Failed to execute CGI : Win32 Error Code = 161

See more of our on-line gear reviews in the Gear Section. Post questions and share your wisdom about guitars and gear in the Guitar Talk Forums.

Loud and
Clear

What’s new in acoustic amps

By Teja Gerken

 

Not very long ago, acoustic musicians had few choices when it came to amplifying their instruments. Those who performed in large venues with high-quality PA systems got by, but players who simply wanted to jam along with louder instruments (and let’s face it, almost every instrument is louder than even the punchiest dreadnought), play in small coffeehouses, or use an amp as a simple on-stage monitor were stuck with units designed with Strats and Les Pauls in mind, not D-28s or J-200s. Although some amps, such as Roland’s classic JC-120, are clean enough to reasonably reflect an acoustic sound, the vast majority of electric amps color the sound too much, feature too much midrange, and offer little headroom once they’re slammed with the large frequency spectrum of a fine acoustic-electric guitar. The acoustic guitarist needs an amp that’s more closely related to a hi-fi system than a Marshall stack.

The first successful attempt at producing acoustic amps came when Trace Elliot introduced its line of Trace Acoustic combos in the late ’80s. Designed as full-range systems, these units were essentially enhanced miniature PAs, designed to reproduce the source signal as faithfully and transparently as possible. The first models were quite pricey, often breaking the $1,000 barrier, but it didn’t take long before more affordable models became available. Today, the choices are mind-boggling; practically every amp manufacturer offers an acoustic model. Several new products have been introduced since our last amp review in March 1997, and they cover a wide spectrum of prices and features. We gathered five of the latest models for review.

SHOPPING CONSIDERATIONS

Before you start your search for the perfect acoustic amp, think carefully about exactly how you’re going to use it. How loud will you need to be? If you’re going to be competing with electric instruments in a band situation, you’ll have very different volume and tone requirements than you will if you’re planning to play classical guitar in a restaurant. What kinds of inputs will you need? If you’ll only need to plug in a standard guitar cable, then one quarter-inch input may be enough, but if you plan to use external mics or complicated multiple pickup rigs, having more options (including a balanced XLR jack) is a good idea.

Having the right outputs can be just as important. If you intend to use the amp as an on-stage monitor, you’ll most likely want a balanced DI feed. And a tuner output is a nice feature, because you won’t have to risk degrading your signal by running your tuner in-line with your guitar’s cable. Will you be expanding your system with external power amps or powered speakers? If so, a line out will save many headaches, and an extension speaker jack may come in handy.

If your sound depends on external effects, you’ll probably want an effects loop (preferably one with a level control). All of the acoustic amps I’ve seen feature at least a basic spring reverb, but you might find that you also want a chorus effect or that you prefer the cleaner digital effects included on some models. The amount of EQ you need will often depend on your pickup and possibly on your preamp. All the amps reviewed feature at least three bands of EQ, which should be adequate for basic tone shaping, especially since they are voiced specifically with the needs of acoustic instruments in mind. If you have a feedback-sensitive pickup system and play at high volumes, however, you might want a notch filter to combat unwanted squeals.

The physical size of the amp can also be an important factor. Some amps are simply too large to use in the corner of a restaurant, and if you have to carry your amp up several flights of stairs, you’ll want something lightweight.

With these considerations in mind, I checked out five new acoustic amps, assisted by Acoustic Guitar’s music editor, Dylan Schorer, and assistant editor, Paul Kotapish. We tested the amps with a Taylor 712-C equipped with a Fishman Rare Earth humbucker pickup, a Lowden O-10 with an L.R. Baggs Dual Source pickup-and-mic combo, and a Juan Huipe flamenco guitar with a B-Band pickup.

 
     

 

AER ACOUSTICUBE IIA

 

 

  

 

 

$2,600, 120 watts, one eight-inch speaker and one tweeter, two channels, 28.7 pounds.

The German-designed Acousticube incorporates just about every feature imaginable in a highly portable, 120-watt powerhouse. It sports two quarter-inch inputs on channel one (one of which is capable of delivering nine volts of phantom power), a clever combined quarter-inch/XLR input (capable of delivering 48 volts of phantom power) on channel two, and separate three-band EQ. The only type of input that would add to the package is a TRS for players who use stereo pickup setups, but one can be connected via a simple Y cable (the amp can also be special-ordered with a TRS input built in). The Acousticube’s back panel is more complicated than some amps’ front panels. It houses several different outputs (separate line outs for each channel as well as outputs for DI, tuner, headphones, stereo effects loop, etc.) along with their controls and switches. It also includes built-in, 32-bit digital effects, whose 100 presets are accessible by footswitch.

