Hugo Pinksterboer

Acous!c Guitar
This eBook is part of the renowned eTipbook series. All eTipbooks
are free and available for download for iOS and Android.

Check out www.!pbook.com/apps for the full catalog

GET BETTER ON YOUR
GUITAR. FAST. FREE.
LEARNING PATH
Unlock your next level!
A gamified personal learning experience
with unlockable challenges.

CHORD
RECOGNIZER
Cu!ng edge
Uberchord uses the iPhone’s Mic to
recognize chords in real-!me, even evil Jazz
chords you’ve never heard of.

CHORD TRAINER
Real-"me feedback
Prac!ce guitar chords with real-
!me feedback and get personal
progress sta!s!cs.

/uberchord @uberchord uberchord.com

 PUBLISHING DETAILS

Publishing details
Copyright ©2002, 2008, 2014 by The Tipbook Company bv
This first digital edition published in 2014 by The Tipbook Company bv

Print edition published by Hal Leonard (ISBN 978-1-4234-4275-2)

All rights reserved. No part of this book may be reproduced in any form,
without written permission, except by a newspaper or magazine reviewer
who wishes to quote brief passages in connection with a review.

The publisher and author have done their best to ensure the accuracy and
timeliness of all the information in this Tipbook; however, they can accept
no responsibility for any loss, injury, or inconvenience sustained as a result
of information or advice contained in this book. Trademarks, user names,
and certain illustrations have been used in this book solely to identify the
products or instruments discussed. Such use does not imply endorsement
by or affiliation with the trademark owner(s).

Acknowledgments
Author: Hugo Pinksterboer
Publisher: Robert Koumans
Design and illustatrions: Gijs Bierenbroodspot
Cover photo: René Vervloet
Editors: Robert L. Doerschuk, Michael J. Collins, and Meg Clark
Proofreaders: Nancy Bishop and Patricia Waddy

Anything missing?
Any omissions? Any areas that could be improved? Please mail us your
comments at [email protected]. Thanks!

Newsletter and more

If you want to stay posted on new Tipbook titles, eTipbooks and other
releases, subscribe to our Newsletter at www.tipbook.com, or follow us on
Facebook.

II

TIPBOOK ACOUSTIC GUITAR

 THANKS!

Thanks!
For their information, their expertise, their time, and their help we’d like
to thank the following musicians, teachers, technicians, and other guitar
experts.
Harry Sacksioni, Erik Vaarzon Morel, Olaf Tarenskeen, the late Willy
Heijnen (Meet Music Magazine), Ulbo de Sitter, Arno van den Wijngaard
(Feedback), Harm van der Geest, Frans van Ingen (Music Maker), Corrie de
Haan, Nicky Moeken (Gitaar Plus), Ron Houben (Houben Guitars), Chris
Teerlink and Martin van der Lucht, Gilbert Maurice Herngreen, Harry de
Jonge (Sacksioni Guitars), Henny van Ochten (Texas & Tweed), Nils Rurack,
Michel de Groot, Jan Verweij, Jean Zijta, and Lex Horst.
We also wish to thank Teja Gerken (Acoustic Guitar magazine) for his
last-minute assistance, Elliot Freedman for his valuable input, Nahim Avci
(Rotterdam Conservatory), Roy op de Kamp (Papen & Bongaerts), Harold
Koenders (JIC), Ivar Lelieveld (Muziekhandel Dijkman), Ben van der Sman
(Casa Benelly), Niek Stoop, Rick Verhoeff (BMI), and Bart Witte (Dirk Witte
Muziek).
Special thanks go to guitarist and writer John van der Veer for being a
valuable and ever-present source of information, to editor and guitarist
Michiel Roelse (Gitarist) for his contributions to the book, and to Gerard
Braun for his musical help in making the Tipcode-videos and creating the
chord diagram section.
J. Hayes, thanks for your support — again!

III

TIPBOOK ACOUSTIC GUITAR

 TIPBOOK ACOUSTIC GUITAR

Introduction

Do you plan to buy an acoustic guitar or acoustic

bass guitar, or do you want to learn more about the
one you already have? If so, this book will tell you all
you need to know. You’ll learn about the parts of the
instrument and what they do; lessons and practicing;
auditioning and testing guitars; pickups, strings, picks,
and straps; tuning and maintenance; the instrument’s
history and family —and much more.

Having read this Tipbook, you’ll be able to get the most out of
your instrument, to buy the best acoustic guitar you can, and to
easily grasp any other literature on the subject, from books and
magazines to online publications.

The best you can

Having read this Tipbook, you’ll be able to get the most out of
your instrument, to buy the best acoustic guitar you can, and to
easily grasp any other literature on the subject, from books and
magazines to online publications.

The first four chapters

If you have just started playing, or haven’t yet begun, pay particular
attention to the first four chapters. They explain the basics of the
instrument, and they inform you on learning to play, practicing,
and buying or renting an acoustic guitar. The information in these
IV chapters also fully prepares you to read the rest of the book.

TIPBOOK ACOUSTIC GUITAR

 INTRODUCTION

Advanced players
Advanced players can skip ahead to Chapter 5, where you will
find everything you need to know to make an informed choice
when you’re going to buy a guitar, introducing you to the effects of
different types of woods, and to finishes, body sizes, neck profiles,
scales, frets, and more. Chapter 6 offers similar information on
acoustic-electric guitars, and chapter 7 helps you find the right
strings for your instrument.

Maintenance and more

The following chapters are
dedicated to instrument
maintenance and making your
instrument sound good, with
helpful and practical information
on changing and cleaning strings,
selecting picks, nail care, and
tuning your guitar — including
tips for advanced players!

Background information
The final four chapters offer information on the history, the
family, the production and the makers of the instrument.

And more
The glossary and index turn this book into a handy reference, and
information on additional resources on the instrument can be
found on pages 179–182.

Chord diagrams
As an extra, this book offers you a complete series of chord
diagrams, including power chords, barre chords and movable
chords, as well as a few examples of chord progressions in various
styles of music. Enjoy!

– Hugo Pinksterboer

TIPBOOK ACOUSTIC GUITAR

 TIPBOOK ACOUSTIC GUITAR

Contents

1 Chapter 1. A Guitarist?
The acoustic guitar is an extremely versatile
instrument. As a guitarist, you can play anywhere
you like, and you can play any style of music.

7 Chapter 2. A Quick Tour

Get to know the basics of the instrument, and read
about the differences between classical and steel-
string guitars.

21 Chapter 3. Learning to Play

How easy is it to learn to play guitar? Will you need to
take lessons? You’ll find the answers in this chapter,
which also deals with practicing and reading music.

33 Chapter 4. Buying a Guitar

A guide to guitar prices, buying new or secondhand,
and other tips before you go out to buy a guitar.

VI

TIPBOOK ACOUSTIC GUITAR

 CONTENTS

39 Chapter 5. A Good Guitar

What makes for a good guitar? The right type
of wood, the most comfortable neck profile, the
smoothest frets, the best tuning machines. Here’s
everything you should pay attention to when buying
an instrument.

73 Chapter 6. Acoustic-Electric Guitars

Everything you need to know about acoustic guitars
with built-in pickups.

83 Chapter 7. Strings
Good strings allow you to get the best out of your
guitar. A chapter on the various materials, gauges,
windings, and tensions.

93 Chapter 8. Cleaning and Changing

Strings
Strings sound best when they’re kept clean and put
on properly.

111 Chapter 9. Tuning

Various ways to tune guitars. Includes tips on tuning
forks, electronic tuners, open tunings, and tips for
advanced players.

129 Chapter 10. Picks and Nails

Tips on picks and nail care. VII

TIPBOOK ACOUSTIC GUITAR

 TIPBOOK ACOUSTIC GUITAR

135 Chapter 11. Maintenance and Cleaning

A clean guitar looks better, plays better, and sells
better. Includes information on gig bags, cases, guitar
stands, and more.

145 Chapter 12. History

A lot of history in very few words.

149 Chapter 13. The Family

Meet some of the guitar’s closest family members,
ranging from solidboy guitars to the ukelele.

161 Chapter 14. How They’re Made

Guitars are made in huge factories as well as in small
workshops. A guided tour.

