ROCK the HOUSE Thirteen acoustic-electrics for under $1,000 By Teja Gerken

Ever since Gibson introduced its J-160E in 1954, electrified acoustic guitars have captured the imaginations of all sorts of guitarists. With the rise of rock ’n’ roll and concert volumes in general, miking an acoustic guitar on stage became less of an option. Acoustic-electrics can’t reproduce all of the subtleties of a fine acoustic instrument, but they allow acoustic guitarists to be heard above the din.

Ovation reinvented the concept of the acoustic-electric in 1970. Baldwin had tried amplifying acoustic guitars using piezo-electric crystals in the saddle, and Martin had experimented with magnetic D’Armond pickups, but Ovation refined the existing piezo pickup technology. Soon large numbers of players were adopting the company’s new instruments as their main on-stage axes. Ovation also moved the guitar’s volume control to the side of the guitar, away from the vibrating top, a design innovation that is still popular today.

Over the years, most off-the-shelf acoustic-electrics have evolved to include active electronics, sophisticated on-board controls to battle feedback (including graphic or parametric EQ), and even digital effects. While many companies simply add electronics to their standard acoustic models, more and more instruments are being designed and built specifically with amplification in mind.

For this review, we asked manufacturers to send us a thin-bodied flattop steel-string guitar that was designed from the ground up as an acoustic-electric instrument. These guitars are particularly popular among younger players and those looking for a second instrument, so we asked manufacturers to send us guitars with list prices under $1,000. We ended up testing 13 guitars that represent a variety of different approaches.

Among the more radical submissions were the Carvin AC375, Fender Telecoustic, and Godin A6, which offer feel and playability similar to that of purebred electrics but don’t have much of an acoustic sound. Most of the guitars we received are constructed like standard flattops but with a shallower depth (to prevent low frequencies likely to cause feedback), heavier bracing, and smaller bodies than their purely acoustic cousins. Some of these instruments feature laminated tops, which have little impact on amplified sound. All the guitars feature cutaways, long scales (around 25½ inches), under-saddle pickups, and on-board preamps (all powered by nine-volt batteries, except the Hohner HFX’s, which uses six AA batteries) with a variety of controls.

The pickup systems in some of these guitars were designed and built by the guitar maker. Others came from well-known electronics companies such as Fishman, Shadow, and L.R. Baggs. The electronics in some of these guitars, such as the Fishman Sonicore Coaxial pickup in the Martin and Ibanez instruments and the custom L.R. Baggs preamp in the Godin A6, are available only in these instruments and cannot be purchased as stand-alone devices from the manufacturers. The innovative design of the Shadow pickups used by Dean, Epiphone, and Hohner sets them apart from most under-saddle pickups. Instead of sandwiching the pickup between the saddle and the bottom of the bridge slot, Shadow’s saddle and pickup are seated in a U-shaped rail, which is installed in the bridge slot as a solid unit. This design allows for easy action adjustments (using plastic shims) that won’t disturb the pickup’s delicate string balance.

To test these guitars under realistic conditions, we took them to the local hotspot for acoustic music, Berkeley’s Freight and Salvage (www.freightandsalvage.com). This coffeehouse is equipped with an excellent Meyer Sound PA. With the help of engineer Jim Carter, we used an L.R. Baggs Para DI (set flat) as a direct box, made necessary tone adjustments on the guitars themselves, and cranked up the monitors to test the guitars’ feedback resistance. We also ran the guitars through their paces using an Ultrasound AG-50D acoustic guitar amp. On hand to lend an ear were Acoustic Guitar’s music and Web editors, Andrew DuBrock and Paul Kotapish, and Deborah Pardes, a San Francisco–based singer-songwriter with two CDs under her belt and lots of experience playing in clubs (for more information, visit www.mentlmusic.com).

We were all surprised by how similar the majority of these guitars sounded once we plugged them in and dialed in the desired tone. A casual listener might be hard-pressed to hear the differences between them. We also found that the player had a lot more control over the instrument’s sound than the pickup or preamp setting did. Some guitars sounded unappealing in the hands of one player and really pleasing in the hands of another. That’s why it is absolutely crucial that you play the acoustic-electric you’re considering before plunking down the cash.

ALVAREZ FD 60

$799 without case. Limited lifetime warranty. Laminated curly maple top, laminated maple back and sides, rosewood fingerboard and bridge. Alvarez System 600T electronics. Made in Korea.

