L.R. Baggs Double Barrel

Pickup features: Dual Channel microphone/Ribbon Transducer
Impedence or other specs: Class A circuitry - Dual Channel

Model of guitar or bass: Martin JM
Position: all positions
Pickup being replaced: None
Other pickups on guitar: None
Artists using this pickup: Dont' know
You musical style(s): Blues; Jazz; Pop
Reason for pickup change: Guitar had no pickup. I was thinking about purchasing an electric/acoustic, then I thought, "Why do that when I already have a nice acoustic guitar? All I need is to add a nice pickup to it!" So that's what I did.

Perceived output level: Nice output level. What a nice, clear, even sound!
Tone: The tone is totally transparent to the natural voice of the guitar. I am very pleased with the overall tonal level on all strings and overall sound.
Sonic evaluation: I run this straight into a Marshall DFX50 guitar amp with the tone controls all set to their mid position. This leads to a very natural, unflavored real acoustic sound. I was thinking I would buy an acoustic guitar amp. For just amplifying this pickup system, there is absolutely no need.

For which styles and positions is this pickup (un)suitable: I can't think of a style of playing that this pickup would be unsuitable for. I play all styles.

Comments: I listened to a few different electric/acoustic guitars at the local music store and this set-up is better than any I listened to (I won't name names here - it is a subjective thing anyway). I was happily surprised at how eay this was to install. It was kind of scary drilling a 1/2" hole in the end cap of my Martin, but - just follow the directions - no problem. I did not attach anything to the front (soundboard) of my guitar, however. The illustrations in the installation manual showed the wire clips attached to the top and back (the soundboards). I attached the two I used to the bracing. That seems to make more sense to me - no interference with the natural vibration of the top and back. The little microphone got attached to to back of the guitar, though. The batter pack got attached to the side of the guitar. All-in-all, a very easy system to install. I can't think of how the sound I am getting could be improved upon. I do find myself looking for the volume control, though. My other guitars (Fender Strat; Fender Squire Series 24 M77 and Fender Squire Series 24 Starfire) are all electric, so that's a habit I'll have to break. I can't tell you how satisfied I am with this sound.

Pickup features:
Impedence or other specs:

Model of guitar or bass:
Position: neck
Pickup being replaced:
Other pickups on guitar:
Artists using this pickup:
You musical style(s):
Reason for pickup change:

Perceived output level:
Tone:
Sonic evaluation: This is a followup to my previous submission. I continue to dig this rig--but I have some further technical observations. First, if you use a Y cable and run the signal in stereo, (50/50 signal split) the mic begins to either feedback or you notice a very strident/sharp treble emerging. This is what a mic does right? Yes, but this one works best with a DI or some kind of pre-EQ before going to the board. The reason, as I have discovered, is two-fold. First, because this setup works best with somewhere around an 80/20 piezo/mic mix. In other words the mic supplies great "color" to the overall sound. Secondly, because it is mounted on the back of the guitar, it receives more than ample input from this very accousticaly reflective surface. Bottom line? It is easy to overdrive this mic. I am thinking that a rosewood guitar may be more forgiving than Koa or maple, though.
I use a Crate CA-125D for a stage amp. Fortunately, when I split the signal, I can send the mic to my AUX input and set the gain to a pleasing mix. I think Baggs suggestion of using two of their ParaAcoustic DI boxes is a good one. My preference is to EQ the piezo side with the amp tone control, and use the DI to roll off the bass, boost the mids a little, and add enough presence to shape an acoustic tone.
Like a lot of gear, you can use it--but it don't guarantee nothin! (Beleive me, I've gotten crappy tone from excellent gear...) Its all in set up and knowing your gear. Hope this helps.

For which styles and positions is this pickup (un)suitable:

Comments:

Pickup features: Under saddle pickup and mini microphone
Impedence or other specs: n/a

Model of guitar or bass: James Goodall Koa/Cedar grand concert
Position: bridge
Pickup being replaced: Fishman acoustic natural abd crown microphone
Other pickups on guitar: none
Artists using this pickup: don't know
You musical style(s): fingerstyle/worship leader
Reason for pickup change: AFter five years the undersaddle pickup was not functioning well. Technology has moved forward, and previous experince with Baggs products prompted the change.

Perceived output level: More signal than I need: turned down the gain on the input stage of my preamp
Tone: Mixing the stereo output can achieve a wide variety of tones. The bass response of the under saddle pickup is warm and tight. The microphone brings out the true character of the koa/cedar combination. The overall tonal character of the double barrel is warm and tight--with realistic brightness that is representative of what a guitar sounds like. This pickup does not have the overly bright or "nasal" sound of other under saddle pickups.
Sonic evaluation: I play a James Goodall koa/cedar grand concert that I plug into a Rane AP13 stereo preamp via a stereo (TRS) cable. I go either directly into the hose PA, or into a crate acoustic amp.

