
Exceptional playability and scores of sounds make this much more than a simple electric/acoustic hybrid.
Super-sweet playability and superb setup. Wide range of available tones—including convincing acoustic tones.
Best-looking Acoustasonic yet—but may look pretty strange to some. No dedicated tone knob.
$1,999 street
Fender Acoustasonic Jazzmaster
fender.com
Back in June 2020, I reviewed the Fender Acoustasonic Stratocaster. It was my first long-term exposure to Fender's new Acoustasonic line, and like many old-school-leaning Fender-design enthusiasts, I greeted the concept with mild skepticism. But the Acoustasonic surprised and impressed on many levels—sparking fun and inspiration in ample measures and at many turns.
- Multi-Voices Clip: Acoustic track is blend of mahogany jumbo and small-body mahogany voices. Electric rhythm track is "fat semi-clean" setting with UA EMT-140 reverb emulation. Electric lead is "overdriven electric" voice with UA Space Echo emulation.
- Dreadnought Voices Clip: First segment is rosewood-backed dreadnought, second segment is a blend of rosewood- and mahogany-backed dread voices, the last segment is the mahogany voice only.
The new Corona, California-built Acoustasonic Jazzmaster is more than a Acoustasonic Telecaster or Stratocaster re-shaped for the surf set. For starters, there's a brand-new humbucking pickup designed by Fender's tireless tinkerer-in-chief, Tim Shaw. The Acoustasonic Jazzmaster also introduces a raft of new voices, adding J-200-style mahogany jumbo and 00-18 mahogany-style acoustic sounds as well as surprisingly versatile piezo settings.
The Jazzmaster's acoustic sounds—created via the onboard acoustic "engine" designed with Fishman—aren't digital models. They're generated via a combination of digital and analog processing that interacts with the guitar's actual acoustic body properties. Generally, the differences in these voices are most perceptible as shifts in EQ emphasis.
And without the Acoustasonic Stratocaster alongside for comparison, it's hard to say exactly how significantly the Jazzmaster's new "all-mahogany small body" voice, for instance, differs from the Stratocaster's "spruce-and-walnut, short-scale" voice. But other unique features like the Jazzmaster's "lo-fi piezo" voices and the humbucking electric sounds make the guitar feel geared toward contemporary, more experimental, and more hard-rockin' musical situations. That doesn't minimize the impressive utility of the very nice acoustic-style voices here. But the Jazzmaster, more so than its other Acoustasonic siblings, signals an invitation to invention and marks a real point of departure in this interesting line of the Fender family tree.
Deconstruction Derby
Stylistic appraisals of an instrument like the Acoustasonic Jazzmaster are subjective. And the look of the Acoustasonic instruments can be polarizing, in general. But Fender deserves credit for stretching the design envelope, and the Acoustasonic Jazzmaster is arguably the most balanced realization of the Acoustasonic design ethos yet. The offset body's proportions are well suited to the compound, sweeping curves that make up the instrument's visage. If you look at it just right, you can even see traces of other Fender designs. (I see more than a hint of the Kurt Cobain-designed Jag-Stang in the outline of the inlaid top.) As on the other Acoustasonic instruments, softer, more gently contrasting colors, like the natural and arctic white finishes offered on the Jazzmaster, suit the complex curves best. But our satin ocean turquoise review guitar looked super sharp, and is a nice nod to Fender's first great custom-color era.
Like all Acoustasonic guitars, the Jazzmaster is built around a mahogany body that is routed for the lightly braced Sitka spruce top (the turquoise finished section, in this case). The join feels virtually seamless, and that same sense of precision and craft is evident everywhere.
The "lo-fi" piezo is gloriously trashy and garage-y in the kind of way that a young Beggars Banquet-era Keith Richards would have savored.
Like any Jazzmaster, the Acoustasonic version's lower horn lacks the length of a Stratocaster of Telecaster, and it can slip off of your lap when playing seated—which, of course, is how many folks chose to have an acoustic guitar experience. But that is perhaps the only ergonomic complaint you can level against this otherwise supremely comfortable instrument.
Built to Rip
Fender's attention to detail on the Acoustasonic shines brightest when you put fingers to fretboard. Like the Acoustasonic Stratocaster's neck, the Jazzmaster's feels fantastic. The fretboard is shaped with a 12" radius to better suit the guitar's mission as an acoustic, but the "modern deep C" profile and rounded fretboard edges make the neck feel like a classic Fender with a more curvaceous radius. Chording is a breeze over the whole expanse of the neck, the action feels low and fast, and I couldn't find a trace of string buzz anywhere. The .011–.052 phosphor bronze strings that the guitar ships with make deep bends a more difficult proposition than on a lightly strung electric. But the narrow-tall frets that have become a standard feature on many Fenders beckon you to try, and facilitate nuanced finger vibrato techniques.