165 Chapter 15. Brands

The main guitar brands lined up.

171 Glossary
What is a solid top, a piezo pickup, or a compensated
saddle? A guitar player’s glossary.

179 Want to Know More?

Guitar books, magazines, and other resources.

183 Tipcode List

VIII All acoustic guitar Tipcodes listed.

TIPBOOK ACOUSTIC GUITAR

 CONTENTS

185 Tipbook Chord Diagrams

A selection of essential chords, including power
chords, chords for bass players, a little theory, and
much more.

228 Essential Data

Two pages for essential notes on your equipment.

230 Index

233 The Tipbook Series

IX

TIPBOOK ACOUSTIC GUITAR

 TIPBOOK ACOUSTIC GUITAR

The Tipbook Series

The Tipbook Series is the leading series of books on music and musical instru-
ments, published in seven languages. Over 725,000 copies sold worldwide!

All Hal Leonard print editions will be released as eTipbooks for iOS, Android,
Kindle, and other platforms. Click the logo’s on the left for current availability.
Print editions are available in book stores, music stores, and online.

Check out our

multi-platform
eTipbooks
online!

Buy print
Tipbooks
online!

TIPBOOK ACOUSTIC GUITAR

5
A Good Guitar
Once you know what to look and listen out for, the
differences between one guitar and another aren’t that
hard to spot. This chapter covers the technical aspects
of the instrument, from types of wood to sizes, the
fingerboard, the neck, and even the frets. The sound is
dealt with also. Armed with this information, you’re all
set to buy the best guitar you can get.
 CHAPTER 5

The sound of a guitar depends to a large extent on the wood that

has been used, and on the way it’s been made. Chapters 7 and 8 are
dedicated to the strings, which also play a major role.

Who’s playing it
What a guitar sounds like also depends on who’s playing it. If you
haven’t been playing that long, you won’t be able to get the most
out of an instrument. So if you really want to know what a guitar
can sound like, have a good player play it — and that could very
well be the salesperson.

Look or listen
This chapter starts with a closer look at the instrument. If you
want to choose one by using your ears only, then skip ahead to
page 66.

TIP
Zippers and buckles
One more tip before you start testing guitars: Always be
careful not to scratch the varnish with buckles, zippers,
buttons, and bracelets.

Finishes
Most classical guitars look pretty much alike, whereas steel-
string guitars offer more variety in terms of appearance. Besides

… a wide
variety
of bridge
designs

40

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

variations in the size and color of the bodies, you’ll also find
different types of varnish (high-gloss, silky gloss or matte, for
instance) and a wide range of pickguard, head, and bridge designs.

Varnish
Color is a matter of taste; the quality of the varnish isn’t. See if it
has been applied evenly, and if there aren’t any bubbles, stripes or
drips. Look at the reflection too. If the guitar has a (silky) gloss
varnish, the shine will tell you how well the various coats have
been polished. Most guitars, including low-budget instruments,
will pass these tests flawlessly. Do note that thick coats of varnish
slow down the vibrations of the soundboard, restricting the
instrument’s sound.

Types of varnish
Until the 1970s, guitars were often finished with cellulose varnish,
made of natural materials that allow the wood to breathe. This
type of varnish also allows for invisible repairs. Today, cellulose
varnish is used only on some expensive guitars. The majority of
instruments are finished with a hard, synthetic-based varnish
(e.g., polyurethane); alcohol-based and water-based varnishes are
also used.

Pickguards
Pickguards protect the finish of your instrument. They come
in lots of different colors and designs. Most of them are plastic.
Unlike the traditional pickguard material (i.e., celluloid) they
don’t warp or expand. If you don’t like the looks of a pickguard,
get an instrument with a transparent one. Do note that a heavy
pickguard restricts the vibrations of the top — and thus the sound
— of your instrument.

Inlay
Classical guitars often have more intricately worked rosettes than
steel-string instruments. Some cheap instruments have the rosette
glued on, rather than inlaid.

Markers
The inlaid position markers on the fingerboards of steel-string 41

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

guitars vary from simple dots to elaborate abalone (mother-of-

pearl) inlays.

TIP Markers on classical guitars

If you see a classical guitar with position markers (never on
the fretboard, but on the side of the neck), it probably wasn’t
built in Spain. Markers on non-Spanish classical guitars
usually mark the fifth, seventh and ninth (or sometimes
tenth) positions. The soundbox starts at the twelfth fret.

THE BODY
A guitar’s sound is, to a significant degree, determined by the
body. By its size, for one thing, at least when it comes to steel-
string guitars; classical guitars are pretty much all the same size.

Classical guitars
The dimensions of different classical guitars vary hardly at all.
That goes both for the size of the body and for the so-called
speaking length of the strings, measured from the nut to the saddle.
This scale (see pages 58–60) is usually a little over 25.5".

For children…
Smaller designs do exist, however. For younger children there are
¾ and ½-size guitars, with scales of around 24" (61 cm) and 23"
(58 cm), respectively. Even smaller models are available too. As
you can tell from their dimensions, ½ guitars are not half as big
as regular instruments. Note that these fractional instruments
are often tuned a bit higher. With standard tuning, string tension
would be too low. Various companies make special strings for
small guitars, compensating for this difference.

… and for ladies

42 Female players may consider a so-called señorita guitar, an

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

instrument with a slightly diminished scale and a narrower neck.

Other small nylon-string instruments are used mainly for specific
styles of music. Please refer to Chapter 13 for more information.

Ergonomic design TIP

Guitars aren’t the most comfortable instruments to play,

which inspired at least one guitar maker to produce a
complete line of ergonomically designed models.

Steel-string guitars
Steel-string guitars come with soundboxes in various sizes and
shapes. The basic rule is very simple: A bigger body gives you a
bigger sound. In other words, you’ll get more volume, a broader,
richer, deeper tone, and more low-end. That said, you may come
across large guitars that sound disappointingly thin and small,
and small guitars that sound remarkably big.

Too deep
The sound of a guitar can be too deep or too big as well, making
it slow and sluggish. Likewise, a strong bass sound may be great
when playing acoustically, but those low frequencies can get in
your way when playing amplified or in a recording session. Many
players perform smaller guitars in studio situations: There’s no
need for extra decibels, and it’s often easier to control the sound of
a smaller instrument.

Tipcode AGTR-004 TIPCODE

Most guitarists prefer a larger size
guitar for strumming.

43

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Dreadnought and Jumbo

Two well-known, large steel-string models are the Dreadnought,
with an almost rectangular body shape, and the Jumbo. A Jumbo
is much wider than a Dreadnought at the lower bout, but much
narrower at the waist. The resulting rounded shape is reflected in
the sound of the instrument, which is often described as being a
bit ‘rounder’ than that of the average Dreadnought. The latter is
the most popular steel-string model, especially among strumming
guitar players around the world.

TIP The right size

Considering the size of the soundbox of a new guitar is not
about sound only. You should also take your down dimensions
into consideration. When you’re relatively small, it may be
hard to handle Dreadnoughts and other larger guitars.

Jumbo Dreadnought Grand Auditorium (0000)

44 Auditorium (000) Grand Concert (00) Concert (0)

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

Grand Auditorium and Auditorium

The Grand Auditorium (0000), also referred to as a ‘small Jumbo’,
is one of the most versatile steelstring guitars. The Auditorium
(000) is one step smaller, as you can see on the opposite page.

Singer-songwriters and fingerpickers

Grand Auditorium and Auditorium models are often used by
singer-songwriters, folk guitarists and fingerpickers. They have a
faster response than the larger guitars, and their sound typically
has stronger mids and better definition, much appreciated by
fingerpickers and other guitarists.

Fingerpicking and flatpicking TIP

Fingerpickers play a bass line with their thumb while the other
fingers play the melody. You literally ‘pick’ the strings, in a way
similar to the classical guitar technique. The latter, however,
is commonly known as fingerstyle. Fingerpicking is used in
various styles, ranging from bluegrass to folk. Some players
use fingerpicks and a thumbpick (see page 132), others play
with their bare fingers. Flatpickers play an acoustic steel-
string guitar with a flat (straight) pick.

Grand Concert and Concert

The soundbox of a Grand Concert guitar (00) is about as big
as that of a classical guitar, and Concert guitars (0) are slightly

Tipcode AGTR-005 TIPCODE

Fingerpicking guitarists play both
a bass line and the melody.

