Tanglewood Evolution Exotic KOA
Saya menjadi cemas untuk mencoba gitar ini dengan trio saya. Bekerja dengan bassist dan drummer telah penyesuaian untuk tua solo gitar saya, dan belajar bagaimana untuk berbagi ruang frekuensi telah menjadi wahyu yang nyata. Saya sekarang mencari-cari gitar yang sangat responsif dan dimainkan yang akan membiarkan saya meninggalkan low end kepada orang bass tanpa meninggalkan telinga saya puas. Ini trik yang sangat baik. Itu setara aural dari bersinar sorotan pada suara saat menggunakan lampu latar untuk menambah kedalaman dan drama. Bahkan, pemain bass saya bisa menutupi wilayah lebih dari biasanya karena kita tidak bersaing untuk rentang sama sekali-dan ketika tiba saatnya bagi saya untuk solo, tidak ada kesulitan mendengar apa yang harus saya katakan.
Sisi listrik
Gitar Seri MasterDesign datang dengan B-Band pickup UST dan A1.2 preamps diinstal, dan mereka tampaknya menjadi pelengkap hebat. Aku terhubung ke Amp Acoustic Sangreal dan hanya sekitar mengguncang jendela saya keluar dengan tidak sedikit bahkan umpan balik, yang terkesan neraka keluar dari saya. Itu sedikit rapuh dengan amp EQ datar, jadi aku menggulung tertinggi kembali smidge dan ditingkatkan bagian bawah sedikit. Saya dihargai dengan nada yang sangat kaya yang mempertahankan kecemerlangan namun kalah rapuh. Ini adalah setup sederhana dengan hanya kontrol volume diatur tepat di bawah soundhole tersebut. Tujuan Sanden adalah untuk tetap sederhana. "Hari ini, Anda bisa mendapatkan apa pun kecuali untuk sofa dibangun pada gitar Anda," katanya. "Ada begitu banyak gadget Anda dapat menempatkan di bagian dalam gitar dengan tuner dan filter takik dan segala sesuatu seperti itu-di telingaku, semakin Anda dimasukkan ke dalam lebih buruk kedengarannya."
Saya ingin pertunjukan dengan peralatan saya meninjau, karena itulah salah satu poin utama membeli peralatan-untuk bermain untuk orang lain. Aku mengambil dengan saya ke sebuah tempat kecil dengan ruang berbentuk L. Gitar dilakukan melalui seluruh tempat jelas melalui Sangreal. Saya menggunakan Tanglewood untuk kinerja keseluruhan, pergi dari tuning standar untuk DADGAD untuk CGDGBD untuk DADGAE dalam suksesi cukup cepat, dan gitar tinggal di mana saya menaruhnya. Aku harus tweak beberapa kali ketika saya meletakkan capo pada, tapi selain itu itu sangat stabil. Tanganku merasa baik setelah jam penuh pertama, dan saya tidak khawatir salah satu dari kami membuat itu melalui pertunjukan.
Kembali di rumah, saya memutuskan untuk plug ke saya Inti Amplifier Baggs LR 1 Referensi. Dengan tweaker sedikit lebih dengan multi-band EQ, saya bisa dial di bagian bawah lebih. Anda tidak pernah akan pergi berenang di bassiness dengan gitar ini, tetapi Anda bisa mendapatkan kaki Anda lebih basah. Saya menghabiskan sedikit waktu di DADGAD, dan turun menjadi CGDGBD lagi. Saya mendapat spektrum yang seimbang sangat baik dari rendah ke tinggi. Lows tidak luar biasa, pasang tidak rapuh atau halus, dan Mid sepenuhnya hadir tanpa petunjuk snottiness.
Aku mengambil saya Gallagher GA-70 (yang lain auditorium rosewood dan cemara besar), yang bergemuruh seperti badai benar-benar baik disetel ke C. Karena telinga saya begitu akrab dengan gitar itu, saya ingin menggunakannya untuk "reset" jalan Saya mendengar TSR2 tersebut. Kedua gitar tidak bersiap sama, mereka bentuk yang sedikit berbeda, dan Gallagher tidak sedalam melalui pertarungan yang lebih rendah. The Gallagher pasti memiliki bass yang lebih, tapi itu sama jelas dan brilian dan pasang dan MID yang hanya shimmery. Ketika saya mengambil Tanglewood lagi, saya banyak lebih sadar mid-range, tapi itu tidak enak, dan bahwa penekanan mid-to-top membuat gitar ini tahap-dan sangat ensemble-friendly.
