Scenario One:  You’ve rehearsed for your upcoming performance dozens of times at home, in your living room or basement.  Your acoustic guitar sounds amazing, whether you’re strumming with a pick or playing fingerstyle.  You arrive at the venue, plug your acoustic guitar into the house p.a., or electric guitar amplifier, and hit the first chord of your opening number.  You’re shocked to hear the sound blasting back at you through the monitor, sounding absolutely nothing like the beautiful, natural acoustic tone you’ve been hearing at home.  What happened?

Scenario Two:  You strum through that folk song or acoustic rock standard, and the guitar sounds great through the house amplification.  The crowd loves it and you’re feeding off that energy.  Then you kick into your favorite fingerstyle piece, and you can barely distinguish between the mish-mash of frequencies coming out of the monitor.  The sound is so muddy that you have trouble hearing your guitar parts.  You get distracted and lose the confidence you had just a few minutes ago.  How do you solve this problem?

First, let’s identify the cause of the problem.  Each acoustic guitar is unique, as is the playing style of each individual guitarist.  And each guitarist may use several playing styles, each requiring different gear settings to produce the ideal tone.  If you leave it up to the house sound engineer, you are taking your chances.  And chances are he won’t get it right.

This is certainly not to suggest that house sound engineers are incompetent – most I’ve worked with have been very experienced professionals.  However, unless you’re working with the same sound crew every night, the engineers are not likely to know how you expect your acoustic guitar to sound.

The sound engineer has his own idea of how an acoustic guitar should sound.  He is working with a number of different instruments and playing styles, and there’s no one-setting-fits-all that he can dial up to suit every player’s unique tastes and expectations.  Even if he gets it right for part of your set, if you’re alternating between different playing styles, at the very least you may require different EQ settings.  If the engineer is not familiar with your setlist, dialing up the correct settings will require time, even if he is able to eventually get it right.  Therefore, if you want to achieve the signature acoustic guitar sound you’re striving for, YOU need to take control!

The best way to take control is to get your own gear, build your own rig, and familiarize yourself with that gear.  Most electric guitar players wouldn’t jump up on an unfamiliar stage, hand the sound engineer his instrument cable, and hope for the best.  No way!  The typical electric guitarist spends a considerable amount of time educating himself, learning his equipment, and crafting his own unique sound.

As an acoustic guitarist, you can do the same.  You will need to learn some basic information about pickups, preamps, effects and processors, and acoustic guitar amplifiers.  Of course, if you are in a professional act, working with the same sound crew night after night, you can work as a team to get that ideal acoustic guitar tone.  For the rest of us, we need to learn and perfect this aspect of our craft.

Over the next several months, Acoustic Guitar Gear will present a series of articles on the various aspects of crafting your signature acoustic guitar sound, for both recording and live performance situations.  We will discuss selecting a pickup versus a microphone, or using a combination of the two.  We will look at the various components of the “signal chain”, including acoustic guitar preamps, effects and processors, acoustic guitar amplifiers, combo amps, EQ settings, and speaker cabinets.  Please be sure to visit often for helpful and informative articles on each of these topics.

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For these and other tone modifications, you can use effects and/or processors, some of which are designed specifically for use with acoustic guitars. This article presents a brief overview of some of the effects and processors that are commonly used with acoustic guitars. Future articles will look at each of these components in greater detail, including reviews and comparisons of the acoustic guitar gear available on the market today.

In this article, the terms “effects” and “processors” will be used interchangeably. Technically speaking, however, effects are distinguishable from processors as follows: an “effect” is added to the original signal, whereas a “processor” alters the original signal. When using an effect, such as reverb or echo, the original signal is heard along with the effected signal. On the other hand, when using processors such as EQs, phase shifters, and compressors, the processed signal is heard without the original signal.

For slight alterations to the natural tone of the acoustic guitar, the most commonly used effects are equalization (EQ), compression, reverb, anti-feedback, and chorus. To create more interesting sounds, you can also use effects such as phase shifters, flangers, and delays (not covered in this article).