45

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

smaller. These easily playable models typically have a very light

and open sound.

Zeros
The four guitar ‘sizes’ mentioned above are also indicated by one
or more zeros. From large to small, the Grand Auditorium is a
0000, the Auditorium is a 000 (‘Triple O’), and Grand Concert and
Concert sizes equal 00 and 0 models, respectively.

Parlor
Concert and Grand Concerts are sometimes referred to as parlor
guitars, though these instruments may have an even narrower
upper bout. The name, parlor, indicates that such guitars are
designed to be played for small audiences.

Orchestra Model
The Orchestra Model or Orchestral Model (OM) is basically a
Grand Auditorium with a wider neck and a longer scale (see pages
58–60). To make longer strings sound at the required pitch, they
need more tension — and that’s what promotes the bigger, more
powerful sound of this type of guitar.
Orchestra Model
(Martin OM-28) Per brand
The exact dimensions of a certain type of guitar is different from
guitar maker to guitar maker. The Grand Concert of one company
can be more like a 000 than a 00; there are Dreadnoughts with
wider and narrower waists, and so on. New models are introduced
from time to time. The Grand Symphony, sometimes described as
a cross between a Triple-O and a Jumbo, is just one example.

Acronyms
Many guitar makers use acronyms (D, J, GA, GC, OM) in their
model names, referring to the original guitar models (D for
Dreadnought, J for Jumbo, etc.).

Fiberglass body
Ovation was the first brand to introduce a guitar with a round,
fiberglass back, appropriately named the roundback. There are
46 roundbacks with nylon and steel-strings, with deep and shallow

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

bodies, and also with bodies made of other materials. Roundbacks

have a very specific sound, and they’re almost always acoustic-
electric instruments.
Roundback
(Ovation)

Cutaway
A cutaway makes it easier to play the highest frets. Some brands
offer certain models with or without a cutaway. Whether or not
the difference can be heard has been debated for years. Some say
the treble section sounds a bit brighter, due to the fact that the
soundboard is smaller and therefore stiffer in that area; others
feel that this fact actually reduces the trebles — and those are just
two examples of the differences of opinion that exist, so listen and
decide for yourself. A Tip: The difference between two identical
non-cutaway guitars can easily be bigger than the difference
between two identical guitars, one with a cutaway and one
without.

TIP
The opposite
Most acoustic-electric guitars have a cutaway, and the inverse
is also true: Guitars with a cutaway are usually acoustic-
electric instruments.

Florentine and Venetian

Cutaways are most common on steel-string guitars, but you may also
find them on nylon-string models. They come in different shapes.
The ones that end in a sharp point are known as Florentine cutaways,
as opposed to the Venetian version, which has a rounded shape. 47

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Florentine
cutaway (Ibanez
Steve Vai
Signature)

Venetian
cutaway
(Ibanez)

Guitar strap
If you play standing up as well, don’t just try the guitar out sitting
down. Strangely, most steel-string guitars have only one button to
attach the strap to, at the tail. The other end of the strap is then
attached to the head, using the lace that comes with the strap.
Knot the lace around the head under the strings, just below the
tuning machines of the E-strings. Never attach the strap to the
tuning machine itself, as you can easily bend it. A tip: A second
strap button can be screwed into the heel. Another tip: Have a
specialized technician do that for you. A third tip: Classical guitars
are not supposed to have strap buttons.

TOP, BACK, AND INSIDE

48 The strings make the top vibrate, and those vibrations largely

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

determine the sound of a guitar. This is what makes the top or face
one of the most important parts of the instrument — and it also
explains why it’s known as the soundboard.

Solid
Guitars have either a solid or a laminated top. A solid top usually
consists of a single piece of wood that has been split into two
parts, much like a book that has been opened — hence the name
bookmatched top.

Laminated
A laminated top, usually found on cheaper guitars, is made of
plywood — a number of thin plies of wood that are glued together.

Better response
A solid-top guitar responds better to how loudly or how softly you
play, or to how you strike the string (nails, fingertips, or a pick)
and where (at the bridge or at the neck), for example. Guitars with
laminated tops often seem to have a bit less life to them, producing
a shallower and less dynamic sound. Solid-top guitars usually start
around two to three hundred dollars, but you may find them for
even less money.

Sound
Contrary to what you might think, a solid-top instrument won’t
always sound better than one with a laminated top. There are
instruments around which have laminated tops but still sound
good, and there are guitars with solid tops that you’re better off
not buying.

TIP
Traveling
A guitar with a laminated top may not sound as musical as
one with a solid tip, but laminated wood can handle changes
in temperature and relative humidity much better. So if you
want to take a guitar on a camping trip, for example, it might
be wise to choose a (low-budget) laminated top instrument.
49

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

The edge of the soundhole

A solid top can be recognized by looking at the edge of the
soundhole. If the wood grain of the top continues beyond the
edge, then you’re looking at solid wood.

Fine, even grains

The quality of the wood itself is important too, as well as the way it
has been sawed, the overall thickness of the top, the structure, and
so on. Top-of-the-range instruments often have thin soundboards,
with a fine, even grain and a uniform hue — but there are top-of-
the-range instruments that look nothing like that at all.

Slightly convex
While you’re looking at the top, also look at it sideways. A good
top is often slightly convex, though this will hardly be visible.
A guitar with an obviously convex top is probably better left
well alone, and the same goes for an instrument with a sagging,
concave top.

TIP
Quarter-sawn wood
Good instruments usually have a top made of quarter-sawn
wood (see page 175). This method of sawing wood makes
for thin, yet strong tops that are less sensitive to changes
in the humidity level, reducing the risk of cracking. Slab-
cutting wood is more cost-effective. It takes a trained eye to
distinguish the two.

Cedar or spruce
Most guitar tops are made of either cedar or spruce. Both are
conifers, yet they have different characteristics. They also look
different. Cedar is usually brown, while spruce is much lighter,
almost white in color. (Other types of wood are also used, such as
cypress for flamenco guitars.)

How they sound

50 Most guitarists find the sound of a guitar with a cedar top a bit

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

warmer, deeper, and rounder, while spruce tops are often said to
sound a little brighter. Don’t be surprised, however, if you hear
an expert stating the opposite. Spruce is more commonly used
for steel-string guitars and flamenco guitars. The American or
Canadian Sitka spruce is especially popular among steel-string
guitar luthiers. Cedar is more often used for classical guitars,
though other woods such as the European Alpine spruce may also
be used.

Back and sides

When it comes to the sound of the instrument, the back and sides
are less important than the top. To prove that, the well-known
luthier Torres (see page 146) once made a guitar with a back and
sides of paper mache. He told no one, played it, and everybody
loved it…
On the other hand, there are guitarists who say they can even hear
the difference between a two- and a three-part back.

Laminated or solid
Most guitars have laminated backs and sides, but instruments with
a body made entirely of solid wood are also available, for prices
under and well over a thousand dollars.

Wood type
Mahogany is often used for the backs and sides of less expensive
guitars. A colored varnish may be used to make it look like
the more expensive (Rio) rosewood you find on better guitars.
Rosewood is said to promote full rich basses and transparent
highs. Other types of wood commonly used include maple, for a
tight, bright sound, and — in the higher price ranges — walnut or
koa.

TIP
Different materials
Some makers employ entirely different materials for their
instruments, such as bamboo rather than wood, and there
are guitars made entirely of graphite, or instruments with a
one-piece, plastic bracing system.
51

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Size and material

The type of wood used may also depend on the size of the guitar.
Some makers use maple for their larger models, for instance,
because this hard type of wood adds some brightness to these
bassier-sounding instrument. The harder the wood, the brighter
the tone will be. Softer woods make for a mellower sound.

The inside too

Check the body, both inside and out, to see how well it has been
finished. If you find gaps or big lumps of glue or varnish, it might
give you cause to wonder if enough attention has been paid to
the rest of the guitar. Also check that the neck and fingerboard
connect seamlessly to the body, and that no craftsman’s hand
slipped while working with a file or a chisel. A high level of
workmanship doesn’t in itself guarantee a great-sounding guitar.
Conversely, there are guitars that don’t look good but sound
wonderful. More often, though, the workmanship does tell you
something about the all-around quality of the instrument you’re
looking at.

