
Image 1
If you're a guitar modder, you probably already have most of the simple tools needed for this unique pedalboard project.
Hello, and welcome to my first DIY project for Premier Guitar. I'm going to explain how to make a battery-operated power supply for your pedalboard (Image 1). We'll be using a cordless drill battery for power and a few other items that you might already have lying around. All of the parts needed for this project can be easily found and purchased online.
Why would you want to use a drill battery to power your effects pedals? By powering your effects with a battery, you eliminate the potential for noise caused by bad wiring in your home or in a venue, it eliminates possible ground loops as well as a cord to trip over, and it expands your possibilities for placement of your pedalboard. Drill batteries are tough, easily rechargeable, and will last a really long time before needing a recharge. They just pop in and out of their charger and will pop in and out of your power supply. If you already have a couple spare batteries, the cost of this build is small. Spare batteries can be purchased online if you already have a charger, or you can even buy batteries and a charger.
If you've been modding the wiring of your guitars, you probably have the tools and skills necessary to build this project.
Image 2
You'll need a good soldering iron and solder, a drill, needle-nose pliers, a multimeter, and, of course, eye protection. If you're like me, you'll also need reading glasses to see what you're doing. This build is pretty simple and easy to understand, as you can see in the wiring diagram shown in Image 2. The orange square is the back of the common 3PDT footswitch found in most boutique stompboxes. I used a 3PDT footswitch, but a 2PDT footswitch or any toggle switch will also work for this project.
The two most important items we need, other than a battery, are a battery adapter and a buck converter, sometimes called a voltage converter.
Image 3
The battery plugs into the adapter, just like it plugs into a drill, and has two wires that let us connect to the battery's power. Battery adapters are made for several brands of drill batteries. I use Milwaukee but Makita and DeWalt will also work for this project. I bought my battery adapter (Image 3) for about $16 from Amazon.
The buck converter lets you adjust (or "step down") the voltage coming from the battery to 9 volts, which is the voltage you want for most pedals. These units are also cheap. I bought a pack of four, just in case I ruined one. Get one that will handle at least 25 volts on the upper range and goes down past our target voltage of 9 volts. Also, check how much current it can handle: 3 to 5 amps should be plenty.
Get a buck converter that will handle at least 25 volts on the upper range and goes down past our target voltage of 9 volts.
Image 4
The buck converter I bought is about 2" by 1" (Image 4), with connections for DC in and DC out. The small brass screw on top of the blue rectangular box is the adjustment. On mine, turning the screw counterclockwise drops the output voltage. It takes a really small screwdriver to fit the adjustment screw, and a lot of turns to get it down to 9 volts.
The buck converter I bought is good for 3 amps of electric current. So how much current will your pedals draw? I found a good list of different pedals and their power draw on Stinkfoot.se. The four pedals I've been using lately draw a total of 113 mA, or .113 of an amp. It's important to note that stompboxes draw power whenever there is a guitar cord plugged into them, even when switched off. The footswitch on a pedal just routes the signal around the circuitry and doesn't stop the power draw. This is why we're putting a footswitch on our project, so we can turn off the power. We'll also incorporate an LED to remind us when the power is on.
We'll use a basic stompbox enclosure for this project. I used one that measures about 2 1/4" x 4 1/4", and it came in a box of three. The box came with a special stepped drill bit that makes holes for things like jacks, switches, and LEDs, and a helpful list of which steps work for different parts. A piece of masking tape wrapped around the drill bit at the appropriate step will help you drill the right-sized hole without going too far.
What Else Will We Need?
- One 3PDT footswitch (a 2PDT footswitch will also work)
- An LED and mounting bezel
- One 4.7k (drop-down) resistor
- A barrel jack, compatible with your power cord
- Two colors of hookup wire, 22 AWG or 24 AWG
- Standoffs to mount the buck converter, or some silicone caulk
- Three or four nuts and bolts to mount the battery adapter
- And lastly, we will need that old daisy chain power cord I know you have lying around, to power your pedals.
Heat-shrink tubing is not strictly necessary, but it will make your build a lot neater than using electrical tape. Once you buy some, you'll find many uses for it and it'll come in handy often. I got a bag with a bunch of different diameter pieces for a couple bucks, and it's lasted me several years.
Bolt-mount the battery adapter to the bottom of the enclosure.
Image 5
Now let's get started. You can see all the parts and wiring fit in the enclosure pretty easily (Image 5). Mark where the holes go carefully. Use the shortest bolts you can, so they don't interfere with the wiring, making sure to leave room to access the screws that hold the enclosure together.