EQUALIZATION

(“EQ”) Equalizers are electronic devices used to “boost” or “cut” certain frequencies within the overall sound signal. To “boost” means to increase the volume or level, while to “cut” means to decrease the volume or level. For example, you may want to boost your high frequencies, relative to the mid- and low-frequencies, to create some “sparkle” in your sound. You may want to “cut” the lows to prevent the sound from becoming too “muddy”. When playing fingerstyle, you may want to boost the mids relative to the highs and lows, while you may want to cut the mids when strumming. These adjustments to the individual frequency ranges can be made without adjusting the overall volume level (although most EQ adjustments will necessarily result in a change to the overall volume of the signal).

Equalizers are available as rack-mountable units, as pedals, or in some cases may be mounted directly on the guitar as part of the pickup system. Equalizers can be designed to allow for the adjustment of multiple frequency “bands”, ranging anywhere from a two-band system (highs and lows), to a three-band system (highs, mids, and lows), all the way to multiple adjustable-band graphic or parametric EQs.

COMPRESSION

Compressors allow the user to even out the dynamic levels of a performance. You can set a “ceiling” on the highest volume level, and a “floor” on the lowest volume level. The compressor will raise the volume level of any signals that occur below the “floor” threshold, while decreasing the volume of all signals occurring above the “ceiling” threshold. The result is a smoother, more even performance. The dynamic range has been “compressed”, so that the loudest passages are nearer in volume level to the quietest passages. Compressors are used in recording as well as live settings.

REVERBERATION

Reverberation (“reverb”) adds dozens of echoes, or reflections, to the original signal, creating the illusion of the sound bouncing around a room or other environment. Reverb can simulate different environments ranging from a small bathroom to the Grand Canyon. This is particularly useful in recording to create the illusion of a performance in a concert hall or other venue, or to create depth (adding reverb makes the instrument appear farther away from the listener). Reverb can also be used creatively to enhance the sound of the acoustic guitar in a live setting.

ANTI-FEEDBACK

Anti-Feedback, as the name implies, is a device that locates and cuts frequencies that can cause feedback. This is particularly useful in live settings when using microphones, or internal mini-microphones, to amplify your acoustic guitar sound.

CHORUS

Chorus creates the illusion of multiple instruments playing in unison, much like a choir. Chorus works by duplicating the original signal, delaying and/or pitch-shifting the duplicated signal, and then adding it to the original signal. Chorus can give your guitar a larger sound. Chorus is often used creatively to alter the natural sound of the acoustic guitar, creating a more cosmic, or atmospheric, ambience.

CONCLUSION

While in many situations your goal will be to reproduce the natural tone of your acoustic guitar as faithfully as possible, there may be times when you will want to modify your guitar’s tone, or simply have greater control over the amplified or recorded signal. In those situations, you will want to add one or more effects or processors to your signal chain. It is helpful to familiarize yourself with the available options, and then select the components you need to achieve the desired result. With the wide variety of manufacturers and models available, it is also important to do some research before purchasing your gear. Check back at Acoustic Guitar Gear for future informative articles to assist you in making the best selections for all your acoustic guitar gear needs.

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The clean channel on an electric guitar amp might be acceptable if you’re playing your acoustic guitar with a band, and you just want to cut through the mix.  However, the electric guitar amps will probably sound too tinny, as the high frequencies will be more prominent than the mids and lows.  In fact, a keyboard amp will probably offer a more faithful reproduction of the acoustic guitar, since it is designed to reproduce a greater range of frequencies.

There are now a number of acoustic guitar amplifiers available on the market.  Most include at least two channels, at least one of which will support an XLR, or microphone, cable.  This allows you to combine the signal from an acoustic guitar pickup with that of a microphone.  With the two-channel configuration, it is also possible to use the acoustic guitar amp as a mini-PA for solo acoustic performers, using one channel for the acoustic guitar, and the second channel for a vocal microphone.  Some amplifiers have built-in effects, such as reverb, EQ, etc.

Following is a brief overview of some of the acoustic guitar amplifier manufacturers and models available at the time of writing.  All of the models listed below are “combo amps”, combining an amplifier and one or more speakers in a self-contained cabinet.  For a side-by-side comparison of some of these models, including price ranges, visit our acoustic guitar amplifier comparison chart page.  Also check out our glossary for definitions of some commonly used terms.

