Today I am thrilled to announce a new channel of Guitar World called Acoustic Nation. AN, as I like to call it for short, will focus not only on the traditional use of acoustic guitar, banjo, fiddle, ukulele, mandolin, acoustic bass and a few more for good measure. It will also deliver a fresh take on how acoustic instruments are being used RIGHT NOW.
In this post we’ll look at EQ - the history of its development as a sound modifier and its use in an acoustic guitar context. Originally, equalizers were designed to smooth out frequency response anomalies anywhere in an audio chain, whether it be a microphone (or pickup), a recording device like a vinyl disc-cutting machine or tape recorder, or a loudspeaker system. Other simple types of EQ are still being used as “tone controls,” the most common being the passive treble cut tone control found in guitars and tube amps.
The first thing you have to realize when amplifying an acoustic guitar is that in doing so you’ve gone interactive, which sounds very nice except that it happens to work against you in this situation. What do I mean by “interactive?” Just that your acoustic guitar interacts with its sonic environment, and when that environment gets loud, acoustic guitars get weird.
In 2010, Matthew Kohnle and Jason Socci (previously of DAYBED) secluded themselves in a cabin outside of Asheville, NC. With acoustic guitars in hand, they gave themselves a single mission: write and record. Three years later we can enjoy the fruits of their labor, Cabin Music; the duo’s first LP under the moniker of Brundlefly and the Swede.