Next, mark where to drill the holes for the footswitch, LED, and jack.
Image 6
You'll need one more hole to bring the wires from the adapter into the enclosure: Put that on the end opposite the jack. Make sure to sand this last hole nice and smooth around the edges so it won't abrade the wire. I put my jack hole about halfway between the top and bottom of the enclosure and that left me plenty of room for wiring. Make sure you leave enough room between the jack and footswitch (Image 6). Now we can mount the jack, footswitch, and LED bezel.
At this point, you just need to follow the diagram to wire things up. I used 22 AWG wire and found it a little bit cumbersome to fit it into a few of the tighter spaces and get it soldered. On that note, 24 AWG wire would probably be fine. It should be good for around 1.4 to 3.5 amps, depending on if it's stranded or solid core. To give you an idea, 1.4 amps is more than 10 times the current of what my four pedals draw.
I mounted another jack for 18-volt output, just in case I ever get an 18-volt pedal. (This would also require a second buck converter.) After wiring it up, however, I found my 18-volt batteries are actually around 20 volts, so I removed the wiring.
If you don't have standoffs for your buck converter, you need another way to mount it to the inside of your enclosure.
Image 7
I used silicone caulk to glue mine to a thin piece of wood. I used alcohol to clean the enclosure where I put the silicone, to make sure it would stick. After the silicone was dry and I wired up the converter, I used more silicone to glue it to the enclosure (Image 7).
Cut the wires from your battery adapter to a shorter length, feed the wires from the input of your buck converter through their hole in the enclosure, and solder them to the battery wires.
Image 8
This is where your heat-shrink tubing will come in handy. Use some more of that silicone to anchor the wires in the hole after you know everything works. And be sure that you wire your jacks so the center is negative (Image 8).
The LED needs a resistor soldered to the positive leg in series to operate.
Image 9
The positive leg is the longer one. Fit the LED legs through the plastic-mounting sleeve that came with the bezel before you solder on your resistor (Image 9). The LED will then just push into the bezel. If your LED is close enough, you can solder the other end of the resistor to the switch, like I did. You can use wire if it's too far. The other lead from the LED goes to the ground from the battery. It's worth noting that the value of the drop-down resistor depends a lot on the type and color or LED. We're using a 4.7k resistor, which works fine with a blue standard LED. For all other LED colors and types, the resistor type can be recalculated online. A good resource for this is: https://www.muzique.com/schem/led.htm.
If you soldered everything up correctly, you should be good to go! I have two different-sized drill batteries, and even the small ones will power my pedals for nine hours. I would suggest turning your power supply on and testing with your multimeter before plugging in any of your pedals, taking care that the polarity of your output is correct.
How could you modify my design? You could use a larger enclosure and more jacks, allowing you to power each pedal with its own cable. Instead of a larger enclosure, you could make a separate box with lots of power jacks. A second buck converter could allow for 18-volt power. Maybe it would make sense for you to mount your battery adapter directly to your pedalboard and mount the stompbox enclosure separately. Let me know if you have other ideas in the comments section online.
For me, this was an enjoyable switch from my usual projects. I have a lot of leftover parts, so I guess it's time to start thinking about what to make next.PQ: "I would suggest turning your power supply on and testing with your multimeter before plugging in any of your pedals, taking care that the polarity of your output is correct."
[Updated 1/25/22]
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See and hear Taylor’s Legacy Collection guitars played by his successor, Andy Powers.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylor’s classic acoustic models, curated by the legendary luthier and innovator himself. “To imagine that we’re doing guitars that harken to our past, our present and our future all at the same time,” Bob says, “I really like that.”
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. “It’s an up-to-date version of what those guitars would be,” Bob explains, “but with the same sound.”
Visually, these guitars feel classic—clean, understated and unmistakably Taylor. While Bob’s original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylor’s reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. “My first neck was a bolted-on neck but not an NT neck,” Bob says. “These are NT necks because it’s a better neck.” Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bob’s use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy Powers—Taylor’s current Chief Guitar Designer, President and CEO—debuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylor’s premium-performance guitars. Still, Bob’s X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says “harkens back to those days.”
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bob’s successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylor’s guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builder’s Edition Collection, and most recently, the stunning Gold Label Collection.