AER AcoustiCube3

120 Watts;  2 channels, each with multi-purpose input jack (piezo, line, mic);  tone controls include EQ, color, and digital effects (100 presets);  two-way speaker system with 8” diecast neodymium Kevlar cone bass, and neodymium tweeter.

AER also offers acoustic guitar amps in the ALPHA, COMPACT, and DOMINO product lines.

CRATE CA120DG

120 Watts;  2 channels, each with EQ and reverb/effects;  built-in feedback filters;  effects include reverbs, delays, echo, chorus, and rotary speaker;  effects loop.

Other acoustic guitar amp models include the CA10, CA15, CA30DG, CA125DG, and CA6110DG

FENDER ACOUSTASONIC SFX II

Dual 80-Watt combo;  8” low-frequency driver, high-frequency tweeter, and side-radiating 6” speaker;  2 separate instrument/vocal channels;  Individual EQ, feedback notch, DSP effects (reverb, delay, chorus, vibratone);  Fender’s patented “String Dynamics” control;  auxiliary RCA inputs;  XLR DI out.

Other acoustic guitar amp models in the Fender Acoustasonic series include the Acoustasonic Junior DSP and Acoustasonic 30 DSP.

FISHMAN LOUDBOX PERFORMER

130 Watts of tri-amplified power;  2 6-1/2” woofers (80Watt), 4” cone mid (40Watt), and 1” tweeter (10Watt);  2-channels, each with 3 band EQ;  dedicated instrument channel;  mic/instrument channel with phantom power;  digital effects (reverbs & chorus);  XLR DI output;  tuner output.

Other acoustic guitar amp models in the Fishman Loudbox Series include the Loudbox Mini and Loudbox 100.

HARTKE AC150

150 Watt tri-amp design;  4 x 5” woofers plus 2”x4” ribbon high frequency transducer;  2 channels (channel 1 has active and piezo instrument inputs;  channel 2 has XLR and RCA inputs);  5-band graphic EQ;  100 built-in stereo digital effects;  variable notch filter feedback control;  effects loop;  XLR direct outputs.

Hartke also offers the AC75 model acoustic guitar amplifier.

MARSHALL AS100D

50 Watt x 50 Watt 2×8” combo amp;  4-channels (2 instrument channels, microphone (vocal) channel, and auxiliary channel with RCA stereo input);  limiter;  Pair of XLR DI and Line Outs;  anti-feedback;  16 built-in stereo digital effects;  stereo effects loop.

Marshall also offers the AS50D acoustic guitar amplifier.

ROLAND AC100

2 channels, each with 3-band EQ & effects;  chorus & digital stereo reverb;  built-in notch filter for anti-feedback;  XLR input;  3 speakers with 3 dedicated amps – 2×5” (25Watt for mid-high & high frequencies) +1×12”(50Watt for mid-lows and lows); phrase looper.

Other acoustic guitar amp models in Roland’s AC (“Acoustic Chorus”) line include the AC33, AC60, and AC90.

Note:  the ROLAND AC33 can operate on battery power (eight “AA” batteries) for outdoor performances when there is no electrical outlet available.

VOX AGA 150

150 Watts;  2 channels (each with a ¼” and XLR input with phantom power);  1 channel features a tube pre-amp;  3-band EQ on each channel plus color control;  built-in effects;  anti-feedback;  stereo mini-jack for MP3/CD player;  DI balanced XLR output;  tuner output.

Other acoustic guitar amp models available by Vox include the VOX AGA 70.

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Generally speaking, a “transducer” is a device that converts one form of energy into another.  In the case of an acoustic guitar pickup, the pickup converts magnetic, mechanical, or sound energy into an electrical signal, which is then sent via a cable to the guitar amplifier, P.A. system, or recording console.  Additional components may be introduced into the “signal chain” between the guitar and the ultimate destination.  For example, you may want to pass the guitar signal through a pre-amp, equalizer, reverb, or other effects or processing unit, before converting the signal back into sound.

There are several types of acoustic guitar pickups:  magnetic pickups, contact pickups, and internal mini-microphones.  Pickups can be permanently installed in the guitar, or they may be mounted or inserted temporarily.  Most guitar manufacturers offer models with pickups installed at the factory.  However, many players prefer to purchase an acoustic guitar without a built-in pickup, and then select a pickup and have it installed after market.  This allows the guitarist more flexibility to match a particular pickup with a particular guitar, as the guitar manufacturer’s choice of pickup may not be optimal for the individual guitarist’s particular performance requirements.

