Our acoustic guitar is usually a faithful companion. Even the most electric, metal-minded guitarists have a soft spot for acoustics on certain compositions. Amplifying one is often a problem. The Ibanez Troubadour helps us solve it. Let's see how.
Introduction
The battle against feedback and the impracticality of mics on stands onstage are some of the headaches of amplifying acoustics. Running this type of guitar through the line to the console (if it has a preamp) is a common alternative, and certainly less dramatic than running an electric guitar bare. Still, the sound is at the mercy of the engineer. On the other hand, if we work in a rehearsal room, or want, for whatever reason, to gain volume without losing control or quality, an acoustic amplifier can be our ideal solution.
What Do We Usually Look for in Acoustic Tones?
Certainly not harshness. Depending on their intentions, acoustic guitarists need to cover several aspects. Generally good definition, a natural sparkle that's enhanced but not annoying, body, and above all “realism” in the sound.
We'll need the right flexibility to bring our signal exactly where we need it. Thicker, perhaps on a solo; less dull and brighter on blended rhythm parts; richness of timbre on open chords and arpeggios, and so on.
On the other hand, we may need to raise the volume because we play with a band, perform in small venues, and so on. For big live shows, we may want control of our sound before sending it to the console. Perhaps we need a little more precision than a preamp can give us, however good it is.
For all these reasons, and for as many others as each guitarist finds in their day-to-day work, many of us musicians are looking for effective amplification of acoustic instruments.
Putting the Ibanez Troubadour T35 to the Test
I unpack it and find a carefully made, good-looking amplifier. Some people associate Ibanez with electrics, perhaps because of Steve Vai or other especially well-known guitarists. The truth is that this brand makes a wide variety of quality products. From basses to amps to guitars of every kind in six, seven, and twelve strings, archtops, electrics, acoustics, and so on.
The T35 comes well presented, with a manual in Spanish (something users generally appreciate immensely) and with careful, attractive finishes in line with what you'd expect from an acoustic guitar amp. Your eyes can judge it in the photos. Obviously my assessment is a personal one.
Before describing its connection and signal-shaping options, I should mention that the amp has a handle on top and a tilt-back stand on the bottom. The stand can be folded out to lift the amp off the floor, giving a “wedge” effect and sending the sound more directly toward our ears.
Front Panel
On the top of the amplifier we can plug in through its balanced XLR input or through the conventional jack input (the good old ¼" TRS).
Preamp Controls
To control the sound we have a knob called “Mic Tone,” which varies the tone of the mic preamp, adjusting the high or low frequencies to our liking. Next we come across the preamp volume. Near these controls are the master knob (main output) and the effects section.
Effects and EQ
Reverb
Among them, the master that varies the level of the internal spring reverb.
Chorus
In the amp's own effects section, we find a pleasant and versatile chorus. It's operated with an effect on/off switch, depth, and speed controls.
Equalization
Parametric equalizer with treble, mid, and bass controls.
Inputs and Outputs
It has a stereo RCA input, where we can feed in signals from our CD player, MP3 player, or the like. There's also a footswitch input (footswitch sold separately), which lets us turn effects on and off with our foot.
As for outputs, it has a line out for connecting directly to a recording system and, of course, a convenient headphone output.
Noise Cancellation
The Ibanez Troubadour has a GND LIFT switch that can cancel ground loops (should they occur due to complex connections, external effects, etc.). If you run into a noisy hum, you can cancel it with the GND switch.
The Tests
Whenever I test something I don't know, I use at least a couple of guitars to get a clear idea of what the unit does. Preferably two very different guitars, to see how the amp, in this case, responds to the different qualities of the instruments.
For this test I used two very different acoustics. One leans toward thick, with lots of body, and the other has a midrange sound with finer, brighter sonic finishes. My intention was to shape them with the Ibanez Troubadour. To see what would happen.
In both cases I found the same characteristic: extreme fidelity in the sound reproduced by the amplifier. With a fine, crystalline reproduction (almost as clean as a hi-fi amplifier), I heard the sound of the acoustics I had plugged in with crystal clarity. The sound wasn't distorted at all and was very faithful to what the guitars give off naturally (that is, unplugged). I really liked this aspect of the amp.
Once the idea of “neutrality” in amplification was clear, I looked for ways to alter the sound to my liking, trying to soften or improve the possible “drawbacks” of my instruments in different situations. For example, with the darker (bassier) guitar, I tried to tame the lows and boost the higher frequencies. It's not easy to get that sparkle naturally without the result turning shrill or nasal (because of midrange problems). With the thinner, more piercing guitar, I tried just the opposite: giving it a little body for a more solid result. In both cases I achieved what I intended, with precision. All in all, good marks for this Ibanez for the results obtained in the tests.
Afterward I tried the effects section and got a very believable, natural reverb. As for the chorus, I got a little hooked while testing it. What began as a routine test of that effect (which I personally don't usually add to an acoustic) turned into a personal delight, because the sound I was getting was especially appealing.
Conclusions
Although it depends on the guitarist, their style, and their needs, acoustic amps aren't usually bought as often as electric guitar amps. Obviously, for the acoustic guitarist, it may be different. Still, I think that almost all of us guitarists, by definition, end up enjoying several types of guitars sooner or later. I found this amp inexpensive, considering its fidelity in reproduction, its clarity, the precision of its knobs, and how well equipped it is in terms of effects and connectivity options (and quality). To me it's a serious, effective, and very appealing alternative for those who want to amplify an acoustic with professional levels of precision. A great little beast, yes sir.