Bracing
Everything that’s attached to the top determines how it vibrates.
That, in turn, largely determines the sound of the guitar. A luthier
can control the timbre of an instrument by varying the bracing
pattern, for example, but also by using thinner, wider, higher,
flatter, or scalloped braces. Each luthier has his own bracing
‘recipe’.

Multiple
soundholes
(Ovation)

52

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

Soundhole
Likewise, the sound of a guitar can be influenced by the
graduation of the top, or by the size and position of the soundhole.
Some guitars even have unusually shaped soundholes, or more
than one.

GOOD NECK, GOOD FINGERBOARD

The neck and fingerboard are important to how a guitar plays and
feels. To some extent, they help determine the sound as well.

Harder is brighter
The fingerboard is made of a hard type of wood. On less expensive
guitars it’s usually rosewood, with a dark-brown look Ebony,
an almost black type of wood, is a popular choice for expensive
guitars, being harder. The harder the wood of the fingerboard,
the brighter and more direct the tone can be, and the fingerboard
may have a smoother feel to it. Being so much harder, ebony
fingerboards also last longer than rosewood boards. Rosewood
fingerboards promote a warmer, milder, or drier tone.

The neck
Acoustic guitar necks are often made of mahogany, cedar, or (for
lower budget instruments) nato, reinforced by a strip of the same
or another type of wood, such as ebony.

Straight neck
The neck must be perfectly straight; it may not curve to the left or
right. Check the neck by looking downwards from the head toward
the body along the side of the fingerboard. You can check that the
neck isn’t twisted at the same time.

Intonation
At the twelfth fret, the strings should sound exactly one octave
higher than when they are open — i.e., when you don’t fret them.
If they do not, your guitar has bad intonation. 53

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Harmonics
Here’s how you check this. Place a finger very lightly on the thick
E-string, exactly above the twelfth fret, barely touching it, and then
strike the string pretty hard, close to the bridge. What you’ll hear —
possibly only after some practice — is a high, thinnish tone, known
as a harmonic, overtone or flageolet. Now press the same string to the
twelfth fret, as you would in normal playing; you should get exactly
the same pitch. Check the other strings in the same way.

TIPCODE Tipcode AGTR-006

This Tipcode shows you how to
check a guitar’s intonation.

Not easy
At first, it may not be that easy to hear whether a harmonic sounds
too high, too low or just right. A good electronic tuner (see pages
122–124) can help, but an experienced guitarist may be even more
effective.

A different pitch
If the intonation is off, you’ll have problems when playing with other
musicians; your high notes will have a slightly different pitch than
theirs. The higher the fret you’re playing, the more out of tune you
will be. Another problem? On a guitar like this your ears slowly get

TIP Decent strings

Some cheap guitars are sold with strings that simply don’t
allow for proper intonation — even on a perfect guitar. A set
of decent strings solves the problem, improving your sound as
well for less than ten dollars.
54

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

used to the wrong pitches. You may not be too troubled by it until you
switch to a good guitar, which can then sound out of tune, to you…

Dead spots
Another test is checking the instrument for dead spots. Play all
the strings at all of the frets and listen for positions where a string
sounds noticeably shorter, drier or softer.

Rattles
While you’re at it, also check for rattles and buzzing sounds
— especially on used guitars. Some unwanted noises may be
noticeable only at certain pitches. Harmonics, which you can
also play at a number of other frets (the fifth and the seventh,
for example), can sometimes make otherwise inaudible sounds
stand out. Another test? Gently tap the body with a fingertip or
a knuckle and listen, or carefully shake the guitar. If you want to
know more about rattles and buzzes, and their possible causes,
check out pages 69–70.

Concave neck
A guitar neck should be slightly concave from the head to the
body. To check this, press the low E-string simultaneously at both
the first and the fifteenth fret. The middle of the string should now
be floating just a little above the frets in the middle of the neck. If
not, you’ve got a flat neck, or even a convex one, which may result
in strings rattling against the frets. If there’s more than about ¹⁄₃₂
(1 mm) between the string and the frets, the neck is too concave,
making the guitar harder to play.

A third hand
If you’re unable to see whether the string touches the frets, you’ll
need a third hand to strike it, so ask someone else to play the string
while you fret it, or use a capo at the first fret (see pages 125–126).
If the string is able to sound freely, everything’s okay.

Adjustable necks
The necks of most steel-string guitars can be adjusted with the
built-in truss rod (preferably leave this to a professional). Classical
guitars are not adjustable in this way. 55

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Bolt-on necks
Some acoustic guitars have bolt-on necks, rather than a traditional
glued neck. Some of the main advantages of a bolt-on neck are the
improved stability and serviceability.

MORE ABOUT NECKS

Steel-string guitars come with a wide variety of necks. There’s also
plenty to tell about the necks of classical guitars.

Wide
Classical guitars have pretty wide fingerboards, measuring a little
over two inches (5 cm) at the nut. The strings of these guitars are
quite widely spaced, to allow for the techniques used in classical
guitar music. When you’re just starting out, a slightly narrower,
thinner neck will be easier to play, but there aren’t too many
options to choose from.

Your thumb
Proper classical guitar technique requires you to rest the thumb
of your left hand somewhere in the middle of the back of the
neck. This makes it easier to stop the strings with the tips of
your fingers, and it allows you to spread your fingers as widely as
possible. The neck of the classical guitar has been designed for this
purpose.

TIPCODE Tipcode AGTR-007

This Tipcode demonstrates
classical guitar technique, using
the tips of the fingers to stop the
strings.

56

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

Profile
The necks of many steel-string guitars, on the other hand, are
designed to make playing chords easier. Most players have their
thumbs higher on the back of the neck, just like electric-guitar
players usually do.
Classical
left-hand
technique

TIP
Easy transition
There are steel-string guitars with a very narrow neck and
a low action, making for an easy transition from playing
electric to playing acoustic. Likewise, there are nylon-string
instruments with a slim neck and a cutaway, designed for
steelstring players who like the sound, but not the feel of a
classical nylon-string guitar.

D, C and V
The profile of a neck is hard to put into words. Using letters is
easier; a neck with a D-profile has a rather flat back, while the letter
C indicates a rounder profile. Necks with a ‘sharper’ V-profile are
mainly used by guitarists who fret the sixth string, or even the fifth
string, with their left thumb. This slightly pointed profile allows
your thumb to fit more easily around it. Fingerpickers tend to like
this type of neck too. Most of them also prefer the slightly wider
string spacing that comes with a broader neck.

Radius
Steel-string guitars, like most electric guitars, have fingerboards
that are a bit higher underneath the middle strings and gently 57

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

slope down toward the thin and thick strings. This rounding,
called radius or camber, makes it easier to finger chords.

The radius
tells you 15"
how flat or
rounded the
fingerboard 11"
is (actual
dimensions
shown). 71/4"

Flat or round?
The radius is expressed in inches. The higher the number, the
flatter the fingerboard. Most steel-string guitars have a radius
of twelve inches. A fingerboard with a compound radius is a bit
rounder at the nut than at the last fret.

Neck widths
There’s more variation in the width of the neck among steel-
string guitars than among classical guitars. The necks are usually
between 1 ¹¹⁄16" and 1 7⁄8" wide at the nut (42.8-47.6 mm), getting
wider towards the body. At the twelfth fret, neck widths typically
vary from 2 1 ⁄8" to 2 1 ⁄4" (54-57 mm). Strumming and flatpicking
are often said to be easier on a narrow neck, while a wider string
spacing provides more room for fingerpickers — but there are
plenty of strummers who play a wide neck guitar (because they
happen to have large hands, or for any other reason), and vice
versa.
Electric guitarists, used to the feel of a narrow neck, typically
prefer acoustic instruments with similar dimensions. Quite a few
brands have acoustic guitars geared toward those players.

THE SCALE
When an open string is struck, it vibrates between the nut and the
58 saddle. This vibrating part is called the speaking length of the string,

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

which equals the scale of the instrument. A steel-string guitar with a

24.9" (632 mm) scale or less is considered a short scale instrument;
25.4" (645 mm) or more is long scale. Most classical guitars and
some steelstrings have a scale of 25.6" (650 mm).
scale
The scale is
the length of
the strings
measured from
the saddle
to the nut.