With a thin body (about 3½ inches deep) and a dreadnought-size top, the Alvarez FD 60 is one of the larger guitars we reviewed, and it has a pleasing acoustic voice. Its stiff all-maple construction allows the FD 60 to resist feedback at higher volumes. The setup and playability of the instrument we received were very good, although the frets were a bit rough. The FD 60 features Alvarez’ System 600T electronics, which includes three-band EQ (with semiparametric mids), notch filter, phase-reversal, master volume, and a couple of unique capabilities. A built-in chromatic tuner works whether the guitar is plugged in or not, and an input for an auxiliary source (which unfortunately doesn’t provide the phantom power needed by most internal mics) allows you to add to the system’s basic sound. Alvarez’ own pickup, which is made up of six individual saddles, provided excellent balance and a very natural sound when the guitar was lightly fingerpicked or strummed. A heavier attack resulted in some harshness, but it was easy to tweak the preamp to smooth out the tone. We successfully used the preamp’s auxiliary feature to add the signal from a Sunrise magnetic pickup into the mix and thus expanded the expand FD 60’s tonal capacity.

CARVIN AC375

$839 without case. Five-year warranty. Solid Engelmann spruce top, solid mahogany back and sides, ebony fingerboard and bridge. Fishman Prefix Pro electronics. Made in the U.S.

Carvin is best known for its electric guitars and basses, and the AC375 is the company’s first foray into the acoustic guitar arena. It features all solid-wood construction and a neck with a 1¾-inch nut width and an acoustic feel. The AC375 is constructed with high-quality materials, and the craftsmanship on the guitar we tested was very good with the exception of a few drops of glue inside its body. I suspect that the acoustic qualities of the guitar could be improved if the top braces went all the way into the kerfing on the sides, rather than stopping about a quarter inch short. The AC375 uses locking Sperzel tuning machines, which require less winding of the strings around the posts and promise greater tuning stability. Inside the AC375, Fishman’s Prefix Pro preamp, which offers easy battery changes due to its flip-up design, was paired with Fishman’s top-of-the-line Acoustic Matrix pickup. The guitar was extremely playable, although heavy strumming caused it to buzz a little--a problem that could be cured with heavier strings and higher action. We all liked the neck and fretwork, and Pardes commented on the excellent feel in the upper register. The guitar doesn’t have much acoustic volume or richness of tone, but it could certainly be used unplugged for practicing. When it was plugged in, the treble was slightly thin but the overall sound had a lot of punch. The AC375’s high feedback resistance, great feel, and quality electronics should make this a winner for high-volume situations. Unlike the other guitars reviewed, Carvin instruments can only be ordered directly from the factory at (800) 854-2235 or www.carvin.com. The company offers a ten-day, no-risk trial period.

DEAN FRANA

$699 without case. Five-year warranty. Solid Engelmann spruce top, laminated rosewood back and sides, rosewood fingerboard and bridge. Shadow P7 electronics. Made in Korea.

With two deep cutaways, an unusual bridge design, attractive rosewood back and sides, Grover tuning machines, and abalone purfling and rosette, Dean’s Frana gives off a heavy rock ’n’ roll vibe that is anything but subtle. Upon close inspection of our review instrument, however, some visual flaws in craftsmanship became apparent, including fingerboard dots that didn’t line up. The instrument would also have benefited from some additional setup work. Its high action made it difficult to play, and even after I lowered the saddle, a poorly cut nut prevented the strings from getting as close to the neck as they should be. Less-than-perfect fretwork also caused the guitar to buzz, particularly the treble strings. The Frana sounded best when it was played through an amplifier; through the PA, the tone was rather thin and piezo-heavy. With the help of a little extra setup work, however, Dean’s Frana would be a usable, inexpensive, and flashy ax.

EPIPHONE AJ-40TLC

$699 without case. Limited lifetime warranty. Solid spruce top, laminated mahogany back and sides, rosewood fingerboard and bridge. Shadow Epiphonic electronics. Made in Korea.

As part of Epiphone’s AJ line, this guitar draws its inspiration from Gibson’s classic Advanced Jumbo design. It features a large (approximately dreadnought size) top, but the sides measure only about 3½ inches at their deepest. The guitar’s vintage vibe is further enhanced by its sunburst finish and classic large Epiphone headstock. The craftsmanship and choice of materials (including abalone binding on the top) is impressive for a guitar in this price range. The instrument we reviewed was well set up, and its solid top and voluminous size gave it a pleasing acoustic voice for both strumming and playing single-note lines. It sounded good through both the PA and the amp.

