Ed Sheeran is on a signature gear rampage, and he can’t be stopped with his latest signature, an Orange amplifier built for buskers.

The loop pedal whiz started out playing on UK streets, and he’s since used his stadium-selling status to launch his own gear firm, including a PA made for busking musicians. This new collaboration continues that mindset, and he’s soft-launched the compact amp during a surprise street performance in his hometown of Ipswich.

Back home after a bumper run of shows in South America, Sheeran treated shoppers at the Ipswich Waterfront to hits like Photograph and Shape of You, but it was the Orange amp that – for gear nerds at least – took the spotlight.

Playing his signature Lowden acoustic, Sheeran was plugged into the angled combo, which Orange, in its own Instagram post, has confirmed will be officially unveiled this Wednesday, June 10.

Initial impressions are that the amp is small, with its angled form perfect for busking and small acoustic performances, and that it appears to have a second input for a microphone.

Its size also makes it super-transportable, and it’s set to become Sheeran’s first signature amp in a growing list of gear he’s brought into existence. A second amp was spotted on site, into which singer-songwriter Lianne Kaye plugged for a duet. After the show, Sheeran gave his amp to a young fan.

“I asked for a signed guitar for Christmas,” he said. “That didn’t happen, but this is better than that. I wanna be a musician; my friend Isaac is really good at playing the guitar, and I want to follow his line.”

It’s heartwarming stuff, and an ideal way to tease the amp ahead of its official launch.

For Sheeran, it continues a rich vein of form in signature gear release. Earlier this year, he dropped not one but two signature baritone guitars with PRS – the Cosmic Splash and a hollowbody variant – following on from his own line of loopers.

What is it?

Imagine this: you've just invested a couple of thousand pounds into your dream acoustic guitar. You strum your first chord, and it sounds like magic. The tone is bright, rich, and full of harmonic depth - exactly what you'd expect from a top-notch flat-top. But then you plug it in. Suddenly, that vibrant acoustic tone is transformed into a flat, overly compressed, scratchy version of itself, reminiscent of a cheap imitation. What gives?

The culprit is often the piezo pickup, commonly found under the saddle of many acoustic guitars. These pickups struggle to capture the true essence of your instrument's sound in a room. Sure, a well-placed microphone can bring your tone back to life, but let’s face it - setting up mics can be a hassle and prone to feedback, especially in live settings. That’s where the Audio Sprockets ToneDexter II comes in.

This innovative little stompbox is designed specifically to restore the full-bodied tone of your acoustic instrument. Using proprietary digital signal processing technology - known as WaveMaps - ToneDexter II aims to transform the uninspiring sound of your pickup into a stunning, microphone-quality replica. This means you can take that rich, acoustic sound to gigs or recording sessions without the fuss of mics, stands, and tangled cables.

But that's not all. The ToneDexter II comes loaded with a dedicated boost control for that extra punch, an intuitive tuner that’s easy to read, anti-feedback controls for peace of mind on stage, and even built-in reverb for added depth. Plus, it’s versatile enough to work with guitars, violins, mandolins, dobros, banjos, upright basses, and most other acoustic stringed instruments that have pickups.

A rather impressive list of specs for sure, but is it too good to be true? Well, today we open up the doors of the testing lab and put this stomp under the microscope to see if it really can transform our acoustic tone for the better, or if you need to be a Poindexter to use it.

Specifications

• Launch price: $599/£599/€699
• Type: Acoustic pre-amp pedal
• Controls: Out, In, Phones/Aux Out, Stero/Aux In, Low, Mid, High, Mute/Tuner, Boost
• Features: Advanced DSP algorithm creates a faithful reproduction of your mic'd sound, 32 WaveMap slots, 3 EQ blocks, reverb, Smart feedback control, tuner, MIDI program control, external footswitch control, and boost
• Connectivity: Input, Output, Mic in, Control in, Send, Return, DI out
• Bypass: True-bypass
• Power: 9-15V
• Dimensions: 165mm x 150mm x 66mm
• Weight: 2 lbs
• Contact: Audio Sprockets

Build quality

Build quality rating: ★★★★★

At a smidge under £600, this pedal isn't exactly budget-friendly, but let me tell you, the moment I pulled it out of the box, I understood where at least some of the investment goes. The ToneDexter II l is seriously sturdy and impressively put together. Simply put, this thing is a tank.

Right off the bat, the rugged design makes it clear that the ToneDexter is crafted to withstand the trials and tribulations of life on the road. I wouldn't hesitate to toss this beauty in the back of my van for a night at the local open mic, that's for sure.

When I flipped the unit over, I was greeted by a generous array of inputs and outputs, each one easily accessible and clearly labelled, exactly where you'd expect them to be. The footswitches? Well, they are on point, too. They feel solid and smooth underfoot, and just like the rest of the unit, reassuringly well built.

Honestly, after spending time with this pedal, I can confidently say I have zero complaints about its construction. It’s apparent that this is a serious piece of gear that combines both form and function.

Usability

Usability ratings: ★★★½

Now, actually using the pedal is a pretty mixed bag in one way. While it's pretty simple to record a WaveMap, anything deeper requires a fair amount of menu hopping, and it's not always obvious where all the settings are hiding.

First, I need to mention that this unit doesn’t come set up and ready to use straight out of the box. In fact, there are no presets saved in the unit when you receive it. So, to get started, you need to grab your favourite pickup-equipped acoustic, a microphone, and a nice quiet space to start your capture.

Generating the capture is pretty straightforward. Once everything is plugged in, tap the mute button, then the boost switch, and start playing - it’s recommended to explore a broad selection of chords all over the neck to ensure you capture a complete picture of your instrument. I was pleasantly surprised by how easy this was to do, and within a couple of minutes, I had a genuinely convincing WaveMap of my gorgeous J-45. That said, I really did expect the unit to ship with some presets already installed for those players who don't know where to start when recording an acoustic guitar.

To get clarity on this, I reached out to Audio Sprockets’ James May to understand the decision behind not including pre-made WaveMaps. "This is a philosophical decision that we made from the start, right at ToneDexter’s inception," says James. "We believe you’ll never get the best results using a WaveMap created for one acoustic instrument on another acoustic instrument. The physics simply stack the odds against you because each individual guitar has a unique spectral footprint - a complex pattern of resonant peaks and dips that give your guitar its signature sound," he explains.

"Even guitars of the same make and model, though they may sound similar, will have spectral footprints that differ enough such that a WaveMap created on one may sound veiled or slightly off when applied to another," adds James. "And this assumes you’re using the exact same pickup, but those vary significantly in their response, too. Yes, I know it can happen that sometimes you’ll get usable results mixing and matching WaveMaps like this, but we don’t want to have to answer to customer dissatisfaction, confusion, or frustration. I call it the Fishman Aura syndrome (with all due respect to Larry Fishman). We've made the training process ultra-simple so that users can take a bit of time to get the best results possible,” he clarifies. “It’s about finding that sweet spot where your specific guitar's character shines through the mix, and honestly, it's a rewarding experience when you nail it.”

So, while the lack of presets might initially feel like a hurdle, once you dive into creating your own WaveMaps, you might just find it liberating. You're not just using a one-size-fits-all solution with the ToneDexter II; you're crafting a unique sound tailored to your instrument. Sure, it might take a little more effort upfront, but the personal touch you get in return makes it well worth it in the end. Just remember, every moment spent fine-tuning is a step closer to capturing the true essence of your favourite guitar.

Now, when it comes to deep editing and turning on and off the effects, it isn’t the most intuitive pedal to use – this isn’t a unit you can operate without the manual handy. Granted, once I spent a few days with the pedal, I started to get used to where each setting was hidden, but it did take a little getting used to - this pedal certainly makes you work for your tone.

Sound

Sound rating: ★★★★½

To fully explore the tonal capabilities of the ToneDexter II, I began my testing with my trusted Gibson J-45 workhorse, a standard SE condenser microphone, and a carefully controlled space in my home studio. I positioned the mic about a foot away from the guitar, angled toward the 12th fret. I experimented with my playing position before finalising the WaveMap capture, listening carefully through a set of headphones to ensure I was capturing the exact sound I was looking for.

I have to say, once I created a WaveMap, the results were pretty remarkable. As much as I cherish my J-45, the tone produced by its pickup often falls short of capturing the guitar's true essence. While the sound generated by the LR Baggs VTC isn't bad, it lacks the richness and harmonic complexity of the guitar’s acoustic voice. Fortunately, with the ToneDexter at my feet, that concern swiftly vanished.

Engaging the pedal transformed my previously thin and uninspiring tone into a beautifully fat, warm, and full-bodied sound that faithfully represented how my guitar sounded with this go-to mic setup. Of course, I experimented further by swapping out the condenser mic for a Shure SM57 and moving the mic placement closer to the bridge. This change produced a new WaveMap that was brighter, less bass-heavy, and more focused, yet just as accurate in its representation.

It's important to highlight that while the ToneDexter II offers incredible capabilities, the quality of its output will ultimately hinge on your overall gear, your space, and the miking technique you employ. A high-quality guitar, microphone, and proper placement are fundamental to achieving the best sound. As advanced as this pedal is, if your gear isn’t up to par or if the mic isn’t positioned correctly, you'll never get that polished studio tone you are looking for.

