It seems I’m revisiting this particular guitar model sooner than expected. Following my initial, admittedly brief, overview of the Fender Acoustasonic Telecaster, a fellow guitar enthusiast suggested I might not have given it a truly fair assessment. Taking that feedback to heart, and thanks to the support of Archy Hachey at The Arts Music Store, I’ve had the opportunity to spend more quality time with an Acoustasonic Telecaster for a more thorough review. So, what new insights have I gained, and has my perspective shifted? Let’s delve into the details…
First Impressions: Beyond the Wallpaper Finish
The model I’ve been working with sports a grey top finish. Aesthetically, the finish is subjective; while visually it still evokes a wallpaper-like pattern for me personally, I’ve moved past this initial impression to concentrate on what truly matters: the sound and performance. Spending time with the Acoustasonic Telecaster in the familiar quiet of my home guitar room is a vastly different experience compared to a quick demo in a bustling music store.
One of the first things that became apparent in this quieter setting is that while the Acoustasonic is often touted as a great guitar even without amplification, its unamplified tone still reminds me somewhat of a travel guitar. It offers a wider dynamic range and tonal palette than a typical travel guitar, but it truly shines when amplified. This instrument deserves, and arguably requires, amplification to unlock its full potential.
Amplified Acoustic Tones: Exploring the Soundscapes
Testing Environment & Setup
My amplifier of choice for this review is a Fishman Loudbox Performer. Although mine is a slightly older version than the current model, it remains an excellent acoustic amplifier, despite what some might consider a less-than-stellar name.
My acoustic pedalboard setup is relatively straightforward. For these tests, I ran the guitar directly into the amp, bypassing my usual BOSS NS-2 noise gate. In the amp’s effects loop, I have an Ernie Ball volume pedal, a BOSS GE-7 equalizer, a Fishman AURA Spectrum acoustic preamp, a BBE Sonic Maximizer 482i, and a TC Electronic M300 for reverb, chorus, and delay. It’s worth noting that the M300 is no longer in production, with the TC Electronic M350 being its current equivalent. For the core sound evaluations in this review, all effects were bypassed, with the exception of some light compression from the AURA Spectrum in certain tests, and the AURA’s tuner when needed. The AURA Spectrum, a veteran in the acoustic preamp world, was used purely for its preamp and tuner functions in these tests, with its body emulation features turned off, ensuring an unmodified signal for the core sound analysis.
Versatility Unleashed: Pickup Positions and Voices
The pickup selector switch and the Mod knob are key to the Acoustasonic Telecaster’s impressive versatility, especially once you take the time to explore their combinations. Fender’s documentation outlines five distinct switch positions, each offering two selectable voices. These positions are numbered 1 through 5, as illustrated in Fender’s materials, and the Mod knob allows for seamless blending between voice one and voice two within each position, significantly expanding the tonal possibilities. Taking the time to read the documentation truly unlocks the depth of this instrument.
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Position 1: All Electric. This position engages the visible single-coil pickup. Voice one delivers a clean single-coil tone, reminiscent of an early 70s Telecaster Thinline – articulate and pleasing, though perhaps not as overtly “spanky” as a traditional solid-body Telecaster. Importantly, it’s also noiseless. Voice two offers a fatter, less pristine electric tone. For players intending to switch between electric and acoustic sounds, an AB switcher might be beneficial here, as I found position 1, in either voice, to be a touch harsh through a full-range acoustic amplifier. It’s not unpleasant, but you might want to dial back the treble on your amp, as the guitar itself lacks onboard tone controls.
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Position 2: Electric and Acoustic Blend. This position combines both the electric and acoustic pickup systems. Voice one is primarily acoustic, designed to emulate the sound of a Sitka Spruce top on a Mahogany dreadnought body. Voice two introduces a subtle edge by incorporating a fixed amount of the second voice from position one – not overtly crunchy, but just a hint of grit. Personally, this wasn’t my preferred setting.
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Position 3: Percussive Acoustic. This position became a frequent return point for me. The Acoustasonic features both a traditional under-bridge acoustic pickup and a body sensor for percussive playing styles. Voice one utilizes the acoustic pickup, voiced to mimic a Sitka Spruce top over a Brazilian Rosewood dreadnought body. It excels at this emulation, delivering a rich and convincing acoustic tone. Voice two blends in a pre-determined level of the body pickup. Experimenting with the Mod knob in this position to fine-tune the blend yielded my favored sounds.
