Uke Pros Share Their Secrets for Amplifying with Good Tone
BY STEVEN ESPANIOLA | FROM THE SUMMER 2025 ISSUE OF UKULELE MAGAZINE
Amplifying your ukulele can be a love/hate experience. The ukulele on its own is so pure and beautiful when played acoustically that you may not want to risk altering its natural sound. But you may also want or need to hear your ukulele louder to reach a larger audience or be heard in a band setting. The quest for reproducing that perfect sound through speakers can take an entire lifetime, but I spoke with several artists who have found solutions that work for them, and included my own knowledge here to help you get a head-start on the process of chasing the perfect tone.
Not everyone prefers to plug in, as you’ll see later in this article. Even the legendary Iz Kamakawiwo’ole did not opt for using a pickup, even though they were available to him. He opted instead for a well-placed dynamic microphone like the classic Shure SM57 for his live performances. But electronics have gotten a whole lot better since Iz’s time, and it’s easier than ever to amplify your uke by plugging into a PA system or amp.
Plugging in can also make it easier to record your own playing. It really is as simple as using a 1/4-inch instrument cable to connect the uke to an amp, computer interface, or DI box. But it’s in that eternal quest for the perfect tone that one can get lost.
When performing at a professional level, the approach to projecting amplified sound is a little more involved than simple plug-and-play. Artists have a certain level of expectation to sonically replicate the music that is on par with what the fans are used to hearing on their recordings. I know first-hand the level of dedication it takes and the quality expected from all parties involved: artist, listener, and sound engineer. But when everything comes together perfectly, it feels like magic.
Musicians can often be secretive and protective of their signature sound. Some even famously tape over their pedals to disguise them from prying eyes. Luckily, we have an exclusive window into the amplified ukulele setups of some of pro players here who are willing to share their trade secrets.
The goal of this article is to provide a sneak peek inside what has worked well for seasoned vets through many years of live performances, including some trial and error. If you’re just getting started in the world of amplified ukulele, don’t feel like you have to start at the same level as these pros. Use the testimony from these artists to guide you to find your own sound.
Aaron Keim
When playing live, especially when traveling, something always will go wrong. So, I like having simple, strong gear that has the fewest possible points of failure so that I can focus on the music. I also want the sound to be clear and transparent, with as little extra effects and noise as possible.
For this, I swear by K&K pickups. They are made in the U.S., have the simplest possible design, and are easy to install. There are no extra knobs, batteries, switches, or lights to fail. The sound is clear and strong, with no digital coloration—perfect for acoustic music.
For DIs, I’ve always used L.R. Baggs. For all my years on the road, I used the Baggs Para Acoustic DI. I had it for 15 years with no problems. I only recently upgraded to the Venue model, which has a tuner pedal and boost built in. I am very happy with it.
If I am singing in a moderately low-noise environment, then I prefer a single large diaphragm condenser microphone for both instruments and vocals. This is the sort of mic that you see a bluegrass band crowded around. I use our proximity to get dynamic effects that make the sound very expressive and old-timey. I have used the same Audio Technica 4040 since 2003. If it’s a noisier gig, like in a bar, then we switch to an Audix OM7, which still sounds natural but, because it’s a dynamic mic, cuts the feedback we would get with the condenser microphone.
Brittni Paiva
Currently, I’m using Kanile’a’s proprietary four-crystal piezo pickup system in my ukulele. Onstage, I use the Grace Design ALiX preamp DI to shape my sound. I’m always striving to have the cleanest, warmest tone that I can possibly get.
Bryan Tolentino
On my Kamaka spruce-top with koa back and sides—my main ukulele—I have an L.R. Baggs Hex (quad) active pickup. With this, each string has its own pickup. Unfortunately it’s no longer in production. I also have a Fishman active pickup on my Kamaka redwood-top, and an L.R. Baggs Five.O on my all-koa slotted headstock Kamaka. I run these through a D.W. Fearn passive DI, which is also no longer in production.