Tighter
A longer scale means you have to spread your fingers a bit more to
finger certain chords. More importantly, the higher string tension
requires more finger strength, while it helps produce a broader,
fuller, brighter sound, more highs, a little more volume, and better
string definition (which is what fingerpickers typically like). Short
scale guitars tend to sound a bit warmer and more intimate, while
their lower string tension makes them a bit easier for beginners.

Acoustic bass guitars

Most acoustic bass guitars have four strings, each tuned one octave
below the equivalent (lowest-sounding) four strings of a ‘regular’
guitar. Short strings can’t go that low and still sound good, so

Acoustic
bass guitars
have longer
scales.
(Fender)

59

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

that’s why bass guitars have much longer scales, up to around 34"
(86 cm).

Thick or slim
Guitarists with big hands often — but not always — prefer a thick
neck to a slim one, and vice versa. Some guitarists would rather
play on a flat, thick neck with a round fingerboard. Other guitarists
prefer a round, slim neck with a flatter fingerboard. Sometimes
these choices are based on the music they play, and sometimes
they’re not. The message: Watch and listen to what other guitarists
are doing, but decide for yourself what suits you best.

Fourteen or twelve
Most steel-string guitars have a fourteen-fret neck, meaning that
the body starts at the fourteenth fret. These necks seem to be
longer than twelve-fret necks, but that’s not the difference. In fact,
the difference lies in the soundbox: Guitars with a twelve-fret neck
have a longer soundbox, ‘reaching out’ to the twelfth fret, as it
were. This can make for a slightly bigger, rounder sound, with the
drawback that it’s harder to play the highest positions. Another
difference: The necks of twelve-fret models are often a bit wider.

A choice of necks
You’ve found a great guitar, but you’re not happy about the neck?
Usually, that would be a problem, but some expensive series come
with a choice of necks (and position markers, and inlays...).

ACTION
The action of a guitar refers to the distance between the strings
and the fingerboard. A guitar with a high action has its strings
rather high above the fingerboard, and vice versa.

Too high, too low

The higher the action, the heavier the guitar will play; you have
60 to press the strings down quite far before they touch the frets. If

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

the action is too low, the strings will rattle against the frets (string
buzz or fret buzz). Flamenco guitarists often produce that rattling
sound intentionally, by playing with a very low action and fiercely
attacking the strings with their nails.

TIP
From high to low
On new guitars the action is more often on the high than on
the low side. That makes sense, as it’s easier to lower a high
action than it is to raise a low one. An action that’s too high
can also be remedied temporarily — when you’re trying out
guitars, for instance.

A capo
A guitar with a very high action is hard to judge. The temporary
solution? A capo, which is a clamp that you can mount anywhere
on the neck. Capos are really designed to raise the pitch of the
guitar in half steps (see page 126), but they can also be used to
temporarily lower the action. For that purpose, you capo the first
fret. This will make the guitar sound a half step higher, but what
really counts at this stage is that it’s comfortable to play.

A capo,
shown here
in the second
position. Like
most other
models, this
capo can also
be mounted
the other way
around.

Adjusting the action

Of course you can’t leave the capo on the guitar forever, and
you won’t need to either. A technician can adjust the action by
lowering the nut or the saddle, or, conversely, by replacing them
with taller models. On steel-string guitars, the truss rod may have
to be adjusted as well. 61

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Nylon-string action
A classical guitar is considered to have a low action if the distance
between the twelfth fret and the thick E-string is about ⁹⁄₆₄" (3.5
mm) or less. If there’s more than about ³⁄₁₆" (4.75 mm) clearance,
the action is considered high — but there are great classical guitars
with an action of more than ⁴⁄₁₆" (6.35 mm). The action on the low
E-string is usually a bit higher than on the high E-string; thick
strings need more space to move. If the overall action is too low,
the sound may suffer.

Steel-string action
Steel-string guitars have a lower overall action. Usually there’s
about ¹⁄₁₆" under the high E (1.5 mm) and a bit more under the
low E (5⁄64" or 2 mm). If you use a slide rather than stopping the
strings with your fingers (see page 125), you’ll probably want a
higher action.

TUNING MACHINES
Tuning machines — also known as machine heads, tuning heads
or tuning gears — should wind easily and smoothly, have no play,
and produce no buzzes or rattles. On classical guitars they’re
always open, while most steel-string guitars have enclosed tuners,
encased by a metal housing. These sealed tuners are usually self-
lubricating; there’s no need to oil them.

Sealed
tuners
on a steel-
string
guitar

62

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

Gear ratios
Tuning machines can also differ in what ‘gear’ they’re in. If you
have tuners with a 10:1 gear ratio, the posts that wind the string
turn around once for every ten times you turn the key. Tuning
is easier and more precise with 14:1 or even 16:1 tuners. If you’re
unhappy about your tuning machines, they can be easily replaced.
...what gear
they're in...
Ratio tuned machine heads
Thicker strings respond much faster to rotations of the machine
heads than thinner strings. Tip: retrofittable Ratio Tuned machine
heads make that difference go away by using a different gear ratio
per string. One turn is about one tone (a whole step) change on all
strings.

The nut TIP

Most modern guitars — even low-budget models —have
decent tuning machines. Tuning problems? Have a look at
the top nut first. The strings should be able to move freely
through its notches (see page 65).

Gold-plated
Many steel-string guitars have gold-colored tuning machines
instead of chrome-plated ones. That gold color may actually be
brass, but there are also gold-plated tuning machines, and they’re
not as expensive as you might think. Thin gold plating can wear
off quickly, though.

FRETS
Smooth and well-finished frets make for an easy-playing guitar
that feels good in your hands. You may come across frets that
are a little too short, resulting in E-strings that slip off of the
fingerboard. If they’re too long they jut out from the neck,
which may indicate that the guitar has been stored in too dry an
environment (see pages 138–140). 63

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

top of the fret

tang

Edgier frets, edgier sound

And yes, even frets influence the sound of an instrument. Frets
with an edgier top make for an ‘edgier’ sound, while rounder frets
can make the sound — you’ve got it — a little rounder.
If the frets are too high, it will be harder to slide from one position
to the next. If they’re too low, the strings will loose some of their
tone.

Fretless basses
There are acoustic bass guitars that have a fretless neck, just like a
double bass. Their timbre is described as having a ‘singing’ quality,
and there’s less attack in the sound. In order to play in tune, you
have to stop the strings in exactly the right place, rather than
anywhere between two frets. This is what makes playing fretless
instruments quite a bit harder than fretted ones. Fretless guitars
are very rare, but they do exist.

Two octaves
Nylon-string guitars usually have eighteen or nineteen frets. In
addition, they sometimes have one or two half frets beside the
soundhole, for the very highest notes. Steel-string guitars usually
have twenty frets. On some guitars you’ll find a twenty-fourth fret,
for the high E and B-strings. This allows you to play two octaves
on those strings — but it isn’t easy.
64

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

BRIDGE SADDLE AND NUT

Most bridge saddles and nuts are made of a hard synthetic material
designed to pass on the vibrations of the strings to the guitar as
well as possible. They used to be made of ivory. Many players love
bone nuts and saddles, which can be found on more expensive
guitars.

Compensated saddles
Steel-string guitars often have a compensated saddle; the saddle
is not at a 90º angle to the strings, as it is on most classical
guitars. Compensated saddles are designed to improve a guitar’s
intonation, making it sound in tune in each and every position.
Some saddles even consist of two or more parts, for the same
reason.

Compensated
saddle

How it works
If you stop a string, you shorten its speaking length. Pressing it
down also increases string tension. This makes the pitch go up
more than required. The compensated saddle solves the problem.
Nylon-string guitars don't have a compensated saddle: Nylon
strings respond differently to the extra tension.

The nut
If you’re playing an instrument and the strings keep getting stuck
while you’re tuning, the slots or notches in the nut might be too
narrow. A temporary solution? Repeatedly press the string you’re
tuning just behind the nut. If this happens with your own guitar,
please refer to pages 126–127 for additional tips. 65

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

WHAT TO LISTEN FOR

Besides dead spots and poor intonation, there’s a lot more to listen
for. Here are some more tips for judging guitars with your ears.