In addition to volume and sub-bass sliders and a phase-reversal switch, the amplification system in the AJ-40TLC features push-button EQ presets for players who want to dial up a number of different sounds on the fly. Lead, Rhythm, and Bass are preset EQ settings, Flat provides an even response, and User can be configured by the player via a set of tiny screwdriver-operated Bass, Mid, Treble, and Bright controls. We didn’t care for the preset EQ settings; we found the Flat and User settings to be the most practical and thought that conventional tone controls would have been more useful for quick sound adjustments. One feature we did like was the Epiphone’s XLR output jack, which allows the use of balanced cables without the need for a DI. Overall, the Epiphone sounded very good played acoustic and provided practical electric sounds.

FENDER TELECOUSTIC

$429.99 without case. Limited lifetime warranty. Solid spruce top, fiberglass back and sides, rosewood fingerboard and bridge. Fender electronics. Made in China.

If you’ve always wanted to wield a Telecaster on stage but were bound by the need to sound acoustic, this may be the ax for you. With the neck of its solid-body counterpart and a body barely deeper than the electric Tele’s, the Telecoustic conjures up rock stars and country twangers. The action on the instrument we reviewed, however, was set way too high, and the strings were far too heavy for this type of instrument. Although the Telecoustic sports a solid top, its acoustic sound was not its strongest feature. Befitting its origins, the instrument sounded best when it was plugged into an amp. In that setting it provided a basic, feedback-free sound with adequate control from the on-board preamp, which features four bands of EQ and a volume slider. I accidentally drained the battery a couple of times by leaving the manual battery switch in the "on" position; hopefully future versions of the system will be turned on (like those in most of the other instruments reviewed) by plugging a cable into the guitar’s output jack. All in all, the Telecoustic can’t compete with higher-priced instruments in this category, but it would look pretty cool fronting a band.

GODIN A6

$795 without case. One-year warranty. Solid cedar top, maple back and sides, rosewood fingerboard and bridge. L.R. Baggs electronics. Parts made in Canada, assembled in the U.S.

The A6 is the least expensive option in Godin’s impressive collection of acoustic-electrics, which includes the Acousticaster and the Multiac. With a body that is routed (to create hollow chambers) from a solid piece of maple and topped with solid cedar, this is the thinnest and most radical of the instruments we reviewed. Its only soundhole is the collection of slots cut to house the volume and EQ sliders. The A6 features a Fender-style bolt-on neck and factory-installed light-gauge electric strings (.010–.046). The guitar’s unplugged sound is anemic at best, but the A6 has an amazingly accurate electric guitar feel, which can be attributed to its great setup and excellent craftsmanship. The L.R. Baggs Ribbon Transducer gives the guitar a solid acoustic-electric voice. Although the light strings contributed to a bit of piezo quack--and also pushed the guitar to its limit on hard strums--they did allow for a full range of electric techniques, and the guitar sounded great on single-note work, arpeggiated picking, and light strumming.

HOHNER HFX

$829.95 with deluxe gig bag. Limited lifetime warranty. Solid spruce top, mahogany back and sides, rosewood fingerboard and bridge. Shadow MT-8 electronics. Made in Korea.

Hohner’s new acoustic-electric seeks to bring electrified acoustics into the digital age. While the HFX is based on a full-size cutaway dreadnought design, its Shadow preamp offers a new level of on-board effects and presets. The materials, craftsmanship, and setup on the instrument we tested were all good. Thanks to its full-bodied design, the Hohner has a rich and balanced tone and plenty of volume.

If you’re one of those people who hasn’t yet learned to program a VCR, you may find the complexity of the Shadow electronics a bit daunting. The control panel features nine push buttons, a multipurpose rotary control, and a liquid crystal display. In addition, a battery compartment (with six AA batteries) and output jack panel located next to the endpin. Available effects include reverb, chorus, delay, compression, and limiting, and there’s also a chromatic tuner (which unfortunately works only when the guitar is plugged in). Once you understand the controls, it’s fairly easy to make new patches and edit existing ones. The effects are reasonably quiet and enable you to use a variety of processed sounds. It was difficult to get a truly natural sound from the guitar, however, as even a touch of reverb resulted in a certain amount of digital chill. But the HFX’s nice acoustic tone and low price should make it interesting for those who’d like to experiment with effects without spending a lot of money.