That said, the ToneDexter II is equipped with a powerful EQ that features a handy visual representation of the EQ curve you're creating through your strategic cuts and boosts. I found that this feature grants extensive tonal flexibility, allowing me to fine-tune the sound to match my desired acoustic aesthetic. Whether I was looking to enhance the warmth, clarity, or presence, the pedal enables me to effortlessly sculpt my tone with a twist of a few dials.

Verdict

In a world of instant gratification, the ToneDexter II stands its ground as a pedal that requires you to put in some effort before you are granted access to acoustic tonal bliss. There’s no denying that this is an incredibly powerful tool for the gigging acoustic guitarist, and in fact, I could even see myself using it in the studio, too.

However, it’s difficult not to compare this unit to the Fishman Aura Spectrum DI or the LR Baggs Voiceprint. Okay, they aren’t exactly the same, and yes, the ToneDexter takes acoustic modelling to a whole new level, but I know the lack of presets will turn some people off this product. But more than that, if you aren’t particularly well-versed in miking up an acoustic guitar, you may find it difficult to get truly professional results.

So, if that’s you, then you may want to look elsewhere, but if you are willing to invest the time to understand its intricacies and put in the necessary effort, the ToneDexter II can reward you with an unmatched level of tonal customisation. Its ability to replicate acoustic tones with detail and authenticity is impressive, breathing new life into your acoustic performances.

The build quality of the ToneDexter II is most definitely substantial, sturdy and more than reliable enough for the road. Its user interface, while not as straightforward as some competitors, offers a level of depth that experienced players will certainly appreciate.

Ultimately, whether you're gigging or recording, the ToneDexter II is a formidable ally for those willing to invest time and effort into mastering its features. It may not have the user-friendly appeal of plug-and-play pedals with preset options, for the dedicated guitarist seeking exceptional acoustic fidelity, the journey with the ToneDexter II is sure to be incredibly rewarding. If you thrive on crafting your sound and possess the patience to navigate its complexities, this pedal might just become an essential part of your musical toolkit.

Guitar World's verdict: Sick of fighting against the weak tone of your acoustic’s piezo pickup? Well, the ToneDexter II is here to save the day. The lack of pre-loaded presets might put off some players at first, but those willing to put in the work will be rewarded with the acoustic tone of their dreams.

Also consider

Hands-on demos

ToneDexter

Sweetwater

Aaron Short Music

Guild acoustic guitars have been played by VIP guitarists from Eric Clapton to Stevie Ray Vaughan, Richie Havens, Bonnie Raitt, Paul Simon and Eva Cassidy, but its new 300 Series sees the firm debut its most accessible builds yet.

The range is made up of a quartet of acoustic guitars, including two OM and two dreadnought style models – all of which are available for a shade under $300.

Now, in a new clip, Guitar World’s Paul Riario talks us through his experience with the Guild D-340 – a dreadnought-style guitar, channeling the firm’s iconic D-40 build.

“The thing to highlight about Guild’s all-new 300 Series is its accessible price point,” says Paul. “There’s a good reason it’s called the ‘300 series’ if you get what I mean.”

Classic looks without the vintage price tag is the order of the day here and the 300 Series lives up to Guild’s reputation for rock-solid builds that can be depended upon to get the job done, night after night.

All four of the 300 Series models feature all-mahogany back and sides and solid wood tops, with a choice of spruce or mahogany-topped models for each body shape. Then there’s black binding, a black tortoiseshell pickguard, rosewood fingerboards and bridges, plus Guild’s vintage open gear tuners.

“There’s a real comfortable C-shape neck on this guitar, so it’s easy to get around,” notes Paul in his video review. “It also features an open pore satin finish, which really allows the tone of this guitar and its resonance to pop through.”

We can see these guitars easily finding homes with beginners (particularly those lucky enough to be guided by someone in the know), or more experienced players looking to get that rich Guild tone without breaking the bank.

Certainly, based on Paul’s model above – and the demos we’ve heard elsewhere on YouTube – the Chinese-made 300 Series sounds, well, surprisingly expensive.

“They play great, sound great and you get that Guild sound at an incredibly accessible price,” summarises Paul. “Definitely check it out.”

The Guild 300 Series includes the OM-320, OM-340, D-320 and D-340, all of which are available for $299.99, with a choice of solid spruce or solid mahogany tops.

For more information, head to Guild.

The acoustic guitar and electric guitar may share the same DNA, but they couldn’t be more different. It’s like how my older brother has a short, stocky build and red, wavy hair while I’m tall and somewhat slim (okay, that’s debatable) and have straight blonde hair.

However, many guitarists who own acoustic-electrics make the mistake of plugging their guitars into amps designed for electric guitars and then wonder why the sound is so artificial and disappointing.

Because the pickups, acoustic properties and frequency ranges of acoustics are dramatically different than those of an electric, acoustic-electric guitars really need their own specialized amps to optimize the sound in ways that an electric guitar amp and even a standard PA system can’t match.

Acoustic guitar amps have become increasingly prevalent over the years, but few are as expertly dialed in as the new Circa 74 AV150-10 Acoustic/Vocal amplifier combo. The amp is the result of a side project by Bob Taylor of Taylor Guitars, and it reflects his know-how from producing some of the most popular acoustic-electric models of the last 50 years.

Yes, the amp is a perfect match with a Taylor guitar, but it’s also designed to sound great with a wide variety of other models with different types of pickup/preamp systems as well as with a wide assortment of dynamic mics for vocals.

The AV150-10 is housed in an uncovered mahogany cabinet with a fully closed back, finished in a warm, reddish-brown hue and complemented by a sandy tan-colored grille. It comes with a matching mahogany base with four screw-in legs that give the amp a Jetsons-esque revived-modernism furniture appeal.

The stand tilts the amp upwards to optimize sound dispersion, while four recessed holes in the base hold the amp’s rubber feet safely in place.

The amp features two fully independent channels and a class D solid-state design that provides 150 watts RMS of output at 8 ohms to its 10-inch full-range speaker. Channel A has an XLR/phone combo jack for accommodating balanced or unbalanced signal input and is designed for vocals or guitar.

Channel B has a ¼-inch phone plug and is designed specifically for acoustic-electric guitar. Each channel has its own set of input level, reverb, bass, mid and treble controls.

The top control panel also provides a master volume knob, 1/8-inch headphone jack, 1/8-inch auxiliary input and Bluetooth connection button with indicator. The rear panel features an XLR direct output for connection to an external sound system or mixer and a ¼-inch mono line output.

To test the amp, I played several different acoustics with various types of pickup systems, including Taylor Expression, Fishman Prefix, Highlander and even a Seymour Duncan Woody soundhole pickup.

Each guitar sounded stunningly warm, natural and lush, particularly the guitars with under-saddle pickups, where the amp produced a sound that was like putting your ear in front of the guitar’s soundhole, only much louder.

The EQ section enables subtle tweaks and refinements of the guitar’s tone over a tasteful range that’s never too drastic or artificial sounding.

I’m no Pavarotti and my vocals are more in the Johnny Rotten or Iggy Pop range, but my sad attempts at singing through the amp actually sounded pretty good and were well balanced with the guitar’s output, with neither getting in the way or overly dominating the other.

Since most vocalists use dynamic mics when performing live, the lack of phantom power for a condenser mic is no big deal.

However, while the amp’s built-in digital room reverb sounds quite nice, it’s a bit limited as the reverb knob only adjusts the dry/wet mix.

An effects loop for patching in an external processor would be a welcome addition for many players who rely more heavily on effects as part of their performance.

The reverb is perfectly fine for guitarists who prefer a more natural vibe and just want a little extra ambience to keep the guitar and/or vocals from sounding too dry.

The amp’s maximum volume output is more than loud enough for filling a medium-size theater venue or holding its own on stage with an electric rock band.

The signal remains crystal clean from 0 to 10, although a minor, barely perceptible amount of background noise is present at higher output settings.

Specs

• PRICE: $1,199
• TYPE: Acoustic guitar amplifier combo
• OUTPUT: 150 watts RMS
• SPEAKER: 10", full range
• CHANNELS: 2, with master volume for aux in
• CONTROLS: Individual channel level controls, master volume; 3-band EQ; room reverb
• CONNECTIONS: Input A: XLR or ¼-inch for mic or guitar; Input B: ¼-inch for guitar; plus: ⅛-inch (3.5mm) line-level aux. input; XLR and ¼-inch line out; ⅛-inch (3.5mm) headphone out, Bluetooth
• CABINET: Mahogany
• WEIGHT: 24 lbs.
• CONTACT: Circa '74

One of the greatest things about an acoustic guitar is its portability. But sometimes even the most robust acoustic requires a little electricity to be heard onstage, outdoors or in unusual environments, or for EQ’ing to achieve the desired sound. If you’re looking to amplify your acoustic-electric without having to huff around heavy amps, Fishman has the Loudbox Mini, a 60-watt combo amp weighing in at just over 21 pounds that ranks as the most compact entry in the company’s popular Loudbox range.

Until now, that is. Fishman has now taken the Mini to micro levels with the new Fishman Micro, which offers up legendary Loudbox tone – 40 watts clean – in a lunchbox-sized combo weighing in at just over nine pounds. 

And it achieves all this without sacrificing great sound or construction. The Loudbox Micro’s sealed cabinet design is paired with a bi-amplified driver configuration for rich, full tone, and features a dedicated microphone channel plus an instrument channel with Fishman’s preamp and tone control design. 

