Purchasing an Acoustic Guitar

January 12, 1999

Regardless of what style you play or your skill level, every guitarist should own an acoustic guitar. For the beginner shopping for his or her first ax, purchasing an acoustic is the simplest and easiest way to start rocking with minimal cash. For the experienced player, an acoustic guitar is an indispensable songwriting tool, practice partner, and the most portable means to take your music with you. Since your acoustic guitar may very well become your best buddy over the years, it's important to shop wisely and make your acoustic purchase with extreme caution.

Martin D-28

It can be stated that shopping for an electric, by comparison to shopping for an acoustic, is more complicated when you take into account the fact that you also need to choose an amp, cables, and possibly a variety of effects devices. That, however, doesn't mean that choosing the right acoustic is easy. Quite to the contrary, since your acoustic "rig" has far fewer parts, you really want to make the parts count.

The first step in choosing an acoustic guitar is attaining a basic understanding of acoustic guitars construction.

First off, there are three basic sizes of acoustics. The smallest is the "parlor" guitar, typified by Martins (www.mguitar.com) with a OOO designation or Gibsons (www.gibson.com) such as the L-O. The medium (rather standard) size is the "dreadnought" guitar, typified by the Martin D-28 or Gibson J-45. The largest is the "jumbo," typified by the Gibson J-200. Generally speaking, the larger the body, the deeper and bassier the tone.

Secondly, there is a question of construction. Cheap guitars feature "laminate" (plywood ) construction on the back, sides and "top" (top meaning the piece of wood with the sound hole in it). As guitars get more expensive (and better-sounding), they will add a top constructed of solid wood. More expensive still, solid top and back. The premium guitars will feature solid wood construction throughout. It's important to note that the majority of a guitar's tone resonates from the top, therefore a guitar with AT LEAST a solid top is necessary. Also of note, guitars with the Ovation nameplate feature a rounded, plastic back that adds projection and stability to the solid top (though some people feel also makes the guitar sound synthetic). Ovation's premium Adamas models add a carbon fiber top to the rounded back for even more volume.

The second step in choosing an acoustic is visualizing what you intend to use it for.

Let's say, for example, you want to use it for recording. In such a scenario, especially if you are an aspiring session player, you do NOT want to skimp on tone. You also want to make yourself aware of what good recording tone is. In short, good recording tone is woody and natural, but extremely BRIGHT. Also, it's important to know that an acoustic guitar with a lot of bass will sound boomy when miked. Therefore, you want a smaller-bodied ("parlor" or "dreadnought," no "jumbo") guitar with crisp, bright tone.

In Nashville, the Martin D-28 is the industry standard for recording. However, Taylors and Larrivees are the hot tickets for players getting called for sessions these days. In either case, expect to drop a few grand on such a guitar... just remember that if your goal is getting hired to play on stuff, it'll be money well spent. Buyer beware: These guitars derive their bright, crisp tone from light lacquer, thin woods and delicate construction. These guitars therefore require the appropriate delicate handling and T.L.C.

Let's say, on the other hand, you want an acoustic guitar for use on stage. Since practically no one mics acoustic guitars anymore, you want great electronics. You also want a guitar that won't go haywire with feedback when the engineer cranks up the monitors. And you want solid construction so that it'll take a beating on the road.

Gibson J-45 Western

When I watch people perform at the Nashville's famous Bluebird Cafe, players wielding Takamine guitars seem to have the best tone and fewest problems. Taks feature the latest technology in electronics. They also feature heavy lacquer that deadens the natural sound quite a bit, but certainly allows the guitars to take a beating.

If you play with a loud rock band and seriously want to avoid feedback, I'd go for one of the solid body "electric-acoustics." Models that reside in this category are the Gibson "Chet Atkins" SST and CE guitars. Godin offers a few guitars fitting this description, while the Parker Fly "Concert" model looks inviting too (if you got the cash).

What if you are a songwriter, guitar teacher, coffee shop musician, or someone who just plays purely for pleasure? If you are any of these people, you are someone who will be hearing his or her guitar naturally and unamplified. In such a case, I'd think you'd want a guitar that possesses a natural tone that inspires you to create music. Use your own ears on this one, but my favorite happens to be the Gibson J-200... cuz it sounds so huge and warm.

Lastly, what if you are a beginner? I would recommend that any beginner purchase a Martin "Backpacker" as their first guitar. These miniature-bodied/full-sized neck guitars cost less than $200 (less that $300 with built-in pickup). They play great (I know cuz my mom has one). They accept steel and nylon strings (in case you want to study classical or flamenco). Plus they are loud enough to sound good unamplified, but quiet enough that a beginner can practice without offending everyone else in the house. The best part is that as you grow as a player, you'll never outgrow this guitar. If you add a pickup, you can use it on stage. The size makes them great to take on a plane, to parties, to the beach, or camping. When you're home, hang it on the wall for easy access whenever you want to try a new riff. Other miniature guitars to check out are the Yamaha APX T1, Applause AA10 Voyager, as well as various models by the Tacoma company. Either way, I can't think of a better way to cheaply acquire a new guitar that will get you started, but will still be of use when you get better.

Before I sign off, I think it's only fair to the Ovation Guitar Company that I expound the virtues of my own guitar... this is because I have been very happy with it and therefore deem it worthy to share my experience.

I own an Ovation 1994 "Collectors Edition" which I paid $600 for used. While this guitar never was nor ever will be "collectible," it does a great job at satisfying much of the criteria stated above.

First of all, it's very bright, and does an admirable job dropping nicely into the mix of the half dozen recordings I've used it on. And while people aren't beating my door down for session work, the guitar itself has been borrowed and used for such a purpose.

Secondly, the piezo pickup, three-band EQ, 1/4" and XLR outputs, and notch filter provide a perfectly acceptable "plugged in" tone... and I have yet to have problem with feedback.

Third, this thing is built like a tank. The previous owner put a small crack in the top that I imagine must have required quite a whack to accomplish. Nonetheless, the crack has not budged since then. Better yet, the five-piece neck has near-perfect intonation and rock-solid stability despite the fact that I have repeatedly left it in my trunk during hot days and over cold nights (that's a no-no y'all!). For the record, the golden rule of guitar care is never to subject a guitar to any temperature you yourself wouldn't feel comfortable in.

Lastly, this thing has a built-in chromatic tuner that turns itself off after 20 seconds. Not that accidentally burning out a battery would be that big of a deal. Battery replacement take all of five seconds via a small door on the back of the guitar.

Admittedly, my ovation probably doesn't sound as good on tape as a Taylor. It probably doesn't have the plugged in tone of a Fishman Matrix pickup. But the Ovation's ability to do so many things well gives it the right combination of attributes to make me happy.

Regardless, good luck in your hunt for the right attributes to make you happy too!

Brett Ratner is a contributor to Guitar Player, Musician, Electronic Musician and Music & Computers. He also spent two years as the Creative Writer for www.gibson.com. Currently, Brett plays sessions and performs regularly around Nashville with the band Katoorah Jayne. Please email Brett at ratocaster@harmony-central.com with any questions, comments or ideas for "Avoiding Gear Acquisition Syndrome."