IBANEZ AEF30-TVS

$639.99 without case. Limited lifetime warranty. Laminated maple top, back, and sides; rosewood fingerboard and bridge. Ibanez/Fishman electronics. Made in Korea.

Ibanez’ AEF30-TVS borrows many visual elements from the company’s line of high-end electric archtop guitars. Large pearl and abalone fingerboard inlays, a bound neck, multiple bindings around the body, a flame maple top, and a cool purple stain make for a very sharp-looking instrument, and the arched back eliminates the need for back bracing. The guitar’s construction is fairly heavy and the overall craftsmanship was acceptable for the price, but there were several places inside the body where the kerfing was glued only to the sides and didn’t touch the top or back. We found the guitar to be comfortable to play, and Pardes commented that the neck felt very much like her Martin Shenandoah’s. The action was high enough for hard strumming without buzz, but I suspect that many players would prefer a lower string height. Because the saddle on the instrument we reviewed was already very low (with hardly any string break-angle on the first and sixth strings), it would be difficult to adjust. A flaw like this could lead to problems down the road, since many guitars need their action lowered as they settle over the years. The Ibanez produced a rich and loud acoustic voice with bright trebles and a slightly muffled bass, and it had a very bright, though somewhat thin, amplified sound. A bit of tweaking of the on-board EQ resulted in usable sounds, making the guitar a versatile and flashy contender.

MARTIN 00CXAE

$799 without case. Limited lifetime warranty. High-pressure-laminate top, back, and sides; micarta fingerboard and bridge. Fishman Classic 4 electronics. Made in the U.S.

In several ways, the Martin 00CXAE is the most unusual instrument we reviewed. Its body is constructed primarily of a high-pressure laminate material, and its fingerboard and bridge are made from micarta (a material often used for nuts and saddles). Besides being an alternative to endangered woods, these composite materials are also much less sensitive to changes in temperature and humidity, resistant to cracks and other damage, and inexpensive.

The body of the 00CXAE follows Martin’s traditional 00 outline but measures only three inches at its thickest point. The guitar’s neck—which also follows standard Martin dimensions—is made from a material called "stratabond," which consists of multiple layers of resin-impregnated wood. The guitar was set up superbly for both strumming and fingerpicking. Although its acoustic sound was not loud by any means, it had a great organic voice that was rich and balanced--like a "real" acoustic guitar, only quieter. Plugged in, the guitar continued to sound great, although we had to take out some highs and mids on the on-board EQ to get rid of an initial harshness. With its excellent playability, ruggedness, and variety of cool sounds, this is a great inexpensive guitar.

OVATION 1861 STANDARD BALLADEER

$949 without case. Limited lifetime warranty. Solid spruce top, shallow-bowl lyracord back, rosewood fingerboard, walnut bridge. Ovation OP-24 Plus electronics. Made in the U.S.

Ovation’s Balladeer line has been offered by the company since the ’70s. Periodic updates have resulted in today’s Standard Balladeer, the least expensive of Ovation’s U.S.-made guitars. With its shallow bowl and easy-playing setup, the 1861 is a very comfortable instrument, and while some players may need to get used to its triangular neck, it does provide a solid grip, particularly for playing chords. The guitar had the well-balanced, somewhat compressed acoustic sound the company is famous for, with an emphasis on high and mid frequencies. These qualities can most likely be attributed to Ovation’s round back and unique A-bracing on the top, which uses lateral struts rather than the X-bracing found in most steel-string guitars.

When it was plugged in, we were astonished by how well the Balladeer held its own. It sounded natural, particularly when strummed, and we didn’t need to make any adjustments. Single-note flatpicking and fingerpicking resulted in some piezo quack, especially when it was played though the amp. Besides offering basic controls for volume and EQ, the OP-24 Plus preamp also features push buttons for a preset EQ setting that reduces the mids (similar to a "smiley-face" setting), a "mid-shift" function that changes the mid-EQ point from 400Hz to 1 kHz, and an EQ bypass. If you like the unique Ovation look, feel, and sound, you can’t go wrong with this one.