Harga gitar Tanglewood Evolution Exotic KOA Rp 4.210.000
Tanglewood Guitar Company UK has been around since 1991, producing the bestselling brand of acoustic guitars in the UK and Ireland. They’ve only recently begun to market the brand here in the States, so we were curious and excited to take a look at one of their newest offerings from the MasterDesign Series, designed by Swedish luthier Michael Sanden.
Sanden has been building guitars in Sweden for over thirty years, earning a reputation for innovation and beauty, as well as for his signature brilliant tone. The collaboration includes six guitars sporting Sanden’s distinctive “paint brush” bridge and bracing pattern, available in either mahogany or rosewood. The MasterDesign Series guitars are made in China from Sanden’s blueprints, and to his standards. The guitar we received for review is in the rosewood series, a grand auditorium with a Tibetan spruce top, three-piece mahogany neck and bindings, and ebony fretboard and bridge. It’s a rather voluptuous shape, almost more like a jumbo than a GA. The box is deep at the bottom and angles up steeply to the neck, which Sanden feels increases projection dramatically.
Let’s talk about tone This guitar is bright, very bell-like and not at all brittle, but it sounds nothing like an American guitar. From mids to top, it’s a powerhouse: defined, clear, sweet and pure. Dropped into DADGAD or lower, it doesn’t really fatten up much; it’s got a very lean bass response. If you’re addicted to warm, round, booming bass, you will want to look elsewhere.
We recently had a Schertler guitar in for a web exclusive review, and it had a similar sound, with the focus on the top end. It took our ears a little time to get used to it, but we found after a while that we liked it. Same goes for this guitar. I decided to talk to Michael Sanden to see if this focus on the bright side is as much of a European convention as the bassy side of tone is the American convention. He explained, “I think over the years the way European guitars are made has been more and more differentiated from the American guitars, like the Martin dreadnaught. And of course, we don’t brace at all the same way as a dreadnaught, for instance. We try to have more definition in each range between the bass, middle and top. In these guitars the bass is there, but it’s more clear.” The TSR2 certainly has definition and punch—just no rumble.
Play it, don’t spray it
Factory strung with Elixir .012 guage strings, it’s very comfortable and playable. I heard no buzzing or distortion anywhere on the fretboard, and everything I played felt natural and easy. The fretboard is 1-3/4 inches at the nut, so it’s a great choice for fingerstyle guitarists. The zero fret is another nice touch. There’s a sharper angle on the headstock, but the strings don’t fan out as much as some guitars, adding some stability when shifting between altered tunings. Fingerstylists and singer-songwriters gotta love that.
There was a very pleasant surprise in store when I put a capo on at the fifth fret. There was no difference in the fullness of the sound. Speechless, I pulled the capo off and listened to the open sound of the guitar, then replaced it and listened again. It sounded the same, only higher. To me, that’s extremely significant. Sometimes I dread putting a capo on a guitar, because so many guitars lose their luster when you capo them, even some highend guitars. If you’re going to pay close to two grand for a guitar, it’d better stay lively above the fifth fret, and this one does.
I became anxious to try this guitar with my trio. Working with a bassist and drummer has been an adjustment for old solo-guitar me, and learning how to share frequency space has been a real revelation. I am now on the lookout for highly responsive and playable guitars that will let me leave the low end to the bass man without leaving my ears unsatisfied. This one does that trick extremely well. It’s the aural equivalent of shining a spotlight on the sound while using backlights to add depth and drama. In fact, my bass player could cover even more territory than usual because we’re not in competition for the range at all—and when it was time for me to solo, there was no trouble hearing what I had to say.
