An affordable, phantom-powered, high-quality condenser mic that may be mounted in the soundhole or affixed internally (to the back or the neck block using 3M Dual Lock). Available in two versions: External (with a 16 ft/5 m cable) or Integrated (pre-soldered to an endpin jack).
From Ukraine, NV Tone has introduced the Swan NT to the world market. Re-envisioning an onboard microphone built specifically for the acoustic guitar, the Swan NT is a soundhole-mounted, gooseneck, omni-directional, Phantom-powered microphone that is capable of reproducing the warm, natural tone of your acoustic guitar both onstage and in the studio.
Frequency range: 20 ~ 20000 Hz
Sensitivity, ±3 dB at 1 kHz: -32 dB
Signal-to-noise ratio: 74 dB
Operating voltage range: 1 ~ 10 VDC
Neck length: 120 mm (4.72 inch)
Directivity: Omni-directional
Feedback is the squealing tone you hear in a P.A. system when the volume is turned up too high. It happens when the loudspeaker’s sound at the mic is louder than the instrument’s sound at the mic.
So to prevent feedback, you want the mic to pick up a loud sound from your instrument. And you want the speaker to produce a quiet sound at the mic, but a loud sound toward the audience. Here’s how to do that:
• Put the mic close to your instrument so the mic will pick up a louder sound. Our (mounted) mics are as flex as possible. The flexible neck of the microphone can prevent unnecessary resonances by finding the optimal position.
• When playing through an amp, place the amp a little behind you and to the left so your body blocks the feedback. Or place the amp in front of you, close to the audience. Then the audience will hear a louder, clearer sound without you having to turn up the volume so much.
• Try to play a little louder and turn down your amp to compensate.
• Feedback usually occurs at a single frequency or pitch. So if you can remove that frequency with EQ, you can stop the feedback. You might use a preamp with a feedback notch filter. While your P.A. is feeding back, adjust the notch filter so the feedback stops.
• Sometimes feedback is a quiet ringing tone, which can color the timbre of your instrument and make it sound hollow. If the feedback is a low tone, turn down the bass (low-frequency EQ) on your amp or mixer a little at a time until feedback stops.
• If your amp is near a wall or on the floor, that can exaggerate low frequencies (bass) and cause feedback. Try placing the amp on a chair and further from the walls.
• If the feedback is a high squeal, turn down the treble (high-frequency EQ) on your amp a little at a time until feedback stops.
Pickups have less feedback than mics. If you have a pickup, mix it with the microphone to get a louder sound.
• If you have a pickup, send its signal only to the monitor speakers, and send the mic signal only to the house speakers. Here’s how: In your mixer’s pickup channel, turn up the monitor send and turn down the fader. In your mixer’s mic channel, turn down the monitor send and turn up the fader. The audience will hear the natural acoustic sound of your mic, and you will hear the pickup in your floor monitors, with no feedback.
• Monitor speakers are the main source of feedback. Sometimes it helps to aim your instrument a little away from the monitor speaker, and don’t turn up the monitors too much. Maybe you can use in-ear monitors instead.
• If your instrument is facing a wall, sound reflections off that wall can get into the mic and cause feedback. Usually you’ll get less feedback when you play into an open space rather than a small room.
• Ask the sound tech to turn on, in their mixer, a high pass filter (low-cut filter) around 80 Hz (for guitar, cello, banjo, bass) or around 200 Hz (for fiddle and mandolin). That will prevent feedback at very low frequencies without affecting the sound of your instrument.
As with any soundhole-mounted pickup, a Philips screwdriver may be all you need. I am able to fit the pickup into a soundhole and tighten it in place without even loosening the strings (let alone needing to remove them). The smallest diameter soundhole I was able to fit this in was 3-7/16" (84 mm). I accomplished this by simply loosening one of the top plate screws to the point I could remove it, swivel the top plate away from being directly over the pickup, move the pickup into place and re-attach the top plate.
Post initial release, NV Tone suggested an alternate mounting option for those who might not wish to see a pickup at the soundhole. By simply attaching mating nylon locking strips (the stronger version of hook and loop fastener) the Swan NT can disappear internally.
For affixing the pickup inside the body of the guitar, either to the back or to the neck block (or both), the company recommends using 3M Dual Lock SJ3540. Apply the self-adhesive fastener to a smooth, clean surface (beware of oily tonewoods - clean them well before applying the fastener).
There may be an added benefit to using this approach (over simply securing the pickup to the soundhole). The absorbent fastener material may actually help to reduce unwanted vibrations which can result in improved microphone performance.
The Swan NT is available in two versions, both requiring 48v Phantom power:
• External: A 16 ft. (5 m) cable is permanently attached to the mic and is outfitted with an XLR connector. This is a very convenient design for occasional amplification needs, rapidly moving one onboard mic source between instruments, or for so-called "non-destructive" installation.
• Integrated: An endpin jack is pre-wired for internal mounting in a 12 mm / 15/32" hole. A cable is supplied having a 90° (right-angle) 1/4" TRS Male connector on one end for connecting to the guitar and an XLR connector on the other.
Using the External model with the attached cable, I have installed this pickup in the soundhole and plugged it into a PA in less than 60 seconds. It just doesn't get any easier than that!
The Swan NT does a very good job of reproducing the sound of my guitar(s) and, as with any microphone. While it may be more prone to feedback than the typical Under Saddle Transducer, the tendency for feedback with this pickup is on a par with (or just a bit more sensitive than) the typical Soundboard Transducer. For the majority of players who are not needing really high gain, feedback should not be an issue. Whether you are performing, recording, jamming or just playing by yourself at home, I can heartily recommend the Swan NT. I purchased one each of the External cable and Integrated endpin jack models as soon as they were introduced. I have not been disappointed.
Unlike a magnetic pickup, you will not have to deal with the "hot" string(s) issue, where one or more strings are significantly louder or more prominent (even after adjusting the pole pieces). For the LR Baggs Lyric fans, the Swan NT features a re-positionable mic that is much more capable of reproducing the lower frequencies.
For stage performers wanting higher gain before feedback, and/or more bass without boom, one can readily combine the Swan NT with an Under Saddle Transducer or an additional soundhole-mounted magnetic pickup, split the signal and have the best of both worlds. Note that the SwanNT requires a 3-conductor connector, so you will need an extra endpin jack for an additional pickup.
I find the NV Tone Swan NT to be a very natural-sounding, convenient, effective and non-destructive (removable) amplification solution. As a result of the combination of good it sounds and how easy it is to install, I think it makes a lot of sense to have one of the External models on hand for every occasion (assuming you have access to 48v Phantom power). It is an excellent replacement/backup pickup for a gigging emergency. It is a quick solution for that extra "pickup-less" guitar when jamming. It may the home recording setup you have been looking for.
Then again, you may like it enough to get the Integrated version and make it your primary pickup or as the missing breath and air in your existing transducer or magnetic pickup system.
You can read more about the Swan NT pickup on their website » NV Tone