Sounds That Span Ages
Unplugged, the Jazzmaster is surprisingly resonant and blooms with sustain. And in some amplified "acoustic" modes and isolated direct-to-DAW settings, that resonance can translate to a slight imbalance between deep low-end sustain and boxier high mids—particularly in the dreadnought voices. Such properties mean you may not want to make the Acoustasonic your first choice for recording a solo fingerstyle piece. But as part of a more complex arrangement, these voices can shine. The ability to blend voices means you can craft the Jazzmaster's acoustic sounds for a mix without having to tinker endlessly on the mixing side. And if you record the guitar direct to a DAW, a little vintage-style compression, console-style preamp thickening, and high-mid EQ tweaking can go a long way toward softening any less-than-natural artifacts.
The new humbucker has a very different tone profile than the single-coil in the Acoustasonic Stratocaster. Where the Strat's single-coil is unmistakably Fender-y, spanky, and clear, the humbucker is, predictably, more muscular. At its cleanest settings, it evokes hotter single-coil pickups like the Rickenbacker Hi-Gain and the P-90. Blend in the more aggressive "overdriven electric" voice and the P-90 presence gets stronger.
There isn't as much round, wooly PAF-style humbucker tone on tap as you might expect. But the volume pot has a nice taper and is an effective means of shaping cleaner tones and more specific gain profiles. The "lo-fi" piezo also merits mention, because it's essentially a third electric guitar voice. Its trebly but overtone-rich voice won't be everyone's cup of tea, but it is gloriously trashy and garage-y in the kind of way that a young Beggars Banquet-era Keith Richards would have savored.
The Verdict
The Acoustasonic Jazzmaster is a thoroughly modern instrument. It suits the needs of musicians that work across genres and in smaller studios and dwellings, where keeping a five-guitar quiver at hand isn't possible. But apart from its considerable practical upside, it's a true joy to play. And between its natural, comfortable feel and the ease with which you can access such a wealth of diverse sounds, the Acoustasonic Jazzmaster is full of musical potential.
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Explore two standouts to take your Fingerstyle guitar playing to the next level! PG contributor Tom Butwin demos the Walden G270RCE and the Riversong Stylist DLX, showcasing their unique, features and sound.
Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the “Insanely Fire 1970’s Pool Party” 2025 SuperJam, Bonnaroo’s legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the “Closer” RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this year’s most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue – presented in partnership with Polygon Live – boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the world’s largest, most immersive, 360° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
Daði Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolf’s Insanely Fire 1970’s Pool Party Superjam (Saturday)
The fast-rising Okies use solid-state amp heads, baritone guitars, and a bit of Peavey magic to bring their nightmare-rock to life.
Oklahoma City sludge rockers Chat Pile have had a busy few years. Their 2022 LP, God’s Country, broke them internationally, and their critically acclaimed 2024 follow-up, Cool World, solidified them as one of the most exciting heavy bands of the moment. We spoke with bassist Stin and guitarist Luther Manhole about the record for our November 2024 issue.
Now, we bring you the band’s first official Rig Rundown, filmed ahead of their show at The End in Nashville last fall. Tune in to see how Stin and Luther conjure the band’s brutal soundstorms on the road.
Brought to you by D’Addario.
Bari Blast
Manhole’s main machine is this baritone 6-string, an Ernie Ball Music Man BFR Axis Super Sport, finished in “starry night.” Luther took a tip from tourmate and Agriculture guitarist Richard Chowenhill and slapped some tape over his neck pickup near the first string to prevent it from catching on the edge of the humbucker. It’s tuned to drop A, with Ernie Ball Mammoth Slinky strings.
Quite the Quilter
Back at home, Luther and Stin lean on big vintage amps, but on the road, Luther brings out this Quilter Tone Block 202, which is plugged into an Ampeg VT-40 combo amp that’s been gutted to run just as a 4x10 cabinet. Luther digs the icier, cutting tone from the 10″ speakers.
Luther Manhole's Board
Manhole’s board is minimalist: All he needs is a TC Electronic PolyTune, a Suhr Riot for dirt, an Electro-Harmonix Memory Boy (which is set for a wobbly chorus effect), and a TC Electronic Hall of Fame for reverb—pedals he’s used for over a decade. An Acoustic PBIS08 supplies the quartet with power.
Peavey Power
Around 2007, Stin went on a hunt around Oklahoma music shops for a Peavey T-40. He finally found one—in a total “Wayne’s World moment”—that belonged to a country singer who had passed away. Since the band’s formation, this “hot and clangy” white T-40 has been Stin’s tool for crafting Chat Pile’s elephantine, bottom-heavy sound. He uses the 5-string Ernie Ball Slinky Cobalts (.060–.125), omitting the .040 string, and plucks with orange Ernie Ball Everlast .73 mm picks for strong, percussive attack.
Building Blocks
Stin’s signal runs to this Quilter Bass Block 802, which blasts through a Trace Elliot 4x10 redline cab with horns—the cab that’s been used on every Chat Pile recording to date.
Stin's Board
Stin probably thinks Manhole’s board is excessive. He packs just his Boss TU-3 and a Tronographic Rusty Box, each with their own individual power supply plugged into a power bar that’s fixed to the board.
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments – and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes – chrome and black – the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out – the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Tech’s Ratio machine heads, Nordegg saw an opportunity to enhance the system’s ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Here’s what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Tech’s new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.