Unconventional construction methods help set a very unusual acoustic/electric hybrid apart.
Beautiful playability. Stable under neck-wobbling, pitch-bending maneuvers.
Polarizing styling and construction if you’re strictly traditional. Expensive for a niche instrument.
Riversong Glenwood TS6
The first and perhaps most important thing to know about Riversong’s Glennwood TS6 is that it aspires to hybridize elements of electric and acoustic guitars. This is not a new idea—certainly not in the amplified acoustic era, where the straightest route to eliminating feedback is by reducing the resonant elements that cause feedback in the first place. Some acoustic/electrics achieve these ends by slimming bodies down to electric-guitar thickness. Riversong, however, sticks to traditional acoustic formula by making the TS6 a full-sized instrument. Its dimensions are a little bit atypical: the 16" wide body and 4 3/4" thickness are about the same size as Martin’s “jumbo” J body and the Taylor Grand Pacific. The pretty silhouette also echoes the curvaceousness of those larger guitars. Those similarities sometimes feel like an exception, though. At nearly every other turn, the TS6 very happily breaks the acoustic design mold.
A Nuts-and-Bolts Approach
You don’t have to look very hard or be an acoustic guitar construction expert to see that there is a strong deconstructive thread in the Riversong’s design. The gap in the top behind the bridge, the slim heel, and, above all, the bracing and neck-through build are major breaks from classic acoustic design philosophy. These very overt differences are also a clue to how the Riversong stretches the definition of what an acoustic guitar is.
Most tradition-minded acoustic builders would consider the small space aft of the bridge detrimental to a resonant top. And few would opt for the bolt-on neck and through-body re-enforcement that runs the length of the body. These obvious deviations from acoustic design dogma are just the start. Peek through the side port and you’ll see “skeletized” bracing that looks like sections of a cantilever bridge in miniature. Adjustment to the action and neck tilt? They’re made with an Allen key that you place through an access cavity on the back of the guitar at the heel.
All these very unconventional elements are executed at a very high level of workmanship. I failed to find a construction miscue anywhere. The fretwork is pretty much perfect and the solid wild cherry back and sides, Sitka spruce top, maple neck, and walnut fretboard are all shaped and put together with obvious care.
Considering that the TS6’s primary mission is that of a hybrid electric/acoustic—and that so many of its fundamental design elements would traditionally be considered detriments to acoustic tone—the TS6 sounds pretty good unplugged. If I had to guess, I’d venture that the Jumbo-like dimensions were adopted, in part, to offset the diminished volume and overtones that could result from the neck-through design. Yet the TS6 is notably resonant, particularly in the low-midrange, and exhibits nice sustain. It may not be as loud or detailed as a dedicated acoustic of similar dimensions, but it holds its own, and the combination of projection from the side port and soundhole creates a nice composite sound image that would be well worth miking and doubling with the pickup signal in a studio or on a quiet stage.
The combination of projection from the side port and soundhole creates a nice composite sound image that would be well worth miking and doubling with the pickup signal in a studio.
The TS6’s amplified qualities and its electric-like playability are the main attraction, though. The Fishman Flex undersaddle pickup and preamp hold up pretty well to hard strumming without getting quacky, but the guitar and pickup work best together in dynamic fingerstyle settings. I tended to work from fairly tame tone settings on both the TS6 and the Fishman Loudbox I used for amplification, but the TS6 left ample headroom for adding sparkle to the basically well-rounded tonal foundation. Playability, as advertised, is excellent for a flattop. The 16" fretboard radius and jumbo frets make it easy to fret with a light touch. The 1 5/8" nut width and the neck profile (which to me felt at various times like a 1960s Guild or a Rickenbacker) also conspire to lend a very electric-feeling experience. The neck-thru system’s ability to facilitate and withstand pitch-bending neck wobbles also checks out just as Riversong claims. I can’t remember using an acoustic in this fashion so readily, dramatically, and with such negligible effect on tuning stability.
At around $2,000, the TS6 is a flattop for players committed to the unconventional or performers that can also afford to keep a classic flattop around for recording pure acoustic tones (if they are concerned with such expressions). It’s a niche instrument, but it does a brilliant job of blurring the lines between acoustic and electric.
- Acoustic Amplification: The Newbie's Guide ›
- Unwound: Fishman Rethinks the Electric Guitar Pickup - Premier ... ›
- Riversong Guitars Unveils Wooden Guitar Picks - Premier Guitar ›
Looking for more great gear for the guitar player in your life (yourself included!)? Check out this year's Holiday Gear Finds!
D'Addario XPND Pedalboard
DR-05X Stereo Handheld Recorder
Wampler Pedals Ratsbane
Flare is a dual-function pedal with a tube-like booster and a 1970s-style ring modulator effect that can be played separately or together.
