K&K systems in general are a cut above competing products. When I was recording “Lamar,” in addition to the magnetic jazz pickup, we used the Meridian Microphone to capture the acoustic sound of my 1953 Epiphone Triumph Regent. Because it clamps onto the guitar itself, it was always on the desired axis, and we were able to capture a nice acoustic component to the sound despite being in the same room as the drum kit. That’s where the innovative mounting and positioning system proved its worth — it allowed us to accomplish a task that would’ve proved difficult with more conventional microphone solutions.
Another favorite of mine is the Pure Pickup, which provides an excellent option in applications requiring more gain-before-feedback, but where avoiding the typical ‘plinky’ under-saddle piezo sound is still important.
Though deeply rooted in the rich musical traditions of his hometown Memphis, Brad Allen Williams is a forward-looking exponent of the guitar’s potential. Based in New York City, the guitarist and composer maintains a deeply personal sound and approach despite being called upon to contribute to a strikingly diverse array of creative music. On the heels of his audacious work with José James on the boundary-pushing 2014 Blue Note album “While You Were Sleeping,” Williams will release “Lamar”, called a “sly curveball” by the New York Times for its deceptively traditionalist bent, in September 2015. Brad regularly performs with artists like Cory Henry, Kris Bowers, Samora Pinderhughes, and Kimberly Nichole.
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