A wall works well

When you’re playing, you don’t hear the same sound as your
audience does. You can come close, though. Just sit down facing a
wall so that the sound of the guitar bounces back to you. Another
solution? Ask the salesperson to play a few different guitars, or
take somebody with you who can play them for you. A little
distance may help you to judge the sound and the character of the
instrument better.

Balanced
A good guitar is well-balanced in terms of volume, tone, and
sustain. The low strings shouldn’t be louder than the high ones,
nor the other way around. Because they’re wound, the low
strings not only sound lower than the high ones, they also sound
different. They shouldn’t sound too different, however.

The third string

On nylon-string guitars, the sound of the third string (G) often
deviates. Being the heaviest plain string, it sounds much less bright
than the D, which is the thinnest wound string. Some strings and
string sets have been designed to reduce this effect (see pages 85–86).

Sustain
The thin strings don’t sustain as long as the thick ones, and in
higher positions the sustain will get shorter — but it should be
balanced, and never get too short. Play some chords, let them ring,
and listen to what happens. Some guitars sustain much longer
than others. If you play fast licks or funky chords only, sustain is
less important.

Dynamics
Something else to listen to is a guitar’s range from loud to soft: the
66 dynamics. The guitar should have a beautiful, full tone even at its

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

quietest, and it should sound just as good when you play it really
loud. The best check? Play it the way you’re going to play it — but
do remember that it’s not yours yet.

Taste
Other than that, it’s mostly a matter of taste and the style of music
you play. You can go for a bright sound, or you may prefer something
warmer. The heavy basses that one player loves may sound too
boomy to another. Some guitars have a very transparent sound;
when you play a chord, you can hear every single string separately.
Other instruments have a thicker, heavier, solid type of sound.

Transparent
A guitar with a transparent sound will often sound quite bright,
with lots of highs. A nasal-sounding guitar may sound blocked in
one way, but it may offer the perfect timbre for some situations…

Deep or shallow
One guitar might have a deep, rich sound, while another may have
a shallow, less articulate or dynamic tone. A shallow sound may
not be unpleasant at first, but it can become boring after a while.

Personal taste
When two people listen to the same guitar, they may use very
different words to describe what they hear. What one finds harsh
(in other words, unpleasant), another may describe as bright (in
other words, pleasant), and what’s warm to one ear sounds dull to
another. It all depends on what you like, and on the words you use
to describe sound.

TIP
Don’t look
When selecting the guitars you want to listen to, you’ll
almost automatically look at the price as well. Chances are
that you will hear that price too.
A solution? Let the salesperson hand you a number of guitars
in your price range, one by one. Don’t look. Just play them,
one by one. And listen.
67

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

Three
When you’re trying to choose the best of a whole bunch of guitars,
it’s easy to get confused. A tip? Pick out three guitars, based on the
salesperson’s advice or your own ears. Play them. Then swap the
one you like least for another instrument. Listen. And so on.

Turn around
If you’ve found a couple of guitars that feel good and play well, and
you intend to choose between them on the basis of their sound
only, ask someone to play the same piece of music on each guitar.
If you really want to go only for the sound, and not for looks, the
brand name, or other elements that do more to your mind than
to the instrument’s tone, turn around so that you can’t see which
guitar is being played.

No two are alike

Just as no two trees are ever the same, you’ll never find two guitars
that sound exactly alike. Not even if they’re of the same brand and
the same series, and built the same day by the same person. So it’s
advisable to always play the guitar you’re going to buy, and to buy
the guitar which you played, instead of an ‘identical’ one from the
stockroom.
Same brand,
same series, Longer
same finish... A guitar often starts to sound its best after you’ve played it for
fifteen or twenty minutes. Only then does the instrument really
open up, as some would say. Another explanation is that it takes
you about twenty minutes to get to know a guitar to the point
where you can make it sound better.

TWELVE-STRING GUITARS
A twelve-string guitar has six double string courses. The lowest
sounding four strings (E, A, D, G) have an extra string that sound
an octave higher; the highest two strings (B, E) have an extra
string that sounds the same pitch. The extra strings make for the
68 instrument’s characteristic ringing sound. Some tips.

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

• The twelve strings pull the neck really hard. As a result, the
guitar’s action can easily be too high. Check its playability and
don’t forget to play the high positions too.
• The strings of each course should not be too far apart. If the
spacing is too wide, it will be hard to stop a course without
touching or even stopping adjacent strings.
• Twelve-string guitars have a somewhat wider neck, but it’s not a
wide as a traditional nylon-string neck.

The head of a
twelve-string
guitar

PRE-OWNED INSTRUMENTS
When you’re considering a pre-owned guitar, there are a few
things that need extra attention.
• Check the body, the neck, and the fingerboard for cracks and
other damage.
• Damage is caused not only by bumps and falls, but also by dry
air or by sudden changes in air humidity (see pages 138–140).
• Small cracks in the varnish may indicate that a guitar has been
stored in a very dry environment, just like frets that jut out
from the neck. 69

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 5

• Also pay attention to seams and joints, for example between

fingerboard and body.
• Listen for things you don’t want to hear. Some rattles or buzzes
may be easily corrected, perhaps by fastening a strap button,
replacing a string whose winding has come undone, or, on a
classical guitar, cutting a piece of string that is buzzing against
the top, right behind the bridge. If a string is broken, its tuning
machine may buzz.
• There are other sounds that you won’t be able to get rid of,
unless you have the instrument repaired by a specialist. A loose
brace, a pickguard that’s come loose, an invisible crack in the
body, a loose nut…
• Worn-out frets can make your strings buzz, and they impede
string-bending. Frets can be replaced or refinished.
Worn-out
frets impede
string
bending.

• Poor intonation may be the result of an old set of strings.

• The tiniest drop of oil can makes open tuning machines run
smoothly again. Inferior or old ones can be replaced, if the
guitar is worth it.
• A good used guitar can last years and years more.
• On acoustic-electric guitars, check to see if all the controls are
working well, and make sure they don’t creak. Creaking is often
easily solved with contact spray, but even then you have to know
what you’re doing.
• A final tip, to underline an earlier point: Take somebody along
who knows about guitars, especially if you’re buying from a
70 private seller.

TIPBOOK ACOUSTIC GUITAR

 A GOOD GUITAR

Vintage instruments
Vintage violins can cost well over a million dollars. Guitars have
yet to become that expensive, but there are vintage instruments
that cost at least as much as new ones of similar quality. This
has to do with older instruments being rare, and partly with the
fact that the sound of a good guitar may well improve with age.
If you’re interested in vintage guitars, check out Vintage Guitar
magazine (see page 181) and consult the vintage acoustic guitars
buying guide that you can find online.

71

TIPBOOK ACOUSTIC GUITAR

6
Acoustic-Electric
Guitars
Only if it’s really quiet, like at a classical guitar concert,
will the sound of an acoustic guitar be loud enough to
fill a concert hall. Quite often, you’ll need a little or a
lot more volume. That’s where acoustic-electric guitars
come in.
 CHAPTER 6

Most acoustic-electric guitars don’t look any different from a regu-

lar steel-string guitar — and they’re often the same instruments,
apart from the built-in electronics. As said before, acoustic-electric
usually have a cutaway, and instruments with a cutaway are usu-
ally acoustic-electrics.

Control panel
Other than that, you can recognize most acoustic-electrics by the
small control panel for the preamplifier, located on the left upper
bout, or in the soundhole.

Pickup
The pickup or transducer is usually a piezo pickup — a very thin,
small strip which can be hidden under the bridge saddle.

An
undersaddle
piezo
pickup

Output jack
The cable is plugged in the output
jack, located in the strap button at
the tail of the instrument.

Prices
Acoustic-electric guitars, with either
steel or nylon strings, come in a
wide variety of prices. The cheapest
models start at as low as two or three
hundred dollars. More money buys
you a better guitar, a better pickup/
74
preamp combination, or both. Quite

TIPBOOK ACOUSTIC GUITAR

 ACOUSTIC-ELECTRIC GUITARS

a few brands offer you a choice of pickup systems by different

makers.