You also get high-quality digital reverb and chorus on the instrument channel and reverb on the microphone channel, as well as an aux input, a balanced XLR D.I. output and a headphone jack. 

The result is all the clean, dynamic tone, full range and quality features of bigger and more expensive Loudbox models, in an easy-to-use two-channel amp that’s light on your muscles – and your wallet. 

To learn more about the Loudbox Micro, head to Fishman.

Boss has officially released its new AC-22LX acoustic guitar amplifier – a new unit that it promises offers “a full immersion playing experience” thanks to its ability to create mic-like sounds from your acoustic pickup.

The headline feature of the compact 10-watt stereo amp is the firm’s Air Feel technology, which emulates some of the classic mic placements used in acoustic guitar recordings. 

Players are therefore able to switch between five options – including Dry, AB, XY, ORTF and mid-side. You might be familiar with some of the setups already, but if not, Boss’ demo gives a handy breakdown of the tonal characteristics and playing/mix applications of each setting.

For instance, ORTF combines elements of the XY and spaced-pair mic’ing techniques, creating “a focused tone with increased depth and body resonance”, while mid-side is better for ensembles or pairing with a vocalist – where you might need to a little more distance from the centre of the mix.

We’ve only got Boss’ own demo to go on so far, but the sounds are admittedly impressive and provide a noticeably warmer, more rounded tone, in contrast to the dry signals. 

Many of us have had bad experiences with plugged-in acoustic tone, but this seems very far removed from the ‘tin can with screws’ sounds acoustic electric players once had to endure.  

Elsewhere, there’s a three-band EQ, onboard chorus and reverb for the guitar side and you can also input a vocal mic, using the XLR in (which has phantom power and a dedicated two-band EQ). Then there’s a built-in looper (operated using an optional footswitch).

You also have the option to jam along to the built-in drum machine – though here, in acoustic parlance, it is dubbed a Rhythm Box. We’re not enthusiastic about this terminology as it calls to mind a cajon – and no-one needs that, frankly. However, it does offer five instrument types, 15 patterns and a ton of customization options, all delivered in the velvety ambience of Boss’ Spatial Technology. 

There are 15 user slots to save your preferred settings for quick recall and, if you plug in Boss’ optional Bluetooth adapter, there’s an accompanying iOS app that will allow you to tweak settings remotely and stream music from your phone or tablet.

As is the norm in 2023, the amp also offers USB connectivity, enabling you to record using the Air Feel tones, either via the USB or the mono/stereo line-out. 

All of that is housed in a box that measures approximately 12” wide and eight inches deep and it can even run on batteries (though there’s no included rechargeable battery). 

After a period in which some players questioned its ability to compete with the guitar industry’s tech titans, Boss seems to be on something of a roll with its modeling capabilities. 

For instance, the latest edition of its perennial ME series, the ME-90 multi effects pedal, recently grabbed guitarist’s attention by bringing its flagship AIRD models to a much more affordable unit. 

You can expect to pay around $399 for the AC-22LX. For more information, head to Boss.

When a player of Tommy Emmanuel’s calibre champions a brand-new acoustic guitar amp stating it’s the best he’s ever played through – despite having his own signature model with a different manufacturer – there’s an understandable tremor of curiosity among acoustic performers everywhere. 

Tommy forsaking AER? That’s big news in some quarters. But let’s dip below the surface for a moment and examine the evidence. Both the Compact 60 and this new Da Capo amplifier were designed by Udo Roesner who has now stepped away from AER and started his own company called Udo Roesner Amps. 

Udo has gone back to the drawing board and pretty much re-examined everything that made the Compact 60 such a stalwart in the first place.

In musical terms, Da Capo means “repeat from the beginning” and so now perhaps we can get a clearer idea of the initiative behind the new amp. Yes, cosmetically at least it owes a lot to AER’s flagship, but just about everything else has been reviewed, revised and revitalised. 

So is it, as the handbook describes, a “giant in a shoebox, powerful, crisp, clear, assertive and yet so warm, mellow and beautifully balanced”? Let’s fire it up, take it out for a spin and find out.

The Da Capo features an analogue preamp and A/B Class analogue power amplifier, delivering 75 watts into a specially designed eight-inch dual-cone speaker. Udo tells us that it has a larger transformer in order to deliver more power and enhance the unit’s low-end response.

Everything is tucked away inside a remarkably small plywood box with a large, workmanlike handle on top and a gigbag that makes portability a breeze. It’s a tad heavier than a Compact 60, Udo informing us that this is down to the transformer size, but a side-by-side comparison reveals there actually isn’t much in it at all. 

You could easily set off to a gig with a guitar case in one hand and the Da Capo over your shoulder and not worry too much about straining anything, put it that way.

The amp’s two channels both feature jack and XLR mic inputs with mic/line push buttons to select between either. It also has 48-volt phantom power for both XLR inputs, meaning you can use a mic for either vocals or sound reinforcement for your guitar, and choose which channel’s preamp controls suit your setup the best.

Channel 1 features controls for Gain, Tone – essentially a treble boost – push-button, Bass, Middle and Treble. On Channel 2 the controls are the same, except that now you have a high-pass filter replacing the treble boost option. 

This control has the effect of letting higher frequencies through into the sound picture while rolling off the bass. It’s a useful control if you happen to have a large-bodied acoustic that’s prone to low-end feedback or if you have a microphone and want to subdue unwanted bass resonance.

There are six built-in digital effects on a rotary control in the ‘efx’ section, along with Pan and Level rotaries. The effects give you: Long Reverb, Short Reverb, Chorus, Custom Delay, My Delay and Tap n’ Delay – all being controlled by a TRS footswitch, which isn’t provided, but we’re assured that any standard double unit will do the job of both switching effects on and off and tapping in the delay rate. 

The Pan control delivers the chosen effect across the amp’s two channels: if you only require reverb, say, on Channel 1 then leave the control panned to the left; if you want it on Channel 2, pan to the right; and any position in between offers incremental dispersion between the two. Finishing off the preamp control array at the far end, you’ll find the Master Volume.

Udo highlights that the preamp controls are interactive: “The Da Capo is not simply a box with a speaker, it is a pretty complex arrangement of signal processing stages that all interact and need to be at peace with each other for best performance…” 

It’s also important to note that some of the factory-set parameters can be reset via jumpers on the main circuit board inside the amp. You can, for instance, change the footswitch so that it acts as an on/off for the effects loop, but all jumpers – and there are 11 – should only be adjusted by someone who knows what they’re doing. In other words, there are no user-serviceable parts inside.

Meanwhile, on the back of the amp we find outputs for headphones, footswitch, send and return for the parallel effects loop, two line outs (1 for home recording via a soundcard, and 2 for connection to a mixing desk). There are also XLR balanced outputs for each channel independently and a mini-jack aux-in for inputting backing tracks.

It sounds to us like Udo’s 30-year experience with amp design has culminated in a very well-thought-out package that incorporates virtually everything a gigging acoustic player needs in one compact unit. But what’s it like in practice? It’s time to hook it up to a guitar and find out.

Feel & Sounds

Our test guitar is a Fylde Goodfellow, fitted with a Headway FEQ under-saddle pickup, which has seen action in various live acoustic settings, inputted electronically either via PA or through our Compact 60. 

One thing that is immediately apparent is the warmth the Da Capo brings to the sound. Just a few moments fiddling with the preamp controls on Channel 1 and setting the reverb to Long Reverb, and the sound literally takes us aback with its musicality. It’s a sound that makes you want to stay and play for longer, and that’s never a bad thing.

We found that what Udo told us about the controls being more interactive is absolutely spot on, too. When compared with the Compact 60, it takes longer to set a sound up, but the time spent is worth it. We don’t usually have to turn the bass down for the Goodfellow, but here we dropped it a fair bit, as well as reducing the mids a little, too. 

There’s a very rich bass to be had here, probably thanks to the custom-built speaker and ported cab. Engaging the Tone button brings sparkle to the top-end, which is handy for chordal accompaniment when you want some shimmer to find its way through a mix.

Swapping to Channel 2, we play with the high-pass filter, which offers more control over reducing the bass. Getting the balance right between the HPF, Bass and Mid controls takes a little bit of concentrated effort, but, once again, the results are worthwhile. 

The main thing we felt here was that we were more in control of the Goodfellow’s sound and found ourselves making plans to try using the amp on the next available gig. After all, with this amount of control it’s logical to assume that all one has to do is offer the soundman an XLR output or two and the job’s all done.

There is so much here that we’ve already decided the Da Capo is headed for our Longtermers section. And we can’t wait to start experimenting with other guitars and maybe even a mic added to the guitar for an extra level of control.

Verdict

If you found yourself playing a game of ‘fantasy acoustic gig gear’ and decided to use an amp rather than DI, you’d probably opt for one that was not only portable but comes with a great sound and mixing-desk levels of EQ quality, too. 

Throw in an effects loop – switchable if you get an electronics boffin to flip the jumper inside – and mic or line level inputs, phantom power to allow the use of studio-quality condenser mics, and XLR outputs on both channels to make the sound guy’s job an easier one. 

Add to this a very usable onboard digital reverb and you’re practically all set for an evening of acoustic bliss; do a thorough soundcheck then sit back and have some fun. The Da Capo covers all these factors – and more. We think we’ve found a new best friend.  