For which styles and positions is this pickup (un)suitable: FIngerstyle: classical, contemporary folk. I recommend this for fingerstyle. For more agressive strumming I have found that on-board mics can be over-driven, and can also feedback easily.

Comments: So far, so good. If you are careful about your sound and want pure acoustic tone, this is a nice rig. I would probably replace it with another Baggs pickup--primarily on the strength of their product. I've been playing 27 years--the last 6 professionally as worship director. One thing I liked was the ease of installation, though I recommend less expereinced players to have it done professionally. My take on this pickup system is that it falls into the range of more high-end gear. It does what it does well. I have no criticisms of the product.

Pickup features: Piezo and Microphone combination with onboard jackpin mixer
Impedence or other specs:

Model of guitar or bass: Bourgeois
Position: all positions
Pickup being replaced: "Woody" soundhole pickup
Other pickups on guitar: none
Artists using this pickup:
You musical style(s): Neo-folk
Reason for pickup change: Wanted to amplify my expensive dreadnaught with a stereo piezo/mic system.

Perceived output level: Moderately hot. I can operate at half the PA trim volume than I could with my passive soundhole humbucker
Tone: Piezo has typical piezo tone. Mic is a little boomier and more ambient. See more discussion below
Sonic evaluation: Bourgeois "D" Dreadnaught, Rosewood back and sides, into an Ultrasound AG-30 amp and/or a PA.
I picked this because I wanted a dual-source pickup without cutting into the side of the guitar, and the Double Barrel combined 2 sources with an onboard preamp and mixer in the endpin.
The pickup gives you the option of mixing 80/20 piezo/mic if you use a mono cord, or of running a stereo cord and mixing the 2 signals off board. This gives considerable flexibility. I've found that the default 80/20 mix sounds pretty good compared to anything I got by splitting the channels onto a multichannel amp and balancing them off-board. IMHO the piezo forms the backbone of the mix and the mic gives some additional detail. I don't think the mic sounds very good on its own -- feedback immediately becomes more difficult to control. This is spite of the the fact that the luthier put the mic on the inside back of the guitar, rather than on the inside of the top. You could run the piezo by itself but it definitely sounds more detailed with the mic in the mix.

For which styles and positions is this pickup (un)suitable: Neo-folk.

Comments: I am very satisfied with the sound of this system run through a mono cord into my Ultrasound acoustic amp. I love the unamplified sound of the guitar and was going for as transparent a reproduction as possible. I think this rig about nailed it. I'll continue experimenting running the stereo output through 2 channels, maybe with some FX on the mic channel, but thats all gravy as far as I'm concerned.
The only other comment was that upon first installation the piezo output was not very balanced string-to-string. Couldn't hear the high (treble) e string at all. The luthier adjusted it free of charge and I haven't had any trouble since.

Pickup features: Undersaddle ribbon + FET mic, active.
Impedence or other specs:

Model of guitar or bass: Martin HD-28
Position: all positions
Pickup being replaced: none
Other pickups on guitar: none
Artists using this pickup:
You musical style(s): Flatpicking with bands, fingerpicking solo
Reason for pickup change: Wanted system that behaved well and sounded better than undersaddle alone

Perceived output level: High
Tone: Balanced
Sonic evaluation: I stopped using acoustic guitar amps, they are all terrible in real life - worse than any PA. I use a Fishman Acoustic Blender out to 2 PA systems - one for the soundman, one for me. The Blender sends a straight output to the main board, while I pass another line through a volume pedal to a small PA head with a very nice EV monitor behind me. This way, I control my own sound while the soundman does his job (I trust this guy). I also use the front monitors, but rely upon my own rig to give me the poop for single note flatpicking leads.
Used this way, I have had great success with this system. I have also used a Highlander PU with Crown mic in another Martin, but it wasn't quite as good (then again, that Martin isn't as good!). The Baggs setup is remarkably free of feedback - I'm not sure how other people are managing to get lots of feedback. The mic works great with the PU, about 50-50 blend for me with minimal EQ from the Acoustic Blender. When I do need more control, I place a Fishman ParaAcoustic EQ in the effects loop. Very natural sound, captures the punch of the HD-28 while the mic gets those upper harmonics right.
I did not install this myself, as I use a luthier who is excellent and does all my guitar work. His choice of mic placement was evidently correct, and he made sure that the saddle slot was perfect for excellent string balance. He also made a new bone nut and saddle for this guitar - essential stuff.