A microphone
Some systems feature both an under-saddle piezo pickup and a
small microphone to round off the sound. The sound of a piezo
pickup is usually said to be rather clean, even harsh, or brittle; the
microphone, clipped on the edge of the soundhole or mounted
inside the soundbox, provides a more natural, warm sound. With
such systems, the balance between the two can usually be adjusted:
more piezo if feedback (see below) is a problem, more microphone if
it’s not, for instance.

Microphone under the bridge

As an alternative to piezo pickups, there are also flat ‘microphones’
that can be installed under the bridge saddle, similar to a piezo.

TIP
Shallow bodies
Another category of acoustic-electrics are the instruments
that are built solely for amplified playing. They’re usually
nylon strung. The shallow body hardly, if at all, acts as a
soundbox, and they may have some type of grill rather than
a conventional soundhole.

Feedback problems
Acoustic-electric guitars are notorious for causing feedback; the
loud skreee you also hear if you accidentally point a microphone
at a loudspeaker. The deeper and larger the guitar’s body and the
louder you play, the more likely you are to have feedback problems.

Solutions
There are many ways to fight or prevent feedback.
• A notch filter, which may be found on the preamp control panel
of your guitar or on your guitar amplifier, combats feedback by
filtering the relevant frequency out of the sound. 75

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 6

• Contrary to a notch filter, a phase switch does not influence

the sound. If your guitar and or your amp has a phase switch,
always see what it does to fight feedback before using a notch
filter.
• An acoustic way to stop feedback is simply to reposition your-
self, your instrument, and/or your amp and speakers.
• You can also close the soundhole of your guitar with a rubber
disc, known as a feedback buster or some such name. Wooden
soundhole covers, some with intricate carvings, are available
too.

Volume and tone

The control panel of an acoustic-electric usually features both vol-
ume and tone controls. (Usually a two- or three-band EQ, featur-
ing controls for bass and treble, or bass, treble, and mids). Some
preamps offer more extensive tone controls, or allow you to adjust
the brilliance of the sound.
Extened
control
panel:
three-band
EQ, tuner,
notch filter,
phase
switch, and
more...

Effects and tuners

Various preamplifiers also offer effects. Most commonly a reverb,
adding depth and space to the sound, but there are preamps with
a built-in delay, chorus, and other effects. Some come with user
presets to store various settings, or (programmable) factory presets
such as folk, studio mid-cut, finger style of mellow jazz. A tuner, a
76 notch filter and a phase switch may be available as well.

TIPBOOK ACOUSTIC GUITAR

 ACOUSTIC-ELECTRIC GUITARS

Soundhole preamp Soundhole preamp

(Fishman)
Various companies make pre-
amps that are installed into the
soundhole, so there’s no need
for a hole in the guitar’s bout.
A soundhole preamp makes it a
bit harder to reach the controls
or check their positions, but
many guitarists prefer the looks
of a guitar without a control
panel in the upper bout.

Invisible
You can also consider a preamp without on-board controls. Some
guitars have a preamp built into the jack output, which also
doubles as a strap button. One major advantage is that they don’t
require a hole to be made in the side of your instrument. The bat-
tery is mounted in a small clamp close to the soundhole. Unwind-
Output jack,
ing the strings provides enough space to replace it.
strap button, and
preamp in one
External preamp
The preamp can also be built into the plug of your instrument
cable, or you can use an external preamp. These are great solutions
if you don’t want any work done to your instrument. A disadvan-
tage is that you can’t control volume or tone from your guitar.

Battery check
Built-in preamps are powered by a battery. A check light on the Jack plug with
control panel warns you when power runs low. You’ll hear that as built-in preamp
well, as the sound will get progressively worse. (Powerplug,
Amplifying
Acoustics)

Unplug your instrument

Tip: Always unplug the instrument as soon as you stop
playing. This switches the preamp off. If you don’t, your
batteries won’t last long.

77

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 6

How long?
It’s hard to predict how long preamp batteries last, as it depends
both on the type of battery you’re using and on the preamp itself.
Expect a minimum of some hundred playing hours, but your bat-
tery may also last a thousand hours or more. The electronics of
older acoustic-electrics typically use more energy, reducing battery
life.

Retrofitting
Pickups and preamps can be retrofit as well — preferably by a
specialized technician. A pickup that’s not properly installed may
cause feedback problems, for one thing. The prices of pickups
and preamps vary a lot, as does the cost of having them built in.
If you want really good results, count on spending about two to
three hundred dollars or more, everything included. Some of the
better known brands in this area are Ashworth, B-Band, EMG,
EPM, Fishman, Lace, L.R. Baggs, Shadow, Schaller, and Seymour
Duncan.

Which guitar?
Basically you can turn any guitar into an acoustic-electric, but
many guitarists prefer a model with a body that’s not too big, in
order to minimize feedback problems.

Magnetic pickup
Magnetic If your steel-string guitar needs
soundhole to be amplified just once in while,
pickup
you can go for a magnetic pickup
(Amplifying
Acoustics) that can be mounted in the sound-
hole, using clips or clamps, or
adhesive tape. Prices range from
some fifty dollars to four times
as much, and more. Note that magnetic pickups don’t respond to
nylon strings.

Microphone
Regular microphones are usually used in studios. Onstage you risk
feedback, and you’ll have to keep your guitar quite still, aiming the
78 soundhole at the microphone. A clip-on microphone, as described

TIPBOOK ACOUSTIC GUITAR

 ACOUSTIC-ELECTRIC GUITARS

above, buys you the freedom to move around. There are also ultra-
flat microphones that can be stuck onto or inside the body, so that
no holes have to be drilled.

Acoustic amplifiers
Unlike amplifiers for electric guitars, which contribute a lot to the
sound of the instrument, amps for acoustic guitars are supposed to
only amplify the sound — to make it louder, not to alter it. These
special amps are known as acoustic amplifiers, contradictory as
that may sound. Most well-known amplifier manufacturers offer
one or more types.

Power ratings
The smallest acoustic amps have a power output of some 15 or
25 watts RMS, which is enough for only the very smallest venues.
Such amps are available for less than a hundred dollars. Need
more power? Expect to pay some five or six hundred dollars for a

Acoustic
amplifier
(Fishman
Loudbox)

79

TIPBOOK ACOUSTIC GUITAR

 CHAPTER 6

decent amp of 40 to 50 watts. Power output, sound quality, and

features can only go up from there, with prices of more than three
thousand dollars. If you play in a band with other amplified
instruments, you’ll soon be needing up to 100 watts or more,
unless there’s a PA system.

Combo
Acoustic amplifiers are usually combo amplifiers or combos, with
one or more small loudspeakers (often only 5" or 8") and an
amplifier all in one box. Some models come with a bigger speaker
combined with a dedicated tweeter that looks like a small horn, for
the highest frequencies. Each combo has its own sound, so always
listen to a couple of them before buying one, and preferably use
your own guitar to play-test them.

Effects
Most amps have one or more built-in effects. A reverb is a welcome
addition, especially if you use the same amp for vocals as well;
many amps feature a microphone input, since many guitar players
sing too. Another popular built-in effect is chorus, which doubles
the sound and gives it a fuller, more dynamic and spacious feel.
These and other effects are also available in dedicated effects units
for acoustic instruments. Want to know more? Check out Tipbook
Amplifiers and Effects (see page 232)

PA
If you play larger venues, your guitar may be plugged directly
into the PA mixer. If your amplifier has a DI (direct) output or a
line output, you can plug your guitar into your amp and connect
your amp to the mixer. Again, Tipbook Amplifiers and Effects is the
source to go for.

Tips
• Always listen to acoustic-electrics unamplified (even those with
a shallow body) as well as amplified.
• Audition acoustic-electric guitars with your own amplifier. If
you don’t have one (yet), be aware of the fact that no two amps
80 sound the same.