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Position 4: Alternate Acoustic. Still utilizing the acoustic pickup, position 4 offers alternate acoustic voicings. Voice one aims to capture the essence of an Engelmann Spruce top on a small Maple body – bright and articulate, reminiscent of a parlor-style guitar, though I lack a comparable instrument for direct comparison. Voice two shifts to a Sitka Spruce top on a Mahogany dreadnought body, mirroring voice one of position two. The Mod knob is particularly effective in this position, allowing for nuanced tonal shaping.
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Position 5: Core Acoustic. Fender designates this as the “common” acoustic territory. Voice one is voiced as a Sitka Spruce top on a Rosewood dreadnought body, described as having strong bass and bright treble. While theoretically similar to voice one in position 3, I perceived a subtle difference, perhaps with slightly less punch. Voice 2 offers an Alpine Spruce top over a Rosewood auditorium body. I found this voice brighter and nicely balanced for strumming. Fender suggests it’s suitable for fingerstyle, though my limited fingerstyle skills make definitive judgment challenging.
It’s worth reiterating that the Mod knob, often mislabeled as a tone control, is more accurately a “Voice Blend” control. While it does influence the tone, understanding its function as a voice blender, as explained in the documentation, is key to effectively utilizing its potential. Of course, many players will instinctively adjust the switch and knobs until they find a pleasing sound, and that’s perfectly valid. However, my approach involves reading the documentation first, then experimenting with the controls to achieve the desired sonic outcome.
Playability and Comfort: Neck, Strings, and Ergonomics
Neck Feel and Finish
Some acoustic players might need to adjust to the neck profile. As an enthusiast of Telecasters, the neck feels familiar and comfortable, bearing resemblance to the Vintera 70s necks, albeit with a lighter, matte finish. The finish is very thin and matte, which is a matter of personal taste. While my preference leans towards the glossy finishes of classic guitars from my youth, the wood on the Acoustasonic Telecaster is undeniably attractive. For a guitar in this price range (around $2600 CAD), a glossy nitro lacquer finish, particularly on the body, would be my preference, while retaining a smooth, non-sticky neck finish. The choice between matte and gloss is ultimately subjective, but my personal collection of vintage Gibson, Martin, and Taylor acoustics, all with gloss finishes, shapes my preference. I acknowledge that achieving a high-quality gloss nitro finish adds to production costs, but it aligns with the premium nature of this instrument.
String Considerations and Setup
The Acoustasonic Telecaster comes factory-equipped with acoustic strings, as expected. However, I found the factory strings to be somewhat uncomfortable. This isn’t unique to just my demo unit; every Acoustasonic Telecaster I’ve encountered has felt similar in this regard. Fortunately, this is easily rectified. Were I to purchase this guitar, the first thing I’d do is replace the factory strings with Ernie Ball Paradigm strings, likely the Phosphor Bronze version, given the guitar’s inherent brightness, as Phosphor Bronze strings tend to impart a warmer tone compared to 80/20 mixes. Ultimately, string choice is a personal preference, and you’ll naturally gravitate towards your preferred brand and type. My recent switch to Paradigm strings is due to their longevity, resistance to finger grime, ease of cleaning, and comfortable feel. Uncoated acoustic strings tend to degrade quickly for me, while Elixir strings haven’t consistently resonated with my playing style.
Lightweight Design and Strap Balance
The guitar is remarkably lightweight, a definite advantage, although I find it balances better with a strap, as it exhibits a slight neck-heavy tendency. For players who experience discomfort or strain from heavier, larger-bodied guitars, the Acoustasonic Telecaster’s ergonomics will be a welcome feature.
Construction and Components: Under the Hood
Woods and Build
The fretboard on my demo model is crafted from a beautifully figured ebony, likely Macassar ebony as suggested by the grain patterns. The neck is mahogany and utilizes the traditional bolt-on construction. Truss rod adjustments are made at the headstock using the included wrench. String trees are absent, as the staggered height tuning pegs effectively manage the string break angle over the nut.
The body begins as a mahogany block, hollowed out using CNC machining. A spruce top is then applied, resting on an internal lip, requiring minimal bracing – theoretically allowing for greater top movement and resonance. The soundhole is fitted with Fender’s “Stringed Instrument Resonant System,” which, to my seasoned audio engineer’s eye, resembles a speaker horn in its design. Whatever the terminology, it seems to contribute positively to the sound. Two removable access panels on the back provide entry to the electronics. As noted by other reviewers, the center panel, reminiscent of a Stratocaster’s spring cavity cover, is a convenient feature should you drop a pick inside the body.