The sound of the Acousticube defines the term transparent. All of the guitars we played through it were reproduced with extreme accuracy, and the amp highlighted each pickup system’s strengths and weaknesses. The voices of the Huipe and the Lowden came through with a complexity I’ve previously achieved only through a full-scale PA system. Some noticeable compression kicks in at higher volumes, but it is never unmusical and I suspect that this is the only way to keep the bass response from overpowering the small unit. The amp’s superlative performance can be further improved with an optional sub-bass box (Sub 10/250 P, $699), an active extension speaker designed to provide lower bass response and additional volume. Although $2,600 for an amp could cause serious sticker shock, the Acousticube is a professional tool that is bound to please connoisseurs of high-end guitars as well as gigging pros who need the ultimate in sound and portability.

 

 

FENDER ACOUSTASONIC JUNIOR

  

$579.99, 2 x 40 watts, two ten-inch speakers and one tweeter, two channels, 43 pounds.

If you like the look of vintage electric amps, you’ll probably like Fender’s Acoustasonic Junior. If it wasn’t for the XLR input on channel two; the closed-back, solid-state design; and the brown tolex covering, the Acoustasonic could easily be mistaken for the classic Fender Deluxe Reverb. The vintage vibe is further enhanced by the cool, tilt-back legs, which allow for easy positioning as a stage monitor. Although it isn’t overly complicated, I found the layout of the front panel a bit impractical. There’s a master reverb control as well as a separate reverb control on the mic channel, but there’s only an on/off button controlling reverb on the instrument channel. This means that you have to use the master control for the instrument channel, which in effect changes the overall setting. Another similar drawback is the fact that there is no master volume control. In order to turn it up, you have to change the volume of each channel and try not to change the comparative levels. The complete lack of outputs (with the exception of an effects loop and insert) also limits the amp’s practicality for on-stage use. One way to get around this would be to use an external preamp or DI box with two outputs: one going to the PA and one to the amp.

Despite these drawbacks, I found it easy to get a good sound out of the Junior. Especially with steel-string guitars, the amp produced a rich sound that would work for a variety of musical styles. The effective EQ allowed me to dial in satisfying tones on the fly, and the on-board chorus fattened the tone without sounding unnatural. The Junior would be a good choice for players who don’t need a lot of interfacing options and want a relatively portable, inexpensive amp with a range of good sounds.
 

 

FENDER ACOUSTASONIC SFX

  

 

$899, 2 x 80 watts, one eight-inch speaker, one ten-inch speaker, one tweeter, two channels, 62 pounds.

The gigantic Fender Acoustasonic SFX introduces some of the first truly new amplifier technology since solid-state circuitry took over in the late ’60s. Designed to simulate a stereo image without the need to spread out two separate speaker cabinets, the amp’s SFX (Stereo Field Expansion) technology takes advantage of a combination of electronic signal processing and an innovative array of speakers. The SFX uses an eight-inch speaker, a high-frequency horn in the traditional forward-facing position, and a ten-inch speaker in the bottom of the unit that faces sideways. The amp’s front panel features two rows of logically laid out controls, including the master reverb and master volume controls the Acoustasonic Junior lacks. But a lack of outputs seems to run in the family; the SFX has none. It does feature built-in digital effects with 32 presets (mostly variations on reverb, chorus, and delay), but instead of a standard effects loop, effects can only be patched into each individual channel via TRS insert jacks.

The SFX sounds great, especially at higher volumes; this is an amp that wants to be cranked up. That makes it perfect for use in high-volume bands and other situations that require serious sound reinforcement. It took a while for us to dial in the right sound for each of the guitars we tested it with, but after some tweaking, the amp proved to be quite versatile due to its wide frequency spectrum. I’m not sure I would define the amp’s sound as stereo, but the SFX function does broaden the sound considerably, filling the room much more than what is normally possible with one cabinet. The Acoustasonic SFX would work for a variety of players, especially those who have strong arms or travel with roadies capable of lifting this 62-pound monster.

 

IBANEZ TROUBADOR 25

  

 

$299, 25 watts, one ten-inch speaker and one tweeter, two channels, 22 pounds.

Ibanez’ new Troubadour 25 is one of the least expensive acoustic amplifiers available. Although Ibanez isn’t known for acoustic guitar–related electronics, many of the company’s electronics products—particularly the TS-9 Tube Screamer—are held in high regard among electric players. Given the amp’s low cost, I was astonished by how well it performed. The amp’s semi-parametric midrange control helped to smooth out an initial harshness, and the Troubadour easily provided enough volume for a small solo gig or light reinforcement in a band situation. Both its reverb and chorus sounded a bit gritty, and the lack of an insert or effects loop means that external effects would have to be run in-line. There are also no outputs, which limits the amp’s usefulness in performance situations, but the bottom line is that the Troubadour is a bare-bones package that most anyone can afford. Acoustic players who were forced to compromise by using electric guitar amplification rigs in the past can now benefit from a system designed for acoustic guitars. So if your budget doesn’t allow you to spend more than three bills, I’d recommend giving the Troubadour a listen.

 

SWR STRAWBERRY BLONDE

  

 

$699, 80 watts, one ten-inch speaker and one tweeter, one channel, 40 pounds.