Specs

• PRICE: $1,149 / £949 (inc gigbag)
• ORIGIN: Indonesia
• TYPE: Analogue preamp and A/B Class analogue power amplifier
• OUTPUT: 75W
• DIMENSIONS: 265 (h) x 325 (w) x 245mm (d)
• WEIGHT (kg/lb): 7.5/16.5
• CABINET: Plywood
• LOUDSPEAKER: Custom 8” twin cone, full range
• Channels: 2 mic/line on each
• Controls: Channel 1: mic/line switch, gain, tone switch (treble boost), bass, middle, treble. Channel 2: mic/line switch, gain, high pass filter, bass, middle, treble. Both channels: effects pan, FX level, master volume
• ADDITIONAL FEATURES: Built-in effects: Long Reverb, Short Reverb, Chorus, Custom Delay, My Delay and Tap n’ Delay, Headphone output, 2x line out (1: lower level for soundcards, etc; 2: mixing consoles), 2x DI out (balanced XLR for both channels), footswitch (not provided), aux in
• OPTIONS: None
• RANGE OPTIONS: None as yet
• CONTACT: Udo Roesner Amps

Looking for an amplifier that will capture your acoustic guitar without sacrificing its natural organic sound? Look no further than Nux’s new Stageman II.

Equipped with NUX's latest DSP technology, the 80-watt acoustic amplifier boasts two channels, both of which are optimized for acoustic guitar and microphone inputs respectively.

The dual-input channels provide tons of options for gigs or studio recording, and deliver pure, rich acoustic sound with incredible projection.

What’s more, you can use it literally anywhere – the Stageman II is fitted with a rechargeable large-capacity lithium battery, allowing up to 4.5 hours of outdoor performing in any locale.

What else does the Stageman II feature? For starters, there’s two refined speakers (a one-inch tweeter and a 6.5-inch woofer), as well as flexible outputs for both stage and recording applications.

There’s also a built-in looper and drum, both controlled via the included dual footswitch, and the Stageman II mobile app allows you to operate your amp from your smartphone, including 12 effects (chorus, delay, tape echo, modulation, reverb and more), and eight IRs simulating legendary guitar sounds from Gibson, Martin and Taylor.

Most of all, though, the Stageman II delivers the sound you want to hear. To witness the amp in action, check out Justin Johnson’s pristine fingerpicked arrangement of the Beatles’ Let It Be above.

And to pick up a Stageman II for yourself, head over to Nux EFX.

Never before have I seen so many buskers burst into view than this past year. Social distancing and a lack of indoor venues have forced many a talented musician to literally take it to the streets, or perform at outdoor dining places. 

If that’s your new normal, then portability and power should be your best friends when it comes to amplifying yourself. 

The good news is the Boss Acoustic Singer Live LT meets the criteria for both, as well as being the most streamlined and affordable professional acoustic amplifier in Boss’s Acoustic Singer series.

With all the basic essentials and more, the Acoustic Singer Live LT will have you up and running in minutes. The Boss Acoustic Singer Live LT is rated at 60 watts and arrives in a compact tilt-back cabinet built for clarity and punch. 

The amp’s highlight is its powerful bi-amp design, which means the custom-designed 6.5–inch woofer and dome tweeter are driven by two independent power amps for a far more optimized sound and efficient full-range response. 

The guitar and mic channels come with discrete analog input circuitry and independent three-band EQs, an Acoustic Resonance switch on the guitar channel (for three types of acoustic tone sculpting), an Enhance effect on the mic channel (for fuller, well-defined vocal tones), phase switch and anti-feedback notch filter. 

Onboard effects include delay/chorus on guitar channel, delay/echo on mic channel and independent reverb on both channels.

The loaded rear panel features an Aux input with level control for backing music, XLR DI jack and phones/recording output, USB audio interface for computer recording/playback and two input jacks to control guitar and mic effects (using optional footswitches).

I auditioned the Acoustic Singer Live LT at an intimate outdoor gig and found myself pleasantly surprised at how capable the amp handled the alfresco setting.

Setup was easy, and using my Taylor 12-string and Martin OM-28 I was able to quickly dial in a robust acoustic sound. I found the green setting on the Acoustic Resonance switch to have the smoothest voicing.

The chorus and delay have Boss’s top-notch quality tones and add great dimension if needed, but injecting reverb for colorful ambience is what I prefer.

Activating the Enhance function provides a wonderful silky sheen for vocals, and adding a splash of reverb gave it real depth. I had quite a few people compliment on the range and natural sound that the Acoustic Singer LT delivered.

One last thing to spotlight is the very handy USB out, where I could connect my computer (or compatible smart device) to real-time record my performance. Having that connectivity really elevates the Acoustic Singer LT from just a mere acoustic amp.

• PRICE: $399 / £299
• TYPE: Acoustic amp w/effects and mic channel
• OUTPUT: 60W
• DIMENSIONS: 300 (h) x 364 (w) x 271 (d)
• WEIGHT (kg/lb): 10.2 / 22 lbs 8 oz
• CABINET: Tilted
• LOUDSPEAKERS: 1x Custom-designed 6.5-inch woofer and dome tweeter
• CHANNELS: 2 (instrument and vocals)
• CONTROLS: Mic channel: Enhance button volume, bass, middle, treble, effect, reverb / Guitar channel: Phase, acoustic resonance, button volume, bass, middle, treble, effect, reverb
• FOOTSWITCH: Optional
• ADDITIONAL FEATURES: Delay/chorus effect on guitar channel, delay/echo effect on mic channel; Aux input with level control for backing music XLR DI jack and phones/recording output USB audio interface for computer recording/playback
• CONTACT: Boss

Fender has officially launched three new feature-packed acoustic guitar amps as part of its 2020 line-up: the Acoustic Junior, Acoustic Junior Go and Acoustic SFX II.

The new models are constructed with both performance and portability in mind – each amp weighs only 15lbs, 17lbs and 22lbs, respectively. The Acoustic Junior Go even includes a rechargeable battery for up to 5 hours of playing time at full volume, and up to 12 hours at a moderate volume.

Each amp is fitted with Bluetooth for wireless streaming of backing tracks, as well as an onboard 60-second looper. 

All three amps offer eight studio-quality effects, and the SFX II – which packs an 8” speaker, 6” side-firing SFX speaker, and compression tweeter – is enhanced by Stereo Field Expansion, meaning the stereo dimension is felt anywhere in the room in which the amp is played.

Other features shared by the amps include two XLR outputs, a headphone output, an auxiliary input for external audio, a USB jack for audio recording and an optional four-button footswitch.

The Acoustic Junior, Acoustic Junior Go and Acoustic SFX II are available now for $379.99, $499.99 and $599.99, respectively.

Head over to Fender for more info.

Yamaha has introduced the THR-30IIA Wireless, a 30-watt stereo amplifier designed with acoustic guitar players in mind.

The new amp is part of Yamaha’s THR-II family of desktop amplifiers, which already cater to electric players.

The THR-30IIA boasts three microphone models – dynamic, tube and condenser – as well as onboard effects, including compression, chorus and studio-quality delay and reverb.

The stereo reverbs and audio playback utilize Extended Stereo Technology (EST) for a “more immersive” listening experience than standard stereo.

There’s also a pro-level Yamaha D-PRE microphone preamp, as well as a dedicated mode for nylon-string guitars and a multipurpose flat setting.

Other features include a three-band EQ, and a specially-designed playback system optimized to provide hi-fi sound quality through two 3.5-inch speakers.

A USB port offers direct recording and playback, and the amp is also equipped with 1/4-inch instrument and XLR combo mic inputs, stereo 1/8-inch Aux In and Phone jacks and 1/4-inch line-level outputs. 

The THR-30IIA has a built-in rechargeable battery for grab-and-go playing, and an optional Line 6 Relay G10T transmitter is available for cable-free performance.

The amp can also be used with the free Yamaha Rec'n'Share app (available for iOS and Android) which allows for recording audio and video along with songs from a music library and then sharing online, and Bluetooth support enables wireless playback from Bluetooth audio devices, MIDI footswitch control and communication with the included THR Remote editor/librarian app.

The THR-30IIA is available soon for $869, although the street price is closer to $549. For more information, head to Yamaha.

Elite Acoustics has introduced the D6-8 Pro acoustic guitar amp, loaded with a six-channel digital mixer and Bluetooth.

The 80-watt amplifier incorporates the same DSP engine as Elite’s D6-8 battery-powered acoustic amp, while also offering a full-featured programmable digital mixer with effects and color display. 

The mixer comes with compressor, gate, mid sweepable EQ, high pass filter, notch filter and phase reverse for each of the four Class-A solid-state mic pre-amps.

Other features include two high Z, four mic (with +48V phantom power) and six line inputs, independent effects on each channel, a three-band EQ, Bluetooth streaming and an eight-inch woofer and one-inch tweeters.

The D6-8 PRO weighs in at 18 pounds and is available for $899. For more information, head to Elite Acoustics.

When you think of Orange Amplification, the word ‘acoustic’ isn’t usually anywhere in sight. But here we are in an unexpected chapter for the British icon; an Orange acoustic amp, and the latest addition to its hugely successful Crush range of practice amps.  

We say practice, but this is designed for performing outside of the home, too. Literally outside; as well as mains power it can be battery powered for five hours at 50% volume and eight hours at low volume. 