Below you’ll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylor’s first official guitar series. Today, it remains home to some of the brand’s most acclaimed instruments, including the flagship 814ce, Builder’s Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Radding—the original owner of the American Dream music shop where Bob and Kurt first met. “I was making my guitars in the molds that Sam had made at American Dream,” Bob recalls. “There was a Jumbo and a Dreadnought. That’s all we had.”
All three Legacy 800 Series guitars feature one of Bob’s favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bob’s “straight-ear” peghead design. Both Jumbo models also showcase a mustache-style ebony bridge—a nod to Bob’s early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylor’s heart. “My first 810, the one I made for myself, was a thrilling guitar for me to make,” he says. “It’s the one and only guitar I played. It didn’t matter how many guitars we made at Taylor, that’s the one I took out and played.” The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough Demo
Legacy 855e
Taylor’s first 12-strings found an audience in 1970s Los Angeles. “I was making guitars that would find their way to McCabe’s in Santa Monica and Westwood Music,” Bob says, “and these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.” The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough Demo
Legacy 815e
The Legacy 815e revives Taylor’s original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: “Not everybody wants a dreadnought guitar anymore.” Players were asking for something with comparable volume but different proportions—something more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bob’s Grand Auditorium attracted a wide variety of players. “We came into our own with our Grand Auditorium,” he says. “People were describing it as ‘all around.’ It’s a good strummer and good for fingerstyle, but it’s not totally geared toward strumming or totally geared toward fingerstyle.” Also referred to as the “Swiss-Army Knife” of guitars or the “Goldilocks” guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. “That guitar made studio work successful,” Bob says. It gained a wider fanbase with the debut of the “ce” version, which introduced a Venetian cutaway and onboard electronics. “That became one of our hallmarks,” says Bob. “If you want to plug in your guitar, buy a Taylor.”
Today, the Grand Auditorium is Taylor’s best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bob’s original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough Demo
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedar’s soft-touch sensitivity and warmth. It’s a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough Demo
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isn’t currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white “pinstripe” body purfling.
While the Legacy Collection spotlights Taylor’s past, newer models from the Gold Label, Builder’s Edition and Somos Collections show the company’s legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough Demo
Guest picker Ally Venable
Blues rocker Ally Venable joins PG’s editors to imagine what their dream late-night band would sound like.
Question: What’s your dream late-night show band?
Ally Venable - Guest Picker
By FifthLegend from Eagan, Minnesota, United States of America - Thundercat, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=70617212
A: For my late-night show's house band, I’ve assembled a dream team. This ensemble inspires me with their unparalleled musical talents and diverse backgrounds. Chris Layton’s drumming is unmatched and he will provide a solid foundation. I’ll have Jon Batiste on keys. His creativity and energy is boundless. Eric Gales would be on guitar. I love how emotive his music is, and I strive for that type of connection within my playing as well. Finally, I’d have Thundercat on bass. His playing is infused with jazz and funk sensibilities that would tie the whole sound together in an interesting way.
Obsession: My current obsession is shifting my approach to playing—focusing on connection over applause. Instead of chasing technical perfection or crowd reactions, I’m leaning into the emotional and spiritual side of music. It’s about creating moments that resonate deeply, whether it’s with myself, my bandmates, or the audience.
David Saenger - Reader of the Month
A: I love the idea of supergroups and how each of the players would interact. On guitars I would have Nuno Bettencourt (Extreme) and Isaiah Sharkey. My drum and bass combo would be Stewart Copeland (The Police) and Mohini Dey. On keys and sax, I would have Herbie Hancock and Joshua Redman. My male and female vocalists would be Corey Glover (Living Colour) and Liv Warfield (Prince). All of these players are fantastic improvisers and really know how to put on an entertaining show in any genre.
Bassist Victor Wooten
Obsession: My current obsession has been bass. My 12-year-old daughter started playing electric and upright bass about two years ago, and it’s been a blast working with her. I’ve been really focusing on having a solid pocket, and it’s forced me to get better at reading bass clef. I’m taking her to see Victor Wooten next week. Can’t wait!
Jason Shadrick - Managing Editor
Jason Shadrick on the SNL stage.
A: The natural move would be to go for a high-energy party band decked out with multiple keyboards, horns, and vocalists. I’d go a different route. I’d go for a more rootsy vibe with Blake Mills leading a band consisting of Jay Bellerose on drums, esperanza spalding on bass, Bob Reynolds on saxophones, and a rotating guest each week. They could cover lo-fi Americana, funky open-tuned blues, and so much more.