Following on the heels of SWR’s immensely successful California Blonde, this new amp from SWR should appeal to those who are looking for something smaller and less expensive. Featuring only one channel and input, this Blonde is clearly geared toward players who amplify their guitars with a single pickup, rather than those who need more inputs for mics or stereo pickup rigs. If you think that a basic front-panel layout means limited all-around features, think again. The Strawberry Blonde actually comes with a very complete set of features, including an effects loop, DI output, tuner output, and a mute button (which is very handy for quiet tuning or switching instruments). A clever fold-out handle on the bottom of the amp doubles as a sort of a kickstand to position the amp at a tilt, and the metal speaker grille adds to the unit’s roadworthiness. Playing our various guitars through the amp, we all agreed that the Strawberry Blonde has a nice, bright character appropriate in a loud band situation, but I found it difficult to get enough warmth out of the amp for solo fingerstyle work. I would have liked a variable control (instead of the on/off switch) for the amp’s high-frequency horn, which seemed to be a bit too up front in the mix and was also on the noisy side. Turning it all the way off resulted in a sound reminiscent of an electric guitar amp’s. While the SWR might not have the transparent qualities that some players look for in high-end acoustic amplification, it would be great for those who need a rugged, easy to set up, portable, powerful amp for on-stage use, particularly in high-volume band contexts.

OTHER OPTIONS

The options are nearly endless when it comes to acoustic amplification. There are a few new amps we weren’t able to obtain in time for our review. Britain’s Ashdown Engineering has introduced two amps that fuse ultra-cool retro looks with high-tech insides. The flagship Acoustic Radiator 2 features two channels, 120 watts of power, a tube preamp section, dual notch filters, seven-band EQ, and built-in Alesis digital effects. Also available is the scaled-down Acoustic Radiator 1, with 60 watts of power and simpler features. Tech 21—known for the successful SansAmp and Acoustic DI—is applying its technology to the Bronzewood 60, a 60-watt combo amp made for acoustic instruments. Fender has also added a third amp to its acoustic roster: the Acoustasonic Pro. It features 160 watts of stereo power, 99 foot-switchable digital effects, and expanded output options. And in the entry level, Crate, Epiphone, Ibanez, and Johnson are offering bare-bones models with power ranging ten to 30 watts at very reasonable prices.

If you like to play electric and acoustic guitar at the same gig, you should check out Rivera’s Sedona. Endorsed by fingerpicking whiz Doyle Dykes, this amp may be the most satisfying solution, but at $1,995.95, you could buy two dedicated amps instead. Designed with all-tube circuitry, the Rivera allows clean and overdriven sounds and features innovative ideas such as a function that automatically turns its high-frequency horn on or off depending on which channel is selected.

Small, portable PAs present another option for acoustic guitarists, particularly those who use vocals or multiple instruments in their acts. Just about every PA manufacturer offers this kind of system, and they typically feature at least 100 watts, a four-to-eight channel amp/mixer, and a couple of cabinets loaded with speakers ranging in size from ten to 15 inches. A couple of companies offer all-in-one systems specifically designed with acoustic musicians in mind. Carvin’s AG100D features 100 watts of power, various EQ options, and three channels, and the unit has recently been upgraded with digital effects. Centaur is offering several systems ranging from 60 to 125 watts of power with ten-, 12-, or 15-inch speaker configurations. If you already own a good preamp or mixer, then powered PA speakers, such as JBL’s Eon series, may also be an attractive option to check out. They’re basically speakers with built-in power amps, which allow a lot of flexibility in a variety of applications. Carvin even offers a system than runs on rechargeable batteries: the SoundMate portable PA.

PLUG IN

Each of the five amps we reviewed displayed qualities that would appeal to certain players. I primarily play solo fingerstyle guitar, and I was particularly taken by the AER Acousticube’s combination of superb sound, flexible features, and portability. We were very glad to see that workable acoustic amps such as the Ibanez Troubadour 25 are now available for less than $300. Fender is offering two solid performers, and its SFX concept proved to be more than just a gimmick. SWR’s roadworthy Strawberry Blonde offers a nice combination of features and a sound that would work well in acoustic rock venues.

The best way to choose an amp for yourself is to take your guitar to a local music store and test-drive some of these amps yourself. Only you know which features you’ll need on stage, what you can afford, and how much weight you’re capable of carrying. Use this article as a guide to help you narrow in on a few possibilities. After that, there’s only one thing left to do--rock out!

Excerpted from Acoustic Guitar magazine, October 1999, No. 82.
     
  Join the chat and get answers to your questions on-line at the Guitar Talk discussion forums. There are sections for chatting about gear and guitars (Gear), players and recordings (Players), and technique and theory (Playing Guitar).
  Learn about basic guitar maintenance and home repairs in the Acoustic Guitar Owner's Manual.
  Check out the latest in contempory custom lutherie in Custom Guitars .
This new tome includes more than 200 exquisite color plates of handmade instruments, as well as up-to-date biographies of the designers and builders. It covers the spectrum of instrument design and construction, including archtops, steel-string flattops, nylon-strings, resonators, Hawaiians, and specialty guitars.

 


 

 

 
   


 Return to Top