TAKAMINE EF261 SAN

$999 without case. Limited lifetime warranty. Solid cedar top, mahogany back, and sides; rosewood fingerboard and bridge. Takamine Graph-EX electronics. Made in Japan.

Takamine’s EF261 SAN features a grand concert size body (Takamine calls it "FXC") with a fairly standard depth. The guitar’s thin neck (1 5/8 inches at the nut) has a shallow profile and contributes to the instrument’s compact feel. Its craftsmanship and materials were quite nice, but the "antique" stain of the finish hid some of the wood’s potential beauty, particularly the cedar top. The factory setup allowed for easy playability, with buzz-free performance up and down the neck. The mahogany and cedar combination provided quick response and good tone when played with a soft touch.

The EF261 SAN’s acoustic sound was very satisfying, but the electronics didn’t do it justice. Even after we tweaked the on-board EQ, we couldn’t get rid of a hollow, midrangey, and thin overall sound, particularly when the guitar was played through the PA. Adding some bottom end from the Baggs Para DI helped a little, as did adding an external mic, but if tweak-free electric performance is your goal, I’d make sure this is a sound you can live with. If you plug in only occasionally and seek a strong acoustic sound and great playability, check out this Takamine.

WASHBURN EA-20 QDL

$999.90 without case. Limited lifetime warranty. Solid cedar top, maple back and sides, rosewood fingerboard and bridge. Washburn Equis Chorus electronics. Made in Korea.

Washburn’s EA-20 QDL is part of the company’s Festival line, which offers some of the most original Washburn designs available. A relatively large but shallow body, a sharp cutaway, and an oval soundhole give the guitar a look that’s instantly recognizable, and the quilted maple back and sides add a touch of elegance. The craftsmanship on the instrument we received was good, and the guitar’s headstock sports real Grover tuning machines. It played nicely, although the setup was slightly stiff. The guitar’s acoustic tone was on the thin side, but it had presence and would be fine for playing at home or in the occasional acoustic jam. The guitar’s amplified sound started out somewhat boxy and piezo-like, but its effective EQ allowed us to dial in some great sounds. The on-board chorus allowed us to fatten up the sound and would please players who prefer a slightly processed sound. An XLR output option allows the use of balanced cables. The EA-20 QDL offers an attractive package with equal strengths in acoustic and electric performance.

YAMAHA APX-6A

$899 without case. Limited lifetime warranty. Laminated spruce top, laminated nato back and sides, rosewood fingerboard and bridge. Yamaha AMF electronics. Made in Taiwan.

Yamaha’s small-bodied APX line of acoustic-electrics has been available in various configurations for years and is one of the company’s most recognizable designs. Our review guitar’s exterior was very clean, but it showed some signs of sloppiness on the inside, with blobs of glue squeezing out between pieces of wood. The body’s dark blue stain made it difficult to determine the quality of the wood, but it seemed to be fine. The guitar’s factory setup was good (although the saddle could have been fitted better), resulting in excellent playability that could be further improved with a little fret polishing. The APX-6A produced a satisfying if somewhat bright acoustic voice when it was strummed, and a softer attack resulted in slightly muffled basses, which may be a result of the laminated top. When it was plugged in, the guitar came to life through both the PA and the Ultrasound amp. Although it was a bit treble-heavy at first, we found that it was easy to dial in a satisfactory sound with the effective and musical on-board EQ. Overall, this instrument left a positive impression as a versatile ax in a variety of settings.

THE WRAP

All of the guitars we tested provided acceptable plugged-in tones without feedback or the need for external preamps and other equipment. It quickly became apparent, however, that in order to work plugged in, these guitars sacrifice volume and tonal complexity when played acoustically. Neither do they offer the plugged-in performance of more expensive guitars with high-end pickup systems. But if you’re wary of installing electronics in your favorite acoustic ax, you want complete on-board control, you’re playing in a band where acoustic complexities get lost somewhere between the hi-hat and the bass player’s low B, and you’re not looking to spend much money, one of these inexpensive acoustic-electrics would certainly do the trick. Which one depends on whether you need sure-fire playability, feedback resistance at high volumes, or a look that says, "I’m a rocker." Most of the manufacturers that sent us review guitars make several acoustic-electric models for under $1,000, so I encourage you to check out alternatives to the guitars in these pages as well. And after you find the one that’s right for you, plug it in, turn it up, and rock out!

Excerpted from Acoustic Guitar magazine January 2001, No. 97.

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