Obsession: This month is slightly less obsession and more reflection as this will be my last issue as Managing Editor for PG. Over the last 15 years I’ve worked on 182 issues, which is kinda mind-boggling. I’ve been lucky enough to do some incredible things during my time at PG, including walking through the host door at SNL and spending a few minutes with Brian May. Never could have imagined it. I am very grateful.
Nick Millevoi - Senior Editor
A: I’ve long said that joining one of the late night bands would probably be my absolute top dream gig. So, if I were choosing my own late-night band, from any era, I would go no further than getting a chance to sit with Paul Schaffer and the World’s Most Dangerous Band or G.E. Smith-era Saturday Night Live Band.
Obsession: The late guitarist Jef Lee Johnson, who spent time in Schaffer’s band, had a heavy resume that included stars of all genres from Billy Joel to the Roots to McCoy Tyner. I got to see him play some low-key gigs around Philly, and each rearranged my molecules. It’s only now, years after his 2013 death, that I’ve become obsessed with his discography. Though much of his work was as a high-level sideman, his albums show the broad range of this masterful guitarist, whose tone, feel, and phrasing conveyed the instrument’s deepest emotional capabilities.
At its core is GTRS’ upgraded G151 intelligent system, offering 128 onboard effects, MNRS amp and cab sims, and even 17 guitar emulations—exclusive to this model. Everything is controlled via the eye-catching Super Knob, which changes color to match your preset, as well as through the Bluetooth-connectible GTRS app.
GTRS’ W902 features select tonewoods and construction: an alder body, poplar burl top, and a sleek bolt-on 5-piece neck made from roasted flame maple and rosewood, with satin natural finish and a rosewood fingerboard. The fanned fret design features 24 white copper frets and a stainless zero fret. A pair of GTRS Alnico V pickups and an HL-II bridge deliver a resonant tone, made particularly versatile thanks to the 5-way tone switch and tone knob.
The W902 offers a truly innovative choice for tech-savvy guitarists. Its features include a wireless transmitter, OTG recording, an 80-second looper, metronomes, and a drum machine, the app-supported guitar boasts up to 12 hours of playtime on a single charge (9 hours with the wireless transmitter in use).
The W902 is an upgraded version of the original W900 Intelligent Guitar, and the W902 most notably features an upgraded GTRS Intelligent Processor System, the G151, which even offers upgrades over the GTRS SL810's recently announced G150 system. The G151 system comes with a staggering 128 effects pre-installed, along with 10 of both MOOER's in-house MNRS amp and cabinet simulation profiles. Exclusive to the W902, the G151 system even includes 17 guitar simulation effects, allowing guitarists to emulate the tonal resonance of some of their favorite guitars.
To activate and browse through presets within the G151 system, which can be connected via Bluetooth 5.0, guitarists can use the guitar's Super Knob, which lights up in different LED colors depending on which preset is activated. Of course, users are able to get stuck into and edit the effects chains of presets through the GTRS app, enabling them to craft their own favorites through their mobile device. The guitar still functions without the G151 system; the Super Knob just needs to be turned off, and the W902 is usable as a regular electric guitar.
Within the GTRS app, there is even an 80-second looper, 10 metronomes, and 40 drum machine grooves built in, providing users with an all-in-one suite for guitar practice and composition. This is especially the case when combined with the W902's OTG-recording support, enabling on-the-go recording without the need for a hardware recording setup.
The W902 comes bundled with a GTRS Deluxe gig bag, three guitar wrenches, a USB 3.0 cable for charging, and a user manual. The guitar even contains a wireless transmitter and an integrated 4000mAh Li-ion battery, providing up to 12 hours of continuous use (9 hours with the transmitter in use), allowing users to enjoy the G151 system through headphones or an amplifier.
Guitarists who want to experiment further with the W902’s technology can connect the intelligent system to the GTRS GWF4 wireless footswitch, which is ideal for switching between presets in live scenarios when control through a mobile device isn't practical.