The electrified side The MasterDesign Series guitars come with B-Band UST pickups and A1.2 preamps installed, and they seem to be a terrific complement. I plugged into a SanGreal Acoustic Amp and just about rocked my windows out with not even a hint of feedback, which impressed the hell out of me. It was slightly brittle with the amp’s EQ flat, so I rolled the highs back a smidge and beefed up the bottom end slightly. I was rewarded with a very rich tone that retained the brilliance but lost the brittle. It’s a simple setup with just a volume control set right under the soundhole. Sanden’s goal was to keep it simple. “Today, you can get anything except for a sofa built in your guitar,” he says. “There is so much gadgetry you can put on the inside of the guitar with tuners and notch filters and everything like that—in my ears, the more you put in the worse it sounds.”
I like to gig with the equipment I’m reviewing, because that’s one of the main points of buying gear—to play it for other folks. I took it with me to a small venue with an L-shaped space. The guitar carried through the whole place clearly through the SanGreal. I used the Tanglewood for the entire performance, going from standard tuning to DADGAD to CGDGBD to DADGAE in fairly rapid succession, and the guitar stayed where I put it. I had to tweak it a couple times when I put the capo on, but other than that it was very stable. My hands felt good after the first full hour, and I didn’t worry about either of us making it through the gig.
Back at home, I decided to plug into my LR Baggs Core 1 Reference Amplifier. With a little more tweaking with the multi-band EQ, I was able to dial in more bottom end. You’re never gonna go swimming in the bassiness with this guitar, but you can get your feet more than wet. I spent a little time in DADGAD, and dropped to CGDGBD again. I got an incredibly well balanced spectrum from low to high. The lows weren’t overwhelming, the highs weren’t brittle or fragile, and the mids were fully present without a hint of snottiness.
I picked up my Gallagher GA-70 (another rosewood and spruce grand auditorium), which rumbles like a really good thunderstorm tuned down to C. Because my ear is so familiar with that guitar, I wanted to use it to “reset” the way I was hearing the TSR2. These two guitars are not braced alike, they’re slightly different shapes, and the Gallagher isn’t as deep through the lower bout. The Gallagher definitely had more bass, but it was equally clear and brilliant and the highs and mids were just as shimmery. When I picked up the Tanglewood again, I was a lot more aware of the mid-range, but it’s not unpalatable, and that mid-to-top emphasis makes this a very stage- and ensemble-friendly guitar.
TVC KOA
Sanden has been building guitars in Sweden for over thirty years, earning a reputation for innovation and beauty, as well as for his signature brilliant tone. The collaboration includes six guitars sporting Sanden’s distinctive “paint brush” bridge and bracing pattern, available in either mahogany or rosewood. The MasterDesign Series guitars are made in China from Sanden’s blueprints, and to his standards. The guitar we received for review is in the rosewood series, a grand auditorium with a Tibetan spruce top, three-piece mahogany neck and bindings, and ebony fretboard and bridge. It’s a rather voluptuous shape, almost more like a jumbo than a GA. The box is deep at the bottom and angles up steeply to the neck, which Sanden feels increases projection dramatically.
Let’s talk about tone This guitar is bright, very bell-like and not at all brittle, but it sounds nothing like an American guitar. From mids to top, it’s a powerhouse: defined, clear, sweet and pure. Dropped into DADGAD or lower, it doesn’t really fatten up much; it’s got a very lean bass response. If you’re addicted to warm, round, booming bass, you will want to look elsewhere.
We recently had a Schertler guitar in for a web exclusive review, and it had a similar sound, with the focus on the top end. It took our ears a little time to get used to it, but we found after a while that we liked it. Same goes for this guitar. I decided to talk to Michael Sanden to see if this focus on the bright side is as much of a European convention as the bassy side of tone is the American convention. He explained, “I think over the years the way European guitars are made has been more and more differentiated from the American guitars, like the Martin dreadnaught. And of course, we don’t brace at all the same way as a dreadnaught, for instance. We try to have more definition in each range between the bass, middle and top. In these guitars the bass is there, but it’s more clear.” The TSR2 certainly has definition and punch—just no rumble.
Play it, don’t spray it
Factory strung with Elixir .012 guage strings, it’s very comfortable and playable. I heard no buzzing or distortion anywhere on the fretboard, and everything I played felt natural and easy. The fretboard is 1-3/4 inches at the nut, so it’s a great choice for fingerstyle guitarists. The zero fret is another nice touch. There’s a sharper angle on the headstock, but the strings don’t fan out as much as some guitars, adding some stability when shifting between altered tunings. Fingerstylists and singer-songwriters gotta love that.