But this Orange amp needs a lot of juice for that – 10 AA batteries. So obviously we’d recommend an investment in rechargeables or you’ll be busking for battery money...

The power unit is also external here rather than the much more universal ‘kettle lead’ IEC variety, so don’t lose it! The controls are marked by icons rather than words, and will be a head scratcher to Orange newbies. The manual explains all and they’re part of Orange identity – you’ll soon learn the Bass, Treble, Mid and Gain, etc.  

We’re fans of angled combos and if anything we think the wedge here could be steeper, but it’s combined with neat and portable dimensions and the usual high standard of Orange build quality.  

Channel 1 is focussed on a wider range of guitar EQ options while Channel 2 is for mics. A reverb and chorus control can also be applied to both channels or individually with the blend control. But you have to choose between the effects; you can’t have both at the same time for your guitar tone, which is a shame.

Reverb is the side most players will come back to and the scope moves from plate to a lusher hall-type, but there’s Leslie-esque fun to be found at the extremes of chorus, too.

We found the Crush Acoustic 30 to be loud for such a compact combo. Testing with both a an electro with a Fishman piezo system and another with an active magnetic soundhole pickup, the EQ is highly responsive.

It’s worth spending extra time with it to dial in to suit your instrument and tastes, especially with the Gain and Mid controls. We ended up dialling back more with the magnetic pickup guitar to scoop the mids for a more organic sound, hardly surprising with the metallic character of a soundhole pickup.

The Crush 30 is in a tricky spot; the £320 price point puts it up against strong 60-watt fare like the Fishman Loudbox Mini and Sonnet from Blackstar that also have Bluetooth connectivity (this doesn’t) at levels you can play in a band situation if needed.

But if you’re specifically after battery-powered options that are compact and offer mic input for solo performances, this is a good option.

Specs

• PRICE: $399 / £319
• TYPE: Acoustic combo amp with optional battery power
• OUTPUT: 30 watts
• CONTROLS: Channel 1: Pas switch, Colour Switch, Gain, Treble, Middle, Bass Channel 2: Phantom power switch, Mic/Line switch, Gain, Treble, Bass
• MASTER: Notch Frequency, Volume
• EFFECTS: Effect select, Blend, Level
• SOCKETS: Balanced XLR out, Ground Lift switch, ¼ inch Line Out, FX Loop, DC 19V power input
• DIMENSIONS: [HxWxD] 260mm x 320mm x 220mm
• WEIGHT: 6.12kg
• CONTACT: Orange Amplification

NAMM 2020: Blackstar has unveiled its new line of acoustic guitar amps - the Sonnet Series - ahead of this year's show. The series has been developed in collaboration with acoustic guitar virtuoso Jon Gomm, and is designed to faithfully amplify the response of your acoustic instrument.

"Not changed, not coloured, just your acoustic guitar – louder." says the British-based amp manufacturer. To that end, the amps each feature custom-voiced 60W and 120W Natural speakers in their respective Sonnet 60 and Sonnet 120 models.

"Finally, an amp that can reproduce the full spectrum of sound of acoustic instruments. All I hear is my sound." Gomm says.

Each model in the series features two independent channels - microphone and instrument - each with their own EQ, reverb level settings and XLR and USB outputs. The models also each feature Bluetooth audio playback.

The models also include an MP3/Line in for jamming along or adding a line level instrument into the mix, as well as in-built studio quality reverbs.

Other features include a built-in tilt stand to perfectly angle the amp for sonic projection and acoustic-minded high-pass filter and brilliance controls.

Both the Sonnet 60 and the Sonnet 120 will be available from February 2020 in black and blonde finishes for $399.99 and $579.99, respectively.

For more information, head to Blackstar Amplification.

NAMM 2020: Though Boss' brand-new Katana-Artist MkII is already a sure contender for NAMM's best new high-powered, wall-shaking amplifier, that doesn't mean that the company has neglected its more acoustic guitar-minded customers.

For them, and anyone looking for a simple-but-effective live acoustic rig, the company has introduced its new Acoustic Singer Live LT amp. 

The Acoustic Singer's bi-amp design delivers 60 watts of power, while its dual channels provide pathways for the user's acoustic guitar and vocals. Analog input circuitry, independent three-band EQs and chorus, delay and reverb effects also come standard. 

The guitar channel features Boss’ Acoustic Resonance processing, which aims to restore natural tone to stage guitars with piezo pickups. The amp's mic channel is built with a one-touch Enhance function, perfect for performers looking for a bigger, cleaner live vocal sound.

Elsewhere, the amp features a phase switch on the guitar channel and a notch filter that works on both channels to help corral feedback. Rear-panel connectivity also allows users to interface with PA systems, computers and other devices.

The Boss Acoustic Singer Live LT amp will be available in February for $399.99. For more info, point your browser over to Boss.

Orange has announced an acoustic guitar amp - the first we can recall - with the Crush Acoustic 30.

The new 30-watt amp is designed to project loud and clear, with a neat angled construction.

Features include two channels with built-in reverb and chorus, as well as a global notch filter to reduce feedback.

Channel 1 is a dedicated acoustic guitar channel, with a pad switch that can take off up to 10dB to help maintain a clean signal for higher output instruments. There’s also a three-band EQ and a 'colour' switch to boost presence and cut midrange.

Channel 2, meanwhile, features XLR input for use with a second guitar or microphone. Additionally, the phantom power is switchable, as is the mic/line input.

There’s also a 3.5mm aux-in that can be used to plug in an MP3 or other similar audio device for playing along to backing tracks.

The Crush Acoustic 30 comes loaded with a specially-designed eight-inch Voice of the World speaker, in a cabinet available in orange or black livery.

The amp can be powered by either AA batteries or the supplied DC adaptor. According to Orange, at full volume the batteries will provide three hours of playing time, or five hours at 50% volume.

For more information on the Crush Acoustic 30, head to Orange Amps.

German audio company Palmer has announced the Acoustic Pocket Amp, a combined effect pedal and preamp for use with acoustic instruments.

The new offering boasts three instrument modes (acoustic guitar, acoustic bass, magnetic pickups) and three selectable basic sounds (flat, modern, vintage). A mono line input (6.3 mm jack) with a switchable –12dB attenuator facilitates the processing of both passive and active instrument pickups. Outputs include a 6.3 mm jack output for connection to an amplifier or a PA, a thru output for tuning devices and a balanced XLR DI output.

Additional features include an FX insert for the connection of external effects, a headphone output for monitoring and a stereo auxiliary input (all 3.5 mm jacks) for external audio players such as MP3 players or smartphones.

There’s also a three-band EQ with semi-parametric mid control and a separate notch filter. The direct and preamp signals can be mixed as required with the integrated blend control, and a footswitch with optional bypass, mute or tuning function is located on the front panel.

For more information on the Acoustic Pocket Amp, head to Palmer-Germany.com.

Some of the most awesome benefits of an acoustic guitar are its portability and ability to be played almost anywhere (other than underwater). Unfortunately, however, in some cases, an acoustic guitar simply isn’t always loud enough. The Fishman Loudbox Mini Charge is the perfect companion for an acoustic-electric guitar when you want to be able to perform anywhere and be heard loud and clear without having to haul around a bunch of gear.

Featuring a rechargeable battery, compact dimensions, light weight and a ton of awesome features, the Loudbox Mini Charge delivers all the pro performance benefits of an acoustic guitar amp in a package you can carry anywhere in one hand.

FEATURES The Fishman Loudbox Mini Charge is a 60-watt combo amp with a 6.5-inch woofer and 1-inch soft dome tweeter that produces an impressive 108dB SPL at one meter. At slightly more than 21 pounds, the amp weighs about the same as a guitar in a hardshell case and measures less than one square foot. The rechargeable battery lasts anywhere from four (maximum volume) to 18 (low volume) hours, and a wall charger is included (an optional 12-volt car charger also is available).

Separate instrument and mic channels allow users to amplify both an acoustic-electric guitar and vocals, and Bluetooth 4.0 connectivity allows the Loudbox to amplify backing tracks from a smart phone. The instrument channel provides a ¼-inch input, gain, low, mid, high, digital reverb and chorus controls and phase switch, while the mic channel features an XLR input and gain, low, high and reverb controls. Separate LEDs monitor full power, low power and charging modes. Other features include a DC input that allows for using the amp plugged in or while charging, a 1/8-inch Aux input for line-level stereo audio sources and a Mix D.I. output that sends the output of the instrument and mic channels, Bluetooth and Aux to an external mixer or recorder.

PERFORMANCE The volume output of the Fishman Loudbox Mini Charge would be impressive for a regular plugged-in amp more than twice its size, but considering this amp can be played anywhere for hours on a single charge, it’s the perfect solution for street performers or even impressing friends around a campfire. The reverb and chorus effects add a professional polish, and the EQ controls are tuned to a very useful range for dialing in stellar acoustic guitar and vocal tones.

LIST PRICE: $657.83
MANUFACTURER: Fishman, fishman.com

● The rechargeable battery lasts anywhere from 4 to 18 hours and can be fully recharged in about 10 hours.

● Two separate instrument and microphone channels, each with reverb (plus chorus for the instrument channel) provide pro quality sound.