Some pickups can simply be inserted into the sound hole of the guitar.  Some pickups, particularly contact pickups, are coated with an adhesive and can simply be “stuck” on the face of the guitar.  Yet other pickups, such as under-saddle pickups, often require professional installation.

MAGNETIC PICKUPS Magnetic pickups are also known as sound hole pickups, since they are designed to be mounted across the sound hole of the guitar.  Some are mounted permanently, while others can readily be inserted and removed as needed.  Magnetic pickups for acoustic guitars operate on the same principal as electric guitar pickups – they convert magnetic signals, rather than sound waves, into electrical signals.  As the guitar strings vibrate, they cause oscillations in the magnetic field, which are detected by the pickup.  Some examples of magnetic sound hole pickups include:  Fishman Rare Earth;  Dean Markley Pro Mag;  Seymour Duncan SA3 Woody;  and LR Baggs M1.

CONTACT PICKUPS Contact pickups are mounted somewhere on the body of the guitar and work by converting the physical vibrations of the wood into an electrical signal.  This type of pickup is typically mounted underneath the saddle, inside the body of the guitar.  However, some contact pickups can be mounted directly on the face of the guitar.  For example, the Dean Markley Artist Transducer is coated with a special adhesive, and simply sticks to the surface of the guitar.  The adhesive is not permanent and therefore the pickup can be removed and remounted at a different location on the guitar.

INTERNAL MINI-MICROPHONES As the name suggests, these “pickups” are basically miniature microphones that are mounted near the sound hole of the guitar.  The microphone picks up sound waves (changes in sound pressure) generated by the vibration of the strings and wood.  These sound waves are converted into an electrical signal, to be processed, amplified, and/or recorded.  Mini-microphones offer the possibility of the most faithful reproduction of the natural sound of the acoustic guitar.  The main drawback of mini-microphones is the greater potential for feedback as compared to the contact and magnetic pickups.  Examples of this type of pickup include:  LR Baggs Anthem;  Meridian Pro External Guitar Microphone (and pre-amp) System;  and Trinity Mini (combines pickup and microphone).

As you can see, a wide variety of pickup options are available to the acoustic guitarist.  Deciding which pickup to use, whether to use a microphone, or a combination of the two, will of course depend on your particular needs.  You may require a different setup for live performances versus recording environments.  When playing live, your setup will also depend on whether you’re playing alone or with other instruments.  Future articles at Acoustic Guitar Gear will discuss the considerations you will need to make when deciding on which system works best for you.

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Your acoustic guitar can generally produce enough volume, even when played without amplification, to be heard by a small audience in your living room, on your front porch, or in a coffee house or similar setting.  However, if you want to be heard by larger audiences, if you’re playing with other musicians, or if you want to record your acoustic guitar, you’re going to need some extra equipment, or “gear”.  At a minimum, you will need:  (i) a transducer, such as a pickup or a microphone, to convert the mechanical sound waves into an electrical signal;  (ii) a “lead”, or cable, to carry the signal from the pickup or guitar;  and (iii) an amplifier, PA, or recording console, to convert the electrical signal back into sound and either (a) broadcast the sound to your live audience, or (b) capture the sound to a recording.

This is the first in a series of articles to be presented right here on Acoustic Guitar Gear to explore the different options you have for recording and performing with an acoustic guitar.  We will discuss the various styles of acoustic guitars (and electro-acoustic guitars) and how to select and purchase one.  We will look at different pickup and microphone options, including the option of using a combination of a pickup and a microphone.  We will also review and compare the many possibilities for amplifying and recording your acoustic guitar.  And, of course, we will also take a look at optional acoustic guitar accessories such as capos, tuners, preamps, and processors.

In addition to exploring the world of acoustic guitar gear, we will also discuss various aspects of playing the acoustic guitar.  Topics will include fingerstyle guitar playing, alternate guitar tunings, and the history of the acoustic guitar and related acoustic stringed instruments.  Please check back often for interesting and informative articles, and to contribute your own comments and observations.

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