Flare’s ring modulator is based on the iconic tone of the original Dan Armstrong Green Ringer. This vintage classic was made famous by Frank Zappa who loved the unusual modulations created by generating a harmonic octave over notes. Messiah’s version offers two control knobs: a “Sparkle” tone attenuator and output Level control. Its taupe-gold body, purple and green knobs and stick-figure rock ’n’ roller holding up a flame convey an appropriately rockin’70s vibe.
In a unique twist, Messiah’s Flare pairs the ringer with a warm tube-style boost instead of a fuzz. Flare feeds the booster into the ringer for an extra punch, while preserving the Green Ringerspirit. The ringer side also turns any fuzz into an octafuzz, and it has the ability to quiet signal background noise fed through it.
The booster side features a single Boost knob to control the MOSFET circuit, making it very tube-amp-friendly with a warm, organic boost and gain of up to 32dB.
The pedal is a distinct improvement over the 1970s pedal that inspired it. “Most ringer pedals don’t track well,” Tom Hejda, owner of Messiah Guitars. “The player can’t rely on repeating the same effect even with the most consistently played notes. We carefully matched the components, so our ringer follows your every move, producing that slightly dirty octave you expect on demand.”
Messiah developed this vintage octave pedal with flexible features so that people who love that messy, dirty Zappa-esque sound can get there with ease but there’s also something for those who have not fallen in love with fuzz or the Green Ringer alone. Flare offers an array of sonic options while retaining simplicity in the controls.
Each Flair Pedal Includes:
- 3 control knobs: Boost, Sparkle, and Level
- Two effects – Ring Modulator and Boost – can be used together or separately
- Space-saving top side jacks
- Durable, cast aluminum alloy 125B enclosure with fun artwork
- Easy to see, illuminated True-bypass foot switch
- Standard 9V pedal power input
Flare Pedal Demo
Messiah Guitars pedals are designed with an explorative player in mind. Like their custom guitars and amplifiers, Messiah’s pedals are hand-crafted in Los Angeles for a long life with guaranteed quality.
Flare retails for $199.00 and can be purchased directly at Messiah Guitars or you can hear it in person at Impulse Music Co. in Canyon Country, CA.
For more information, please visit messiahguitars.com.
This feathery little guy is a joy to play because of its incredibly quick response to your right hand - much faster and more expressive than your typical auto-wah pedal.
If it looks like a duck, acts like a duck, and QUACKS like a duck, then it must be a duck. That's how we came up with the name for our new envelope filter. This feathery little guy is a joy to play because of its incredibly quick response to your right hand - much faster and more expressive than your typical auto-wah pedal. Trevor explains how this is possible in the launch video, as well as gives a demo on Le Canard’s operation.
The attack control determines how quickly the filter responds to the envelope, and the decay sets how quickly the filter releases afterward. The range controls which frequency spectrum the filter does its magic on. Add to this relay-based full-bypass switching with failsafe, and you've got one crazy little quacky beast. It is so expressive that you'll want to give up on your rocker-wah forever.
The MayFly Le Canard envelope filter features:
- Super fast responding envelope follower. Touch it and it jumps!
- Range control to dial in the character of the filter
- Attack control to control how fast the filter moves on that first touch
- Release control to control how slowly the filter slides back to baseline
- Full bypass using relays with Fail SafeTM (automatically switches to bypass if the pedal loses power)
- Cast aluminum enclosure with groovy artwork
- MSRP $149 USD ($199 CAD)
Introducing the MayFly Le Canard Envelope Filter
All MayFly pedals are hand-made in Canada.
For more information, please visit mayflyaudio.com.
Outlaw Effects introduces their next generation of NOMAD rechargeable battery-powered pedal boards.
Available in two sizes, NOMAD ISO is a compact, versatile tool that offers the convenience of a fully powered board plus the additional freedom of not having to plug into an outlet. NOMAD ISO is ideal for stages with limited outlet availability, quick changeovers, busking outdoors, temporary rehearsal locations, and more.
NOMAD ISO builds upon the legacy of the ultra-convenient and reliable NOMAD rechargeable pedalboard line originally launched in 2018. The brand new NOMAD ISO editions feature eight isolated outputs (1 x 9V DC, and 1 switchable 9V/12V DC) for even more versatility and clean, quiet power. With an integrated lithium-ion battery pack boasting 12800mAh capacity, NOMAD ISO can fuel a wide array of pedals, and will last over 10 hours* on a single charge.
Each NOMAD ISO pedal board includes adhesive hook & loop pedal-mounting tape, eight (8) standard DC connector cables, and one (1) reverse polarity DC cable, giving you everything you need to build your ultimate "off-the-grid" rig. A rugged, road-ready padded gig bag with shoulder strap is also included, to safely protect your gear while you're on the move.
NOMAD ISO S
NOMAD ISO S: MSRP $309 / MAP: $249
Dimensions: 19 ¼" x 5 ¼"
NOMAD ISO M
NOMAD ISO M: MSRP $349 / MAP $279
Dimensions: 19 ¼" x 11"
More info: https://www.outlawguitareffects.com.