The bridge design is classic acoustic, with strings secured by bridge pins. While I’ve been critical of the “wallpaper” aesthetic of the top finish, it’s technically a print applied directly to the open-pore spruce top with minimal matte finish. Fender has recently introduced exotic wood versions of the Acoustasonic, offering body options in Koa, Cocobolo, or Ziricote. While Koa and Ziricote are not currently CITES-listed, Cocobolo is, due to its inclusion within the Dalbergia (rosewood) family. While all body woods are finished, individuals with known allergies should exercise caution and try a Cocobolo guitar before purchase, as Cocobolo is known to be a sensitizer during the finishing process for some people.
Fishman-Designed Electronics
The pickup system is a collaborative effort with Fishman, renowned experts in acoustic pickup technology. As previously mentioned, there are three pickups. The Telecaster-style pickup is the Fender Acoustasonic Noiseless, and it lives up to its name – I experienced no unwanted noise, negating the need for my NS-2 noise gate. Under the bridge saddle is a Fishman transducer, a proven and excellent-sounding acoustic pickup. The third pickup, the Fishman-designed Acoustasonic Enhancer, detects body vibrations and is utilized in switch position three, enhancing percussive playing nuances. The volume knob functions as expected. The Mod knob, as discussed, controls voice selection or blending. While the name might be misleading, its function as a “Voice Blend” is crucial to unlocking the guitar’s tonal versatility.
Practicalities: Charging, Output Jack, and Case
Battery and Charging
To utilize the electronics, charging the built-in battery is necessary. Charging is done via a 5-volt micro USB 2 cable (included) connected to a wall adapter (not included) or a USB port on a computer or charging block. A full charge takes approximately four to five hours and provides around twenty hours of plugged-in playing time, according to Fender. While Fender states that charging while playing is possible, I’d advise against it due to the micro USB connector’s delicate nature and vulnerability to damage if the cable is accidentally pulled or stressed sideways.
Output Jack Compatibility
The output jack is a recessed monophonic ¼” standard guitar jack. Players who prefer right-angle plugs might encounter connection issues if their connector has a bulkier barrel. The LED indicator at the jack flashes red upon plugging in but then goes dark, offering no continuous indication of a live connection. I had to experiment with cables and found that a 90-degree Ernie Ball cable did connect, although the connector barrel rested against the jack’s outer ring.
Premium Case (Not Just a Bag!)
As befitting a guitar in this price range, a case is included. Fender somewhat undersells it by referring to it as a “bag.” Many, myself initially included, might misinterpret this as a basic gig bag. However, the included case is a high-quality, semi-rigid case offering excellent protection, akin to a well-designed soft case but with enhanced structure. It features pockets for cables, tools, spare strings, and a hidden backpack strap system tucked away in a pouch on the back. Without utilizing the backpack straps, the case is remarkably light and the handle is comfortably padded.
Final Verdict: Rethinking the Acoustasonic Telecaster
My perspective on the Acoustasonic Telecaster has evolved. Spending extended time with it in my home studio, through my own amplifiers, has revealed a remarkably versatile and sonically pleasing instrument. The comfortable C-shaped neck offers a smooth transition for electric guitarists. The pickup system is genuinely impressive, providing a broad and inspiring tonal palette. The controls are intuitive, and even unplugged, the guitar’s sound is surprisingly good – superior, in my opinion, to other guitars of similar hybrid design, and I now prefer it to my previous Taylor T5.
Serious performers will undoubtedly want to pair it with an acoustic amplifier. And for those looking to seamlessly transition between electric and acoustic tones in a live setting, consider utilizing an AB switcher to route the signal to both an acoustic and an electric guitar amplifier. I experimented with a Radial Big Shot ABY (older black model) to connect to both the Fishman Loudbox and my Fender Blackface Twin Reverb. While the electric tones aren’t pure Telecaster, they are still highly enjoyable through an electric amp.
Despite this positive shift in my assessment, my reservation regarding the Acoustasonic Telecaster’s price point remains. Bringing the price under $2000 CAD would significantly broaden its appeal and tap into a larger market segment willing to invest in a premium hybrid instrument.
Finally, on a tangential note, inspired by a video interview with the phenomenal acoustic guitarist Tommy Emmanuel, I experimented with repositioning my Fishman amplifier to face away from my playing position, directed towards the opposite wall. The improvement in overall tone was astounding. While not specific to this guitar, it was during this review that I first tried this technique. I encourage you to experiment with your own amp placement – you might be surprised at the results.