GTRS W902 Guitar construction features:
- Alder Body, 5-Piece Selected Roasted Flame Maple and Rosewood Neck with Satin Natural Finish (C-Shape)
- Bolt-on neck, 25-1/2" scale length, with dual action steel truss rod
- Rosewood fingerboard, 12” radius, 24 white copper (0 fret stainless) fanned frets
- Built-in wireless transmitter
- Super Knob, Volume Control Knob, and Tone Knob, 3-way tone-selection switch
- GLB-P1 Li-ion Battery (4000mAh, up to 12 hours of continuous use, 9 hours with the wireless transmitter in use)
- USB port for charging and OTG recording
- GTRS Deluxe gig bag, 3 guitar wrenches
GTRS G151 Intelligent Guitar System features:
- GTRS G151 Intelligent Processing System (and GTRS App)
- 128 effects, 10 MNRS amp (GNR) and cabinet (GIR) simulation models
- 17 guitar simulations
- 80-second looper, 40 drum machine grooves, 10 metronomes
- Bluetooth 5.0 connectivity
- GTRS GWF4 wireless footswitch support (sold separately)
The GTRS W902 is now available worldwide. For more information visit www.gtrs.tech.
Detail of Ted’s 1997 National resonator tricone.
What instruments should you bring to an acoustic performance? These days, with sonic innovations and the shifting definition of just what an acoustic performance is, anything goes.
I believe it was Shakespeare who wrote: “To unplug, or not to unplug, that is the question. Whether ’tis nobler in the mind to suffer the slings and arrows of acoustic purists, or to take thy electric guitar in hand to navigate the sea of solo performing.”
Four-hundred-and-twenty-four years later, many of us still sometimes face the dilemma of good William when it comes to playing solo gigs. In a stripped-down setting, where it’s just us and our songs, do we opt to play an acoustic instrument, which might seem more fitting—or at least more common, in the folksinger/troubadour tradition—or do we bring a comfy electric for accompaniment?
For me, and likely many of you, it depends. If I’m playing one or two songs in a coffeehouse-like atmosphere, I’m likely to bring an acoustic. But if I’m doing a quick solo pop up, say, as a buffer between bands in a rock room, I’m bringing my electric. And when I’m doing a solo concert, where I’ll be stretching out for at least an hour, it’s a hybrid rig. I’ll bring my battered old Guild D25C, a National tricone resonator, and my faithful Zuzu electric with coil-splitting, and likely my gig pedalboard, or at least a digital delay. And each guitar is in a different tuning. Be prepared, as the Boy Scouts motto states. (For the record, I never made it past Webelos.)
My point is, the definition of the “acoustic” or “coffeehouse” performance has changed. Sure, there are still a few Alan Lomax types out there who will complain that an electric guitar or band is too loud, but they are the last vestiges of the folk police. And, well, acoustic guitar amplification is so good these days that I’ve been at shows where each strum of a flattop box has threatened to take my head off. My band Coyote Motel even plays Nashville’s hallowed songwriter room the Bluebird Café as a fully electric five-piece. What’s key, besides a smart, flexible sound engineer, is controlling volume, and with a Cali76 compressor or an MXR Duke of Tone, I can get the drive and sustain I need at a low level.
“My point is, the definition of the ‘acoustic’ or ‘coffeehouse’ performance has changed.”
So, today I think the instruments that are right for “acoustic” gigs are whatever makes you happiest. Left to my own devices, I like my Guild for songs that have a strong basis in folk or country writing, my National for blues and slide, and my electric for whenever I feel like adding a little sonic sauce or showing off a bit, since I have a fluid fingerpicking hand that can add some flash to accompaniment and solos. It’s really a matter of what instrument or instruments make you most comfortable because we should all be happy and comfortable onstage—whether that stage is in an arena or theater, a club or coffeehouse, or a church basement.
At this point, with instruments like Fender’s Acoustasonic line, or piezo-equipped models from Godin, PRS, and others, and the innovative L.R. Baggs AEG-1, it’s worth considering just what exactly makes a guitar acoustic. Is it sound? In which case there’s a wide-open playing field. Or is it a variation on the classic open-bodied instrument that uses a soundhole to move air? And if we arrive at the same end, do the means matter? There is excellent craftsmanship available today throughout the entire guitar spectrum, including foreign-built models, so maybe we can finally put the concerns of Shakespeare to rest and accept that “acoustic” has simply come to mean “low volume.”
Another reason I’m thinking out loud about this is because this is our annual acoustic issue. And so we’re featuring Jason Isbell, on the heels of his solo acoustic album, a piece on how acoustic guitars do their work authored by none other than Lloyd Baggs, and Andy Fairweather Low, whose new solo album—and illustrious career—includes exceptional acoustic performances. If you’re not familiar with his work, and you are, even if you don’t know it, he was the gent sitting next to Clapton for the historic 1992 Unplugged concert—and lots more. There are also reviews of new instruments from Taylor, Martin, and Godin that fit the classic acoustic profile, so dig in, and to heck with the slings and arrows!