Craig Chee
For pickups, I had been using whatever it was that [Kanile’a founder] Joe Souza has been using for their 9-volt battery-powered ones for the longest time. When it was starting to have some issues, I went with their smaller active pickups with more controlled power—the 9-volt ones were almost too strong.
For DIs, I started with the L.R. Baggs Venue, went to the Fishman Aura (which I didn’t really like for ukulele), then back to the Venue before switching to the L.R. Baggs Sessions DI for portability. Then Jake turned my wife and musical partner Sarah Maisel and me on to the BAE Audio acoustic DIs, and we’ve been using them ever since.
It’s hard to beat the Venue DI for most cases. The Sessions DI was so much easier to travel with, especially as a duo, but the BAE has such a nice, rounded sound.
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We also used the Bose Tonematch DI for a while, which was really good, but didn’t have two separate channels to give us each our own output.
Cynthia Lin
I use the onboard pickup on my Ohana Cynthia Lin Signature Performance model. I don’t really have a preference when it comes to pickups or DIs. I have an L.R. Baggs Venue DI because that’s what everyone told me to get. I’m not a gearhead!
Daniel Ward
The uke itself needs a great mic to pick up all the transients and harmonic overtones of the wood. But playing in a larger venue and dealing with things like monitors, the yummy studio mics tend to squeal pretty bad. A pickup is a great way to get plenty of volume and with no feedback, plus you can move around and don’t have to worry about mic placement.
However, most pickups (save for the more recent, high-end guitar models) have a nasty built-in thump every time you pluck a string, which comes from the pickup being right under the bridge. The acoustic sound of the string being activated creates a massive low-end pop that’s not very musical. Most of us have dialed in a bunch of EQ to try and fix this issue. I’ve heard some shows where it doesn’t get to me, but even the best still have a clunk on every note that you have to just live with.
Pencil-condenser mics that are designed for live sound are the best-sounding options available. You still have to dial them in and carefully set levels and monitors, but they will pick up what your ears hear. All the shimmer and overtones and yummy sounds are there, and any percussion that usually gets lost by the pickup is all there too. For me this is huge, with all my flamenco taps and pops on the wood from the top itself as well as the subtle finger picking and light strums.
Luckily there are quite a few nice-sounding pencil condensers that are not very expensive. Just make sure the polar pattern is designed for live applications (i.e., not omnidirectional) and they won’t feed back as much. Large diaphragm mics are usually not the best idea for live stringed instruments in terms of avoiding feedback. If need be, a less sensitive dynamic mic like the Shure SM57 can work.
Matt Dahlberg
I use the Kanile’a four-crystal piezo pickup. It’s an older system, but it sounds good for high-G instrumentals. I prefer plugging straight into the PA when I can—just my uke and my Analysis Plus cable. When I use a DI, I like my L.R. Baggs Para Acoustic.
Neal Chin
I’m so basic. I use the L.R .Baggs Five.O into the Baggs Venue DI. Then the Fishman Loudbox for the amp. One trip from the car!
Taimane
I use a Fishman pickup in my custom ukuleles. For DI, I just use whatever the venue is providing. I like to keep it simple for travels and tours. The Fishman pickup adds its own color, which I think goes well with my ukuleles and style of playing.
Victoria Kolasinski (Jiggy with Viggy)
For live shows, I’m a simple “plug and play” girl thanks to the MiSi pickup in my Mya-Moe concert uke. I just go direct into whatever’s on stage. I’m pretty easy-peasy.
Victoria Vox
All of my ukuleles are equipped with MiSi pickups, with battery-free technology. It’s amazing how 60 seconds of charging your ukulele gets you 16 hours of playtime. I prefer the undersaddle pickup, as it resists feedback, doesn’t pick up body sounds, and works well with my Electro-Harmonix Pitchfork pitch-shift pedal. The L.R. Baggs Venue DI (or when space is an issue on my pedalboard, their Session DI) is a must. I place it first in the chain of the pedals so I can control the volume that I am sending to the other pedals (especially the Boss RC-30 Loop Station) to eliminate extra hiss.
