Can Acoustic Guitars Be Plugged Into a PA System? (Guide)

Three Ways to Get an Acoustic into a PA

Yes, an acoustic guitar can be plugged into a PA, and there are three accepted methods: a built-in factory pickup with preamp (most Taylor and Martin electrified models), a clip-on or soundhole pickup added aftermarket (LR Baggs M80, Fishman Rare Earth), or a microphone placed in front of the soundhole (Shure SM57 or Beyerdynamic M160). Each has specific impedance requirements and signal-routing considerations.

I have run every method in club settings between 100 and 1,200 capacity, and the correct choice depends on the venue size, your playing style, and your budget. A Taylor 814ce with factory Expression System 2 is ready to plug into any PA with a quarter-inch cable; a microphoned 1956 D-28 requires a DI box, a stand, and a cooperative sound engineer.

Built-In Factory Electronics

A guitar with built-in electronics (typically indicated by an 'E' or 'CE' in the model number) has a pickup and preamp installed at the factory. Taylor's Expression System 2, introduced in 2014 on the 814ce, uses a behind-the-saddle transducer and a preamp with volume and three-band EQ. The output jack is usually mounted in the end pin and accepts a standard 1/4-inch instrument cable.

To connect: plug a 1/4-inch TS cable from the guitar into a direct input (DI) on the PA mixing console. Most modern mixers (Mackie ProFX, Behringer X32, Allen & Heath SQ) have combo jacks that accept both 1/4-inch and XLR, and the instrument-level input on these jacks handles an acoustic preamp output directly without a separate DI box.

Clip-On and Soundhole Pickups

If your acoustic has no built-in electronics, the fastest route to amplification is a soundhole pickup. The LR Baggs M80 ($275 in April 2026) and Fishman Rare Earth ($225) clip into the soundhole without any permanent installation and output via a short cable ending in a 1/4-inch jack. Both are humbucking designs that resist 60-cycle hum near fluorescent lights.

Soundhole pickups sense string motion magnetically (the M80) or through a thin-film piezo element (the Fishman Matrix). The output impedance is typically 5k to 10k ohms, which is ideal for direct injection into a PA DI channel. Expect to set the PA gain slightly higher than for a factory Taylor preamp, and use a dedicated DI box like the Radial Pro DI or LR Baggs Para Acoustic for cleaner signal.

Microphone on a Stand

For the most natural sound, especially in recording or acoustic-focused live settings under 200 capacity, a microphone in front of the soundhole is unmatched. The Shure SM57 ($99) works well for general use, while the Beyerdynamic M160 ($900) and Neumann KM184 ($900) are standard for high-fidelity recording. Place the mic 15 to 25 centimeters from the 12th fret, angled slightly toward the bridge.

The disadvantage of microphones in live settings is feedback. Stage volume above 95 dB SPL combined with a directional mic near an open soundhole will feed back at the body's resonant frequency (usually 100 to 150 Hz). A parametric EQ notch at that frequency plus soundhole cover is the only reliable solution, and it makes mic use impractical in most club settings.

DI Boxes: When and Why

A direct injection (DI) box converts the high-impedance, unbalanced output of a guitar pickup into a low-impedance, balanced XLR signal that runs cleanly over long cables to a mixing console. For runs longer than 5 meters, a DI is essential. For runs under 5 meters and high-output factory pickups like Taylor ES2, a DI is optional but still usually improves signal quality.

Active DIs like the LR Baggs Venue or Radial J48 include preamps and EQ in addition to impedance conversion. These are my go-to choices for acoustic-centric sets in clubs between 200 and 600 capacity because they give you tone-shaping control at the stage independent of what the house engineer decides to do with your signal.

Preventing Feedback in a PA Setting

Feedback is the single biggest problem with acoustic guitars in PA systems. The soundhole resonates at 100 to 200 Hz, and stage monitor sound re-entering the soundhole creates a self-reinforcing loop that becomes a loud howl within 2 seconds. The fastest fix is a soundhole cover like the McPherson Cover or the Planet Waves Screeching Halt, which cuts low-frequency feedback by 8 to 12 dB.

Second line of defense is a parametric EQ notch at the feedback frequency. Have the sound engineer identify the ringing frequency at soundcheck by boosting the mids and sweeping until you hear the room sing, then cut that frequency by 4 to 6 dB with a narrow Q. This removes the problem frequency without thinning the overall tone.