Beat Schertler ist bekannt für seine Reihe 'Best of Pop & Rock for Acoustic Guitar'. Hier präsentiert er Songs, gut aufbereitet für die Akustische, diesmal ist der Band 'Light 2' zum Check in der Redaktion gelandet (ISBN 978-3-86849-318-4. Mit light dürfte hier easy gemeint sein, und so hat der Autor acht nicht zu schwere Stücke arrangiert; die Bekanntesten sind 'Hero' (Family of the Year), 'Million Years Ago' (Adele), 'Ist da jemand' (Adel Tawil) und 'The Sound of Silence' (hier in der Version von Disturbed). Beat Schertler denkt mit und kennt die musikalische Praxis - daher weiß er, dass es durchaus viele unterschiedliche Spielsituationen gibt, und offeriert auch unterschiedliche Bearbeitungen der Songs. Man erhält jeweils eine Fingerstyle-Version (getrennt in Noten und Tabulatur und mit eingetragenem Text zur Orientierung) und ergänzend eine übersichtliche Songbook-Version mit Text plus Akkordsymbolen. Ebenfalls angegeben sind Griffdiagramme und schließlich (für viele Gitarristenebenfalls wichtig) Tipps und konkrete Spielangaben zu einer Songbegleitung, jeweils mit Vorschlägen für Picking- und Strumming-Muster. In Summe ist das prima gemacht, und jeder halbwegs erfahrene Gitarrist mit etwas Spielpraxis kann aus dem Material die passende Variante entnehmen und selbst entwickeln, sei es für die Lagerfeuer-Session oder den Kneipen-Gig. Einzig Akkordsymbole in den Fingerstyle-Bearbeitungen wären noch ergänzenswert gewesen. Rezension veröffentlicht in: AKUSTIK Gitarre 6-18
Beat Scherler absolvierte sein Musikstudium am Konservatorium in Zürich/Schweiz, sein Diplom erwarb er beim SMPV 1991, seine letzte Ausbildung zum Schulleiter schloss er 2011 in Zürich ab. Er ist neben seiner Unterrichtstätigkeit in den Fächern Gitarre, E-Gitarre und Ukulele an der Regionalen Musikschule Dübendorf, wo er seit über 20 Jahren unterrichtet, auch an der Sekundarschule in Brüttisellen angestellt, wo er das Fach Musik unterrichtet. Er fungiert als Juror am Zürcher Musikwettbewerb und an Stufentests verschiedener Musikschulen. Ausserdem leitet er auch Gitarren-Kurse für Volksschullehrkräfte.
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But like iconic Depression-era acoustics from Gibson and Martin, the AD17 offers something different to the standard recipe that is intensely compelling in its own right – there’s an abundance of sonic and aesthetic character on offer here and, perhaps most importantly, it’s tremendously fun to play.
Our review model is only the 45th full that Ciaran McNally created under his own name, but you can hardly tell. The OM Celtic Ivy is a powerful and expressive instrument that blends modern and traditional elements, and on the basis of sound alone, represents exceptional value for money. At his current price-point, it would be no surprise to see Ciaran rising further up the ranks in the acoustic luthiery scene – we very much look forward to seeing what he does next.
There’s a lot in Fender‘s acoustic-electric hybrid to unpack. Over the past couple of decades, the market has become haunted with the ghosts of well-meaning attempts to merge the acoustic and electric worlds. Few have had as much potential to endure as this. Arguably the Acoustasonic Stratocaster‘s proudest selling point is the sheer array of sonic options that are available, with 10 voices on tap that are modelled on acoustic and electric sounds – and you can even blend some of them together.
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The Forty Seven is intoxicating on many levels. It captures the vibe and visual allure of its vintage inspiration but achieves fuller, more balanced and more musically versatile tonal qualities – much like spellbinding historic instruments, something about this Atkins just draws us in and compels us to pick it up and play.
The tone combines classic and modern elements. On the vintage side, there’s warm and effusive woodiness, a rounded bass thump and the lingering ghostly harmonics that we listen for inside the body of old Gibson acoustics. On the contemporary side, we get extremely even string-to-string balance, volume aplenty and a tonal consistency across the fretboard that isn’t a given with vintage s.
For ists looking for a sophisticated and expressive instrument with a sparkling voice, this Lowden should be a strong contender. Sinker redwood’s vitreous nature can make for an extremely fast initial response but can also make instruments exceptionally sensitive to high-frequency noises, such as string and finger squeaks. This is certainly the case here, and it encourages the player to focus on accuracy, timbre and quality of attack.
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This F-35 sounds full and rich even when played gently with bare fingers. Although a delicate redwood soundboard would not be our first choice for heavy strumming, the clear scratchplate provides some protection and, when digging in with a pick, another of the more readily identifiable aspects of redwood instruments comes into its own: no matter how heavy your attack, the ’s voice remains clear and precise.
1 “If you’re in a band you should always be in your favorite band” Hotline TNT on bringing shoegaze to a new generation
This F-35 sounds full and rich even when played gently with bare fingers. Although a delicate redwood soundboard would not be our first choice for heavy strumming, the clear scratchplate provides some protection and, when digging in with a pick, another of the more readily identifiable aspects of redwood instruments comes into its own: no matter how heavy your attack, the ’s voice remains clear and precise.
1 “If you’re in a band you should always be in your favorite band” Hotline TNT on bringing shoegaze to a new generation
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