For which styles and positions is this pickup (un)suitable: I play a lot of folk and bluegrass with this rig

Comments: I would recommend this system as excellent, as long as the external gear is up to par and the person in charge knows how to use it correctly (many do not!)

Pickup features: Active under-saddle ribbon/condenser mike
Impedence or other specs:

Model of guitar or bass: Taylor Big Baby
Position: bridge
Pickup being replaced:
Other pickups on guitar:
Artists using this pickup:
You musical style(s): Finger-Pickin, Strumming
Reason for pickup change:

Perceived output level: Ribbon output is ok, Mike output is low.
Tone: Well balanced, both ribbon and mike.
Sonic evaluation: Using a Taylor 306 Big Baby through SWR Strawberry Blonde. Sound is sweet, even with no EQ. Sound is heavenly with EQ. The little condenser mike needs to be routed through a sound board, cuz I get a lot of pitch feedback with it, even at low volumes through the amp.

For which styles and positions is this pickup (un)suitable: Already told you all this stuff.

Comments: If some one stole the pickup off my Taylor, I would probably upgrade to the On-board mixer, or just go with the ribbon. The mike is only a $30 condenser mike, so consider it a freebe. I installed this PUP myself in about an hour. I saved $75.00 and helped keep the 16-year old kid luthier off crack for another day. He said he needed to route the bridge (???). I did sand the saddle, took about 10 minutes. Installation is easy, unless you are on crack or heroin.

Pickup features: 2 channel mic/pickup system that pairs the ribbon transducer with their FET condenser mic.
Impedence or other specs:

Model of guitar or bass: Washburn D48S
Position: all positions
Pickup being replaced: none
Other pickups on guitar: none
Artists using this pickup:
You musical style(s): Finger picking and strumming. Mostly contemporary christian music
Reason for pickup change: I needed to perform for larger church audiences

Perceived output level: Pure, clean sound with lots of presence.
Tone: The ribbon transducer picks up the harmonic vibration of the solid top, and reproduces a loud, robust tonal quality.
Sonic evaluation: I play through a Crate CA125D, and our Crown PA system at church. The full bodied presence of the guitar is brought out beautifully.

For which styles and positions is this pickup (un)suitable: I like the styles of James Taylor, Chris Rice, Michael W. Smith, and this match with my Washburn lends itself well to that style.

Comments: I've been playing for 20 years, and this is one of the best systems that I have had in regard to balanced sound. For the money, you definitely get the bang for the buck. Spend a little extra and have it professionally installed.

Pickup features: Ribbon transducer, with miniture microphone, wired through end-pin pre-amp
Impedence or other specs: don't know

Model of guitar or bass: Taylor 310CE
Position: all positions
Pickup being replaced: Fishman Prefix System
Other pickups on guitar:
Artists using this pickup:
You musical style(s): Fingerpicking & Flatpicking
Reason for pickup change: The Fishman Prefix could not capture body-percussion and behind-the-nut strumming sounds which I frequently do. I felt that it could not adequately reproduce the sound of my guitar and gave me the impression that something was missing. Worst of all, the more I heard it, the more it sucked.

Perceived output level: Surprisingly hot compared to the Fishman Prefix
Tone: Very well balanced with warm mids and crystal clear highs. Good bass without sounding boomy.
Sonic evaluation: Taylor 310CE with "Y" cable stereo output through piezo and mic channel of a Trace-Elliot 100 acoustic amp; Alesis Nanoverb plugged into effects loop. Nothing fancy.

For which styles and positions is this pickup (un)suitable: I can't sing; therefore I play strictly solo, fingerpicking (with and without a thumbpick) or flat picking almost anything that catches my fancy. I mainly play stuff by Tommy Emmanuel and Chet Atkins

Comments: I finally found the pickup that could capture all the nauances of the guitar. After being frustrated by the Fishman Prefix which came with my axe, I decided to have it replaced. If it were destroyed or stolen, I would probably get another one or maybe install a B-band or Truetone M7 if I could afford it because I've heard fantastic reviews about them. I've been playing guitar for over 17 years and own several Strats and Strat-clones. I also own several classical guitars and a 1967 Fender-12 electric. I generally love this pickup system but my only wish is that LR Baggs included an on-board EQ system with this one. The pre-EQ is fantastic though. The mic is prone to feedback and it took me some time to tweek the notch filter on my amp to reduce (not completely eliminate) feedback to an acceptable level. A long cable helps. All my EQing is done on the amp. In order to optimise this system, you need a stereo "Y" cable so that the mic and ribbon transducer mix can be blended. The ribbon transducer on its own sounds much better than the Prefix it replaced.