There was a very pleasant surprise in store when I put a capo on at the fifth fret. There was no difference in the fullness of the sound. Speechless, I pulled the capo off and listened to the open sound of the guitar, then replaced it and listened again. It sounded the same, only higher. To me, that’s extremely significant. Sometimes I dread putting a capo on a guitar, because so many guitars lose their luster when you capo them, even some highend guitars. If you’re going to pay close to two grand for a guitar, it’d better stay lively above the fifth fret, and this one does.
I became anxious to try this guitar with my trio. Working with a bassist and drummer has been an adjustment for old solo-guitar me, and learning how to share frequency space has been a real revelation. I am now on the lookout for highly responsive and playable guitars that will let me leave the low end to the bass man without leaving my ears unsatisfied. This one does that trick extremely well. It’s the aural equivalent of shining a spotlight on the sound while using backlights to add depth and drama. In fact, my bass player could cover even more territory than usual because we’re not in competition for the range at all—and when it was time for me to solo, there was no trouble hearing what I had to say.
The electrified side The MasterDesign Series guitars come with B-Band UST pickups and A1.2 preamps installed, and they seem to be a terrific complement. I plugged into a SanGreal Acoustic Amp and just about rocked my windows out with not even a hint of feedback, which impressed the hell out of me. It was slightly brittle with the amp’s EQ flat, so I rolled the highs back a smidge and beefed up the bottom end slightly. I was rewarded with a very rich tone that retained the brilliance but lost the brittle. It’s a simple setup with just a volume control set right under the soundhole. Sanden’s goal was to keep it simple. “Today, you can get anything except for a sofa built in your guitar,” he says. “There is so much gadgetry you can put on the inside of the guitar with tuners and notch filters and everything like that—in my ears, the more you put in the worse it sounds.”
I like to gig with the equipment I’m reviewing, because that’s one of the main points of buying gear—to play it for other folks. I took it with me to a small venue with an L-shaped space. The guitar carried through the whole place clearly through the SanGreal. I used the Tanglewood for the entire performance, going from standard tuning to DADGAD to CGDGBD to DADGAE in fairly rapid succession, and the guitar stayed where I put it. I had to tweak it a couple times when I put the capo on, but other than that it was very stable. My hands felt good after the first full hour, and I didn’t worry about either of us making it through the gig.
Back at home, I decided to plug into my LR Baggs Core 1 Reference Amplifier. With a little more tweaking with the multi-band EQ, I was able to dial in more bottom end. You’re never gonna go swimming in the bassiness with this guitar, but you can get your feet more than wet. I spent a little time in DADGAD, and dropped to CGDGBD again. I got an incredibly well balanced spectrum from low to high. The lows weren’t overwhelming, the highs weren’t brittle or fragile, and the mids were fully present without a hint of snottiness.
I picked up my Gallagher GA-70 (another rosewood and spruce grand auditorium), which rumbles like a really good thunderstorm tuned down to C. Because my ear is so familiar with that guitar, I wanted to use it to “reset” the way I was hearing the TSR2. These two guitars are not braced alike, they’re slightly different shapes, and the Gallagher isn’t as deep through the lower bout. The Gallagher definitely had more bass, but it was equally clear and brilliant and the highs and mids were just as shimmery. When I picked up the Tanglewood again, I was a lot more aware of the mid-range, but it’s not unpalatable, and that mid-to-top emphasis makes this a very stage- and ensemble-friendly guitar.
TVC KOA
| SHAPE | Venetian Cutaway Auditorium |
| TOP | Koa |
| BACK | Koa |
| SIDES | Koa |
| NECK (MATERIAL) | Mahogany |
| NECK (BUILD) | One Piece |
| FINGERBOARD | Rosewood |
| BRIDGE | Rosewood |
| BINDING | ABS Black & White |
| SADDLE | Bone, Compensating |
| NUT (WIDTH) | Bone (43mm) |
| SCALE LENGTH | 650mm |
| BRIDGE PINS | Black ABS with Abalone Dots |
| MACHINE HEADS |
Gold Waverly Style Geared
|
| FINISH | Natural Gloss |
| EQ | Fishman PRESYS |
| STRINGS | D'Addario EXP 11 |
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