THE BOTTOM LINE If you love to play acoustic guitar in the great outdoors but still want to be heard loud and clear, the Fishman Loudbox Mini Charge provides the ultimate combination of sound quality, volume output and portability.

The era 1 may be the first acoustic guitar amp offered by Hughes & Kettner, but it comes with 25 years of acoustic amp design experience behind it.

That’s because the era 1 was designed in collaboration with Michael Eisenmann, who developed some of the music industry’s first acoustic guitar amps with his company, AER (apparently the model name is a tribute to Eisenmann’s roots).

By combining their collective amp-design know-how, Hughes & Kettner and Eisenmann have developed a revolutionary new acoustic guitar amp design that provides incredibly natural acoustic tone, impressively loud output, a full selection of professional features and a surprisingly compact size.

FEATURES
Measuring less than 14x11x11 (slightly larger than a bookshelf stereo speaker cabinet) and housed in a wood cabinet with a warm cherry finish (a version with traditional black textured covering is available for the same price), the era 1 makes a bold first impression with its gorgeous looks and diminutive dimensions.

But there’s a whole lot of power packed in that small box, including a 250-watt power amp, 8-inch speaker and 1-inch dome tweeter, all of which help deliver crystal-clear sound, four channels, 16 digital effects, versatile 3-band EQ, numerous outputs (including an S/PDIF TOSLINK optical out) and much more.

Channels 1 and 2 are designed for acoustic guitar and/or vocal mic and are fully appointed with bass, mid and treble EQ with switchable modes that tailor the EQ range for steel-string or nylon-string guitars, combo XLR/1/4-inch input jacks with phantom power switch, FX preset select and FX volume controls and switches for engaging a -10dB pad, pre-EQ tone shaping and a mute function. Channel 3 features a 1/8-inch input and volume control for external audio sources, and the effects loop can function instead as a fourth channel if desired.

PERFORMANCE
Despite its small size, the era 1 delivers huge performance when it comes to sound quality and versatility. Even at the full master volume setting, the sound remains crystal clean and undistorted—even when performing guitar and vocals at the same time, and the output is loud enough for solo performers in small venues or for use as a monitor on stage with a full band.

The effects, which include lush reverbs, delay, chorus and multi-effects, are well-suited to acoustic guitar and vocals alike. Best of all, the acoustic guitar tones are rich and resonant, retaining full acoustic character but at greatly increased volume levels.

LIST PRICE: $1,529
MANUFACTURER: Hughes & Kettner, hughes-and-kettner.com

● A compact acoustic guitar amp with a 250-watt power amp, 8-inch woofer, 1-inch dome tweeter, digital effects and much more.

● Channels 1 and 2 each feature an EQ mode switch that tailors the EQ response and frequency range for steel-string or nylon-string guitars.

THE BOTTOM LINE
Despite being about the size of a bookshelf stereo speaker, the Hughes & Kettner era 1 is a powerful full-range PA system that amplifies acoustic guitar, vocals and external audio sources at impressive volume levels for small venues and full-band onstage performances.

Nux has announced a new acoustic guitar amp, the Stageman AC50.

This two-channel amplifier offers a very rich acoustic guitar sound and vocal tone.

The Stageman AC50 includes a combination 1/4-inch / XLR mic channel input, and both channels have independent EQ and effects. It is equipped with a two-way high sensitive speaker system (1 x 6.5" woofers, 1 x 1" tweeter) for dynamic sounds.

Additional features include an FX Loop, MP3/CD Aux in, plus phono and D.I. out, bringing convenience to players’ daily practice and performance. A wood-textured modern design influenced by vintage amplifiers gives the amplifier a fresh look, and the speaker cover on the front can be easily removed for recording.

The Stageman AC50 also includes a mobile phone application and optional Bluetooth footswitch. With the app or Bluetooth footswitch, players can use built-in drum patterns and a looper function. The Bluetooth connectivity also provides an easy playback interface for your mobile devices. The Stageman AC50 price is listed as $369.99 MAP.

For more information, visit nuxefx.com.

Stageman AC50 Features:

• 2 Channels, Mic Input
• 3-band EQ (Bass, Mid, Treble)
• Chorus and Reverb effect
• 50 watts RMS
• 1 x 6.5-inch Woofer
• 1 x 1-inch Tweeter
• DI out
• 3.5mm (1/8) Aux-in
• FX Loop (SEND/RETURN)
• Separated phase switch
• Built-in Looper
• Built-in Drum Patterns

Mesa/Boogie is excited to announce the addition of the Rosette acoustic guitar amp series to its line of products, built in the company’s Petaluma, California, shop.

The new Rosette 300/Two:Eight acoustic combo amplifier and Rosette Acoustic DI-Preamp have been designed to deliver a new level of detail and clarity in acoustic amplification. A dedicated acoustic instrument platform, the Rosette Series is designed not just for acoustic guitars, but also for mandolin, ukulele, violin/fiddle, dulcimer, cello, upright bass and other uniquely acoustic instruments.

The new Mesa Rosette 300/Two:Eight acoustic combo amplifier features two highly versatile channels and 300 Watts of power via its lightweight Class D power section driving two 8” custom neodymium speakers. At only 30 lbs., gigging musicians will appreciate the ability to easily transport the Rosette between home, studio or gig. Feature packed with Mesa’s optimized input circuitry, the Rosette offers two full-featured channel strips perfect for amplifying any acoustic instrument.

Professional features include optimized input stages for both channels, with Channel 1 providing XLR and ¼” inputs and Channel 2 dedicated to a ¼” instrument input. Mesa claims their new optimized input circuitry addresses common tone degradation issues associated with compromised dual-purpose circuits fed by universal combo jacks, standard on many acoustic amplifiers today. For tone shaping, a 4-Band Semi-Parametric EQ with 2 sweepable Mids provides a level of tone control one might expect in upscale recording or live sound consoles.

The Rosette’s on-board Effects Suite includes three options: ROOM REVERB, HALL REVERB and REVERB AND CHORUS with parameter controls for adjustment of specific effect functions in each of the three modes. An FX BYPASS feature accepts a mono ¼” cable and provides a footswitch option (sold separately) to bypass the internal effects and/or any external effects that may be inserted in the EFFECT LOOP.

A HEADPHONE Output feature, for personal monitoring, with or without the combo speakers connected and a choice of three studio-quality DIRECT OUTPUTS are among the many professional features on board. Mesa claims that the Rosette’s depth of tone and frequency control place the new acoustic amp in a category beyond standard acoustic amps and more aligned with the best of high-end pro audio gear.

For those looking to go Direct, Mesa has designed the new Rosette Acoustic DI-Preamp with a concise range of professional tone shaping features. The Rosette DI-Preamp is based on the same front end and EQ circuitry found in the Rosette Combo, minus the microphone input, all derived from high-end recording console design. Mesa reports that this no-compromise approach ensures the purest signal path, lowest noise and unmatched accuracy.

A wide range of high impedance pickups can be accommodated with the Rosette’s optimized, current source-biased FET input stage. Phase relation can be switched for the best Tone and can also assist in feedback elimination. NOTCH FILTER and HI-PASS controls assist with feedback elimination in a live performance environment and the professional EQ Section incorporates fixed shelving BASS and TREBLE controls, plus two semi-parametric MID bands covering LOW and HIGH midrange frequencies.

The footswitchable BOOST provides up to a +6dB volume increase for stepping out in a solo and the MUTE Footswitch and TUNER OUT provide for silent tuning. The Rosette DI-Preamp back panel offers optimized Outputs to connect to a wide range of amps, effects, powered monitors and live sound and recording environments and delivers studio-quality sound in any live or recording venue.

“When we turned our focus and 48 years of amp design experience toward amplifying natural acoustic instrument sound, one thing more than any other stood out as an objective; Do No Harm. In its sincerity and perfection, there is no reason to ‘enhance’ the sound of the acoustic instrument, but rather just reproduce it.

"We chose to start there and then provide enhancement as a second level of control. Our commitment to this goal guided us throughout the development of the Rosette Series. The result, we feel, is the most accurate acoustic Instrument amplification products available today. Once you hear how accurately we’ve captured the voice of acoustic sound, we’re convinced you’ll agree that the Rosette offers unmatched performance in acoustic amplification,” said Doug West, director of marketing at Mesa/Boogie.

To learn more about the Rosette Acoustic Series from Mesa/Boogie, visit mesaboogie.com.

Boss (Booth 303A, Level 3) has introduced the Acoustic Singer amplifier series, a new line of stage amps designed for acoustic guitar and vocals.

Offering class-defying sound and onboard features such as Acoustic Resonance, looping, automatic harmonies, effects, and more, the compact ACS amps give acoustic musicians everything they need to deliver inspiring and impactful live performances.

The Acoustic Singer Pro ($699 U.S. Street) and Acoustic Singer Live ($499 U.S. Street) models are carefully tuned for pro-level audio performance on stage. Newly designed bi-amped power sections and custom speakers provide punch and dynamics previously unavailable in this class.

The Acoustic Singer Pro is equipped with an 8-inch speaker, dome tweeter, and 120 watts of power, while the Acoustic Singer Live is equipped with a 6.5-inch speaker, dome tweeter, and 60 watts of power.

The Acoustic Singer amps offer independent channels for acoustic guitar and vocal. Each channel features a discrete analog input circuit and three-band EQ for studio-quality sound, plus an input pad, anti-feedback control, and dedicated reverb. The vocal channel can alternately be used to mic an acoustic guitar, or to connect a mic or second pickup installed in the guitar.

