaker stand so the speaker can be raised.

Note: Elevating PA speakers is critical to overall good performance, as this allows the sound energy from the speaker disperse more evenly around a room, which is needed for the overtone rich signal produced by the2Mic™, or any good microphone used to amplify a classical or flamenco guitar.

What is the difference between a PA system, and a Powered PA speaker?

A powered PA speaker is merely one component of a standard PA system.  In small venues, a single powered PA speaker is all a classical or flamenco guitarist needs to sound great when performing.  In larger venues a full PA system, with several speakers and a separate PA mixer, are needed to fill the room with good sound.  Often, larger venues will have a good quality house PA system, and an engineer to operate this, but having a single powered speaker will help the guitarist to get a good sound onstage, and “send” the signal from this powered speaker to the main PA mixer operated by the sound engineer.  More about this subject in the next question.

Why is it often difficult to communicate with sound engineers to get a good sound on stage?

The mixers for house PA systems are usually located at the back of the hall so that the engineer can create the best possible sound mix for the audience.  Such a set-up forces the engineer to guess at what is the best sound on stage, and often with poor results.  In the best venues, there will be a separate mixer operated by a 2D engineer to just get the sound good on stage, but this is a rare occurrence in the real world.

Why is there sometimes great sound quality during the sound check before the show, but very poor sound quality during the performance?

Sound checks are usually done with an empty room.  However, human bodies absorb acoustical energy.  Additionally, the more bodies in attendance, the sounder energy is absorbed. So, the EQ and mix that works best during the rehearsal or sound check is sometimes not as effective once the room fills with bodies.  Being located towards the back of the room, the engineer can adjust the EQ and sound levels for the audience, but must guess about the mix on stage. This problem is why having an independent powered speaker on stage that is controlled by the guitarist can be so helpful for the guitarist to hear the great sound of the2Mic™ with their guitar.

What are the most important features to look for when choosing a powered PA speaker to use with the2Mic™?

  • Size and weight—You do not want to hurt your back lifting a heavy speaker.  If you are traveling via air, a speaker must be extra small.
  • Good EQ capacity—Every room is different, and every guitar is different.  Having good EQ helps to correct sound imperfections due to the room.
  • XLR and ¼” inputs—XLR inputs are most important.
  • Phantom power—48v or low voltage (9v minimum).
  • Good speaker design—Able to reproduce a full tonal frequency spectrum.
  • Line out features—Such line out features include a line out to a separate mixer, an effects loop for an equalizer, or a line out to a monitor
  • iPhone-MP3 inputs—While not essential, this is a nice feature if you ever want to have recorded music playing before or after a performance.
  • Speaker stand cup—This feature should be found on every Powered PA Speaker, but double-check before purchasing.

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