My Gear
My own journey with amplification is continuously evolving. Like most professional artists, I’m always tinkering to find that “holy grail” of perfect tone. For the better part of the past three decades, I’ve tended to gravitate toward different iterations of the classic L.R. Baggs Element pickup, a clean and natural-sounding transducer initially built for acoustic guitar. It’s so popular that other companies also use it with their own technology. L.R. Baggs even uses the Element as the foundation of its popular Five.O ukulele pickup.
For my current setup I use the L.R. Baggs Five.O in my Kala Contour acacia, the MiSi Acoustic Trio Air (which is based on the Element pickup) in my Kala Scallop spruce/rosewood, the JJB Artist Prestige 220 in my vintage K. Yasuma mahogany, and the L.R. Baggs Element in my Romero Creations DHo 6 spruce/phoenix wood. From there, I plug into either an L.R. Baggs Para Acoustic DI, which I’ve owned for more than 20 years, or an L.R. Baggs Venue DI.
I’m all about finding affordable yet great-sounding gear, and I recently stumbled upon a super cool DI/preamp by Sonicake called the A Factory. It includes a notch filter to help eliminate feedback frequencies, a balanced XLR out, and a very useful natural-sounding reverb.
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More About Pickups
There are basically two types of pickups used in uke amplification: passive and active. Piezo-electric (or just piezo for short) is the most common, using a ribbon transducer that fits snuggly under the bridge saddle. Popular examples of this include the L.R. Baggs Five.O or the Fishman AG-Series Passive.
Another option is a disc-shaped transducer mounted directly to the internal soundboard, such as the K&K Big Island Spot or the JJB Artist Prestige 220.
A third, more recent pickup type includes an internal mic, which is sometimes added as a hybrid combined with the piezo pickup to blend the best of both worlds. Examples of this include the L.R. Baggs Anthem, MiSi Acoustic Trio Air, aNueNue Air Air, and Fishman Matrix Infinity.
Remember when making your choice that the basic goal of any pickup is to amplify the true, transparent tone of the instrument without too much coloration—while avoiding any unwanted feedback. It’s definitely easier said than done! “Tone” adjustments and colorations can be added in the form of a preamp, DI, or similar pedal, like the L.R. Baggs Session or Fishman Platinum Stage.
Tinker at Your Own Risk
It goes without saying that if you’re considering the installation of a pickup, unless you are the adventurous DIY type you should visit a professional luthier or repair shop. I’m one of those musicians who likes to tinker, and during the writing of this piece, I installed two types of piezo pickups on my own ukes: a passive JJB 220 Artist Model and a MiSi Acoustic Trio Air.
The JJB was a breeze to install, as I only had to drill once for the endpin jack using a 1/2-inch step bit. The MiSi was a little scarier and more involved, as I had to drill the endpin hole as well as the tiny hole in the bridge where the piezo ribbon feeds through. (If you decide to go this route, I encourage you to do your research first and purchase all of the proper tools.) In the end, for me there was a sense of satisfaction knowing that I was the one completely responsible for the sound coming out of those speakers.
Turn Up
Well, there you have it, amplification tips straight from the pros! Don’t feel bad if you’re even more confused now than when we started. As mentioned, this can be a lifelong quest for perfection. Hopefully the insight gained from these pros will give you a little nudge in a particular direction when deciding which route to go with your own uke amplification.
Whichever path you decide, be sure to not use amplification as a crutch or as a shortcut in lieu of practice. Remember that any mistakes or imperfections you may have in your playing while acoustic are only going to be magnified when you amplify. Put in that consistent hard work with your uke so that when the eventual time comes to plug in, you’ll be 100-percent ready for the spotlight.