TIPBOOK ACOUSTIC GUITAR

 ACOUSTIC-ELECTRIC GUITARS

• When you play amplified, is it just the volume level that goes up
or does the tone change as well?
• Acoustic-electric guitars often have a rather low action and
light strings. Keep that in mind when you’re trying them out.
• How sensitive is the guitar to feed- Acoustic-
back? It’s easier to find that out when electric
with USB-
you compare a couple of guitars. Sit
connectivity
down with those guitars at different (Ibanez AEG)
angles to the speakers — and don’t
open the amplifier up all the way.
• Check that the volume and tone
controls work evenly, and across their
entire range.
• Listen for noise and hum. If you hear
any, the culprit may be the guitar, but
it could also be the cable, the amp, or
other electrical systems in the room.
• Check if the battery is easily replace-
able.
• Note that there’s a growing number
of acoustic-electrics with a USB-
connectivity, allowing you to hook
it up directly to your computer, for
recording or other purposes.

81

TIPBOOK ACOUSTIC GUITAR

 THE TIPBOOK SERIESSERIES
THE TIPBOOK

The Tipbook Series

Did you like this Tipbook? There are Tipbooks for your fellow band
or orchestra members too! The series features books on musical
instruments, including the singing voice, in addition to Tipbook
Music on Paper and eTipbook Music for Kids and Teens.

Every Tipbook is a highly accessible and easy-to-read compilation of the

knowledge and expertise of numerous musicians, teachers, technicians,
and other experts, written for musicians of all ages, at all levels, and in
any style of music.

In print
The Tipbook series is also available in print. Check out www.tipbook.
com for up to date information.

Instrument Tipbooks
All instrument Tipbooks offer a wealth of highly accessible, yet well-founded
information on one or more closely related instruments. The core chapters
of these books turn you into an instant expert on the instrument. This
knowledge allows you to make an informed purchase and get the most out of
your instrument. Comprehensive chapters on maintenance, intonation, and
tuning are also included, as well a brief section on the history, the family, and
the production of the instrument.

Tipbook Acoustic Guitar

Tipbook Acoustic Guitar explains all of the elements
that allow you to recognize and judge a guitar’s
timbre, performance, and playability, focusing on
both steel-string and nylon-string instruments.
There are chapters covering the various types of
strings and their characteristics, and there’s plenty
of helpful information on changing and cleaning
strings, on tuning and maintenance, and even on the
care of your fingernails. 233

THE TIPBOOK SERIES

 THE TIPBOOK SERIES

Tipbook Amplifiers and Effects

Whether you need a guitar amp, a sound system, a
multi-effects unit for a bass guitar, or a keyboard
amplifier, Tipbook Amplifiers and Effects helps you to
make a good choice. Two chapters explain general
features (controls, equalizers, speakers, MIDI, etc.)
and figures (watts, ohms, impedance, etc.), and
further chapters cover the specifics of guitar amps,
bass amps, keyboard amps, acoustic amps, and sound
systems. Effects and effect units are dealt with in
detail, and there are also chapters on microphones
and pickups, and cables and wireless systems.

Tipbook Cello
Cellists can find everything they need to know
about their instrument in Tipbook Cello. The book
gives you tips on how to select an instrument and
choose a bow, tells you all about the various types of
strings and rosins, and gives you helpful tips on the
maintenance and tuning of your instrument. Basic
information on electric cellos is included as well!

Tipbook Clarinet
Tipbook Clarinet sheds light on every element of this
fascinating instrument. The knowledge presented in
this guide makes trying out and selecting a clarinet
much easier, and it turns you into an instant expert
on offset and in-line trill keys, rounded or French-
style keys, and all other aspects of the instrument.
Special chapters are devoted to reeds (selecting,
testing, and adjusting reeds), mouthpieces and
ligatures, and maintenance.

Tipbook Electric Guitar and Bass

Guitar
Electric guitars and bass guitars come in many
shapes and sizes. Tipbook Electric Guitar and
Bass Guitar explains all of their features and
characteristics, from neck profiles, frets, and types of
wood to different types of pickups, tuning machines,
and — of course — strings. Tuning and advanced
234 do-it-yourself intonation techniques are included.

THE TIPBOOK SERIES

 THE TIPBOOK SERIES

Tipbook Drums
A drum is a drum is a drum? Not true — and
Tipbook Drums tells you all the ins and outs of their
differences, from the type of wood to the dimensions
of the shell, the shape of the bearing edge, and the
drum’s hardware. Special chapters discuss selecting
drum sticks, drum heads, and cymbals. Tuning and
muffling, two techniques a drummer must master
to make the instrument sound as good as it can, are
covered in detail, providing step-by-step instructions.

Tipbook Flute and Piccolo

Flute prices range from a few hundred to fifty
thousand dollars and more. Tipbook Flute and Piccolo
tells you how workmanship, materials, and other
elements make for instruments with vastly different
prices, and teaches you how to find the instrument
that best suits your needs. Open-hole or closed-hole
keys, a B-foot or a C-foot, split-E or donut, inline or
offset G? You’ll be able to answer all these questions
— and more — after reading this guide.

Tipbook Keyboard and Digital Piano

Tipbook Keyboard and Digital Piano explains digital
lingo in a very easy-to-read fashion — from hammer
action and non-weighted keys to MIDI, layers and
splits, arpeggiators and sequencers, expression pedals
and multi-switches, and more, including special
chapters on how to judge the instrument’s sound,
accompaniment systems, and more.

Tipbook Music for Kids and Teens

How do you inspire children to play music? How
do you inspire them to practice? What can you do
to help them select an instrument, to reduce stage
fright, or to practice effectively? What can you do to
make practice fun? How do you reduce sound levels
and prevent hearing damage? These and many more
questions are dealt with in Tipbook Music for Kids and
Teens – a Guide for Parents and Caregivers. The book
addresses all subjects related to the musical education
of children from pre-birth to pre-adulthood. 235

THE TIPBOOK SERIES

 THE TIPBOOK SERIES

Tipbook Music on Paper

Tipbook Music on Paper – Basic Theory offers
everything you need to read and understand the
language of music. The book presumes no prior
understanding of theory and begins with the basics,
explaining standard notation, but moves on to
advanced topics such as odd time signatures and
transposing music in a fashion that makes things
really easy to understand.

Tipbook Piano
Tipbook Piano makes for a better understanding
of this complex, expensive instrument without
going into too much detail. How to judge and
compare piano keyboards and pedals, the influence
of the instrument’s dimensions, different types of
cabinets, auditioning pianos, the difference between
laminated and solid wood soundboards, accessories,
and why tuning and regulation are so important:
Everything is covered in this handy guide.

Tipbook Saxophone
At first glance, all alto saxophones look alike. And
all tenor saxophones do too — yet they all play
and sound different from each other. Tipbook
Saxophone discusses the instrument in detail,
explaining the key system and the use of additional
keys, the different types of pads, corks, and springs,
mouthpieces and how they influence timbre and
playability, reeds (and how to adjust them) and
much more. Fingering charts are included!

Tipbook Trumpet and Trombone,

Flugelhorn and Cornet
The Tipbook on brass instruments focuses on the
smaller horns listed in the title. It explains all of the
jargon you come across when you’re out to buy or
rent an instrument, from bell material to the shape
of the bore, the leadpipe, valves and valve slides,
and all other elements of the horn. Mouthpieces, a
crucial choice for the sound and playability of all
236 brasswinds, are covered in a separate chapter.

THE TIPBOOK SERIES

 THE TIPBOOK SERIES

Tipbook Violin and Viola

Tipbook Violin and Viola covers a wide range of
subjects, ranging from an explanation of different
types of tuning pegs, fine tuners, and tailpieces, to
how body dimensions and the bridge may influence
the instrument’s timbre. Tips on trying out
instruments and bows are included. Special chapters
are devoted to the characteristics of different types
of strings, bows, and rosins, allowing you to get the
most out of your instrument.

Tipbook Vocals – The Singing Voice

Tipbook Vocals –The Singing Voice helps you realize
the full potential of your singing voice. The book,
written in close collaboration with classical and
non-classical singers and teachers, allows you to
discover the world’s most personal and precious
instrument without reminding you of anatomy
class. Topics include breathing and breath support,
singing loudly without hurting your voice, singing
in tune, the timbre of your voice, articulation,
registers and ranges, memorizing lyrics, and more.
The main purpose of the chapter on voice care is to prevent problems.

International editions
The Tipbook Series is also available in Spanish, French, German, Dutch,
Italian, and Chinese. For more information, please visit us at tipbook.com.

237

THE TIPBOOK SERIES