The guitar channel features Acoustic Resonance processing for restoring natural, woody tone to stage guitars with undersaddle piezo pickups. Two types of chorus effects are available as well. The vocal channel is equipped with selectable phantom power, plus a lush delay/echo effect optimized for voice.

A unique feature of the Acoustic Singer amps is a built-in vocal harmony function, which is derived from the popular VE-8 Acoustic Singer pedal. It provides real-time harmonies that follow the guitar input, making it easy to achieve impressive vocal sounds automatically. Each Acoustic Singer amp is also equipped with a looper, allowing users to create on-the-fly backing with vocals and guitar.

Acoustic Singer amps feature balanced DI outputs for connecting to a stage PA, plus USB for direct recording to a computer. There’s also an aux input for playing backing music from a smartphone, as well as jacks for connecting optional footswitches to control looper, harmony, and effects functions while performing.

To learn more about the Acoustic Singer Pro and Acoustic Singer Live, visit Boss.info.

For all of Guitar World's 2017 Winter NAMM Show coverage, head here.

German amp manufacturer AER: The Acoustic People and guitarist Tommy Emmanuel have formalized their relationship with the release of the new Compact TE signature acoustic guitar amp.The accomplished Australian fingerstyle player has long been an unofficial AER ambassador and one of the best-known users of the company's products. Over the years, Emmanuel has relied on a number of different AER amps and has recently incorporated the company's Colourizer sound-shaping preamp tool into his rig.

• "Our relationship with Tommy began organically several years ago. He has always played our amps 'as-is'," said AER President Udo Roesner. "No tweaks, no hidden secrets. So rather than piling on a list of additional features that Tommy himself has never relied on, we chose instead to give his amp a truly personal feel by incorporating tributes to several of his influences."
• The signature amp is based on AER's best-selling Compact 60, the 60W model used most often by Emmanuel.
• Aboriginal art etched into one side of the cabinet symbolizes Tommy's deep love for his homeland of Australia and its people, and in particular his connection to Aboriginal Australians.
• On the opposite side of the cabinet, Tommy's "TE" initials are carved into the cabinet as well as "CGP"—a tribute to Tommy's mentor Chet Atkins, who bestowed upon Tommy the honorable designation of Certified Guitar Player (C.G.P.). Tommy was one of only five guitarists ever to receive the distinction from Chet.
• In another subtle personal touch, AER has incorporated a reverb/delay effect setting from the Alesis Midiverb II, long used by Tommy, into the Compact TE's onboard effects section (in position 3). Additionally, contrary to the standard Compact 60, the DI Out signal will incorporate the effects. Finally, the gig bag strap features signature embroidery.
• The amp will begin shipping to North American retailers in mid-September 2016.

USA Suggested Retail Price: $1499

For more information, visit aer-amps.com.

GOLD AWARD

The acoustic guitar amp is an unusual beast.

The most ideal designs generally combine the powerful, clean performance of a professional sound system with the tone shaping capabilities, effects, and portability that guitarists demand.

While several guitar amp companies and sound system companies offer good acoustic guitar amps, only a handful of companies have true expertise in both areas, and one of those companies is Carvin Amplifiers. The AG series from Carvin Amplifiers offers a variety of acoustic guitar amps ideal for small venues such as restaurants, coffee houses, clubs, and small auditoriums.

The AG200 is Carvin Amplifiers “in between” model, which offers powerful output and versatile features in a compact, all-in-one combo format.

FEATURES

The AG200 features a 200-watt power amp (or 250 watts at 4 ohms with an 8-ohm extension speaker cabinet connected) and a two-way speaker system consisting of two 6.5-inch full-range speakers and a high-frequency tweeter. The control section offers three independent channels, two of which featuring inputs optimized for piezo or magnetic pickups and a hi-Z input switch. Each channel also offers balanced XLR mic inputs (channels one and two also can provide 48V phantom power to condenser mics and a gain switch), and channel three provides a 1/8-inch stereo line level input. Each channel has its own volume, hi and low EQ, and two-way effect level controls (for adjusting the level of effect 1 or 2), while channels one and two also have parametric midrange EQ with an adjustable peak frequency range between 100Hz and 2kHz.

A pair of digital DSPs provides echo, reverb, and chorus effects for individual channels as well as the overall output mix, and an effect loop allows users to patch in external effects. Effects can be switched on and off with an optional footswitch controller. Other pro features include an XLR direct output with level control, 1/4-inch tuner/headphone output jack, and a USB charging port.

PERFORMANCE

The sound quality of both the AG200’s amplified acoustic guitar signal and effects is simply pristine. The guitar’s tone is full, rich, and natural sounding, and the amp can get quite loud without a trace of distortion. The midrange EQ allows guitarists to dial in warmth and definition while avoiding the less pleasant “quack” attributes of some piezo pickups. Thanks to its built-in tilt-back stand and pole mount for suspending the cabinet from a speaker stand, the amp can be placed anywhere the user wants for optimum sound dispersion.

LIST PRICE: $799
MANUFACTURER: Carvin Amplifiers, carvinaudio.com

•A 200-watt amplifier and two-way speaker system provides impressive volume output and warm, natural acoustic guitar tones.

•A pair of digital DSPs offer echo, reverb, and chorus effects for individual channels (one effect per channel) as well as the overall mix.

THE BOTTOM LINE Carvin Amplifiers guitar amp and sound system expertise result in a compact acoustic guitar amp with warm, natural sound that delivers the punch and power of a full-sized sound system.

Fender has announced an addition to its acoustic amp line this month, the Acoustic Pro and the Acoustic SFX. Both amps provide two completely different sounds and experiences.

From the press release:

Each amp is as practical as it is aesthetically pleasing. With smooth bent plywood construction, the Pro and the SFX are the perfect combination of high-grade materials and modern curvature, designed to enhance and give sophistication to the outward projection of guitar tone.

The Acoustic Pro is a true “audiophile amp,” delivering superior live sound. This 200-watt amp has two universal channels designed for guitars or microphones, each with its own 1/4” – XLR combo jack and hall reverb. This performance-friendly amp also features an integrated handle and tilt-back kickstand, full-sounding 12” neodymium woofer, high performance tweeter with crossover network, feedback-reducing phase switches, balanced line output, effects loop and Aux In jack – perfect for accompaniment in a larger venue.

The Acoustic SFX offers state-of-the-art technology for a lush sonic experience unlike any other. With a lightweight design, portability and room-filling Stereo Field Expansion technology, the SFX is the ultimate solution for the acoustic player looking for a grab-and-go rig for small venues. The amp imparts dynamic life to the onboard hall reverb, echo, delay, chorus and Vibratone effects – moving them around the listening area for an amazingly multi-dimensional sound. If a player is also looking to add an accompaniment to their performance, the integrated handle doubles as a convenient cradle for mobile playback devices, via the Aux In jack. Other features include feedback-reducing phase switches, line output, two universal channels designed for use with guitars or microphones, and a footswitch jack for the optional two-button effect bypass footswitch.

Both models also include a voltage that is switchable for universal 100 to 240 volt worldwide operation and a fitted cover.

Whether someone is looking to play in a coffee shop, club or arena, each amp offers unique capabilities for every type of acoustic player. Both amps will be available online and at select dealers this month.

For more information, visit Fender.com.

Pat Quilter has answered the call for 15-inch power in a portable package.

The highly anticipated Steelaire amplifier redefines what can be expected from a large-format guitar amp.

Sporting a custom Eminence Neodymium speaker and a full 200-watt amplifier with 400 watts of headroom, the Quilter Labs Steelaire delivers an incredible sonic signature in a minimal footprint.

Designed with the steel player in mind, the amp comes packed with a host of features designed to extract the most tone from the instrument and deliver the most power in the lightest possible configuration.

Already on the road and in the studio with Deke Dickerson (Reverend Horton Heat), Tim Sergent (Dierks Bentley), David Hidalgo (Los Lobos), Fish Herring (Christina Aguilera), Rami Jaffee(Foo Fighters, Wallflowers) and many others, it has more than proven its incredible capabilities.

The custom speaker, the result of a collaboration between Quilter and Eminence, has gained ground on what a big, clean speaker is capable of. Starting with Eminence's rugged cast-frame 15-inch platform for maximum durability, they added a 3-inch aluminum voice coil and hyperbolic cone to assure outstanding frequency response, power handling and freedom from breakup. As a finishing touch, a 4-inch aluminum dome adds a hint of sweet metallic tang, resulting in a creamy full-bodied tone with a citrus-y finish.

The slimline cabinet is the result of a series of tone tests conducted with top professional players. With incredible ease of transport and minimal stage footprint, it is delivering on the promise of space age technology in a whopping powerful amp.

The amp includes a reinforced ballistic nylon cover and features a range of accessories available separately.

SPECS:

• Portable: 35 Pounds(16kg), 21 x 23 x 9 in (53.4 x 58.4 x 22.9 cm)
• Powerful: 200 watts (400 watts of internal headroom for maximum voltage swing)
• Dual inputs: Supports multiple instruments or buffered pedal loop
• Input mode selector: Selects Ch1, Mute, Ch2, or Ch1+2
• 4 Band EQ: Bass(100 Hz), Low Mid(500 Hz), High Mid(2kHz), Treble(5kHz)
• Limiter: Fully adjustable from clean to dirty
• Tremolo: Adjustable depth and rate
• Reverb: Adjustable depth, dwell, and tone
• Master: Adjusts output power from 0 to 200 watts
• Dual speaker outputs: 1/4", 2 to 16 ohms
• Remote control connection: Accepts RJ45 cable (Cat 5,6,7,etc.)
• Effects loop: Send, Return, and 9 volt DC out, 200 mA max
• Direct Out: 600 ohm, isolated balanced 300 mV peak
• Available accessories: Floor mount or leg mount 6 way remote controller, tilt back legs and free ballistic nylon cover

“This is the clean dream machine you have been waiting for,” says CEO Chris Parks. “The incredible custom speaker delivers a creamy full bodied tone with a powerful sizzling finish. I can’t stop playing it. Clean or dirty, pedals or straight, you are going to be stunned. There is simply no other sound like this available today. This is the future of the large format clean dream machine.”

The suggested retail price is $1,399 U.S.

The Steelaire is available for immediate shipment. Visit quilterlabs.com for more information or to find a dealer.

An electric guitar amp at its cleanest still has distortion engineered into it, and you wouldn’t want it any other way. It’s that distortion that fattens the tone, adds a little edge and puts the magic that we call “electric” into the sound. In addition, electric guitar amps add highs to the sound in the form of overtones generated by the electronic circuitry. They are not optimized to capture and reproduce the natural, ringing highs of acoustic guitars. It’s the unnatural way that electric amps handle the characteristic ring that most disappoints acoustic guitarists playing through electric guitar amps.

Of course, this doesn’t stop people from plugging their acoustic guitars into electric guitar amps. And I think the sound of an acoustic plugged into an electric guitar amp, along with some effects, is one of the most exciting areas in acoustic playing right now. Experiment and you’ll find lots of new and pleasing sounds.

However, don’t expect the sound to be “natural.” Sometimes you can come pretty close, and it seems that some guitar/preamp/amp combinations can get closer than others to accomplishing this. But if it’s a really natural sound you want, then you need equipment that is specifically designed to give you just that.

The right equipment generally means either a PA or specially dedicated acoustic guitar amp. PA’s are generally for bands that want to mix several singers and instrumentalists through a single sound system, using a combination of microphones and direct inputs. Owning, transporting and setting up a PA is a big deal, If you’re playing by yourself or with just a couple of friends who have their own amplification equipment, you should probably be checking out acoustic guitar amps. They are smaller, more convenient and generally cheaper than a PA, and are apt to be more useful. Some currently available models have a separate channel for a mike input, so you can even use them to amplify your singing as well.

• There are man brands of acoustic guitar amps on the market today, in a large variety of shapes, sizes and prices. As you evaluate them, bear these points in mind:
• Power matters. It requites more Watts to produce an equivalent volume level of clean sound than it does dirty sound. Acoustic guitar amps are clean and, as a result, need more power. At 25 Watts, an acoustic guitar amp will serve you in an intimate performance space where everyone is listening to you in rapt silence, or get you heard above the drums in a mellow jam. For more than that, you’ll need more power.

•Some dramatically high-tech speaker configurations are available in today’s technologically competitive market, and it’s easy to fall for them. Many of these speaker features deliver on their promises but also add – just as dramatically – to the cost and weight of the product. Use your ears and intuition when deciding what’s best for you.

•Acoustic guitar amps are generally designed to capture the subtlest nuances of the instrument’s sound – including some you may not want, like the squeak of finger slides. Listen carefully to how well the high-frequency knobs or sliders allow you to control fret noise.

•It’s a good idea to look for an amp that has a reverb affect and an anti-feedback (or “notch”) feature built in. Both can also be purchased separately as outboard devices.

•Finally: Amps featuring an extra channel, with its own controls, for a microphone and/or and additional instrument can be had, although at increased cost.

There are lots of great acoustic guitar amplifiers currently on the market, and as usual, the best thing you can do for yourself is to go down and try ‘em out.

In the following video, reviewer Justin Horenstein demos the Roland AC-40. This is a compact acoustic guitar amp that’s super lightweight at less than 12 lbs. It has dual 6.5 inch speakers for stereo and a tilt stand to angle the amp upwards. The amp has two channels, each with their own independent EQ, reverb, and chorus controls. Channel 1 has a dedicated GUITAR input, and Channel 2 has a MIC/LINE input for another acoustic guitar or mic for vocals.

The amp also has a master volume and anti-feedback switch that gets rid of unwanted noise. On the back panel, there’s a headphone jack, an AUX input to plug into a music player for jamming along, and a LINE OUT for plugging into larger PA systems. Finally, there’s a footswitch jack for using the Boss FS5U or FS6U to control the chorus and reverb.

Justin Horenstein is a guitar instructor and musician in the Washington, DC metro area who graduated (cum laude) from the Berklee College of Music in 2006. He plays in Black Clouds, a 3-piece atmospheric/experimental band. Their debut album was recorded by J Robbins (Jawbox, Burning Airlines). Justin’s 18 years of musical experience also includes touring the U.S., a record deal under Sony, starting his own teaching business, recording several albums, and playing club shows with national acts including Circa Survive, The Dillinger Escape Plan, Biffy Clyro, United Nations, Caspian, and more. More about Justin at 29thCenturyGuitar.com and BlackCloudsDC.bandcamp.com

In this video, reviewer Justin Horenstein demonstrates the Ultrasound CP-100 acoustic guitar amp.

This is an amp specifically built for acoustic instruments such as guitar, mandolin, fiddle and even vocals. It has a single 8’’ speaker and 100 watts of power. It’s made to be transparent, so it won’t add color to the tone of your acoustic instrument.

The CP-100 boasts two channels, each with 1/4’’ and XLR inputs. While both channels have their own volume, bass, and treble controls, channel two has a notch filter and shape control to dial in a more specific sound.

Other features include digital effects assignable to either or both channels, line out, direct out, CD/tape input, and an FX loop to allow for more complex signal chains.

Here Horenstein runs through the features and plays through several of the internal effects.

Justin Horenstein is a guitar instructor and musician in the Washington, DC metro area who graduated (cum laude) from the Berklee College of Music in 2006. He plays in Black Clouds, a 3-piece atmospheric/experimental band. Their debut album was recorded by J Robbins (Jawbox, Burning Airlines). Justin’s 18 years of musical experience also includes touring the U.S., a record deal under Sony, starting his own teaching business, recording several albums, and playing club shows with national acts including Circa Survive, The Dillinger Escape Plan, Biffy Clyro, United Nations, Caspian, and more.

More about Justin at 29thCenturyGuitar.com and BlackCloudsDC.bandcamp.com

Below, check out the latest gear demo video to be posted by Marshall Amplification.

In it, guitarist Chris George demos the AS100D guitar amp at the Marshall Theatre.

For more about the AS100D amp, visit marshallamps.com.

The Guitar World video crew visited the Roland booth at the 2013 Summer NAMM Show in Nashville in July.

While we were there, we caught up with Roland's Gary Lenaire, who showed us some of the company's newest products, including the AC-40 Acoustic Chorus Amplifier.

From Roland:

With their natural acoustic sound, true stereo output, onboard effects, and more, Roland’s acclaimed AC-series amps are the trusted choice among performing guitarists, singer/songwriters, and other acoustic musicians. The all-new AC-40 Acoustic Chorus Guitar Amplifier is a powerful addition to the diverse AC family, offering big sound in an extremely lightweight and compact amp.

Equipped with dual channels that support a guitar and mic or two guitars, the AC-40 provides solo and duo artists top-flight mobile sound reinforcement with ample projection for typical performance venues.

For more about the AC-40, visit rolandus.com.

Roland has announced the AC-40 Acoustic Chorus guitar amp.

It's the latest addition to the AC family of stereo acoustic amps with built-in effects. Perfect for performing guitarists and singer/songwriters, the mobile AC-40 produces clean, loud, and natural acoustic tone, and features a versatile dual-channel configuration that supports both a guitar and a microphone.

Compact and weighing less than 12 pounds (5.3 kg), the AC-40 delivers big and rich sound despite its small size. Dual custom-designed 6.5-inch speakers offer impressive projection for performing in venues such as intimate nightclubs, restaurants, and coffee houses. True stereo output plus onboard stereo chorus and reverb effects provide studio-quality depth and dimension that’s not possible with standard mono amps.

With two independent channels, the AC-40 gives players pro versatility for any performing situation. The dedicated GUITAR channel features a standard ¼-inch input, while the MIC/LINE channel has an XLR/TRS combo input for connecting a microphone or a line-level device. Each channel has its own three-band EQ for sound shaping plus independent chorus and reverb controls, giving users total command over their tone.

The convenient anti-feedback function provides a simple solution for controlling problematic acoustic feedback automatically, allowing users to perform on stage without worry.

On its rear panel, the AC-40 has flexible connectivity options for a variety of situations. The stereo AUX IN allows users to plug in an external music player for backing tracks and practice, while mono/stereo LINE OUT jacks can be used to connect directly to PA systems or recording devices. Plugging into the PHONES jack mutes the internal speakers, ideal for silent practice sessions. A jack is also provided for turning the reverb and chorus effects on/off with optional footswitches.

For more information, visit RolandConnect.com.