Since the advent of multi-tracking all those years ago, recorded music was given the capacity to impart an almost mystical dimension of multiplicity to the magic that was already music. As favorable as that was, it meant that musicians, especially guitar players, must now face the daunting task of trying to recreate the multidimensional quality of a song’s recorded performance in front of a live audience?
Explain this to your parents: It was volume—much higher volume levels—that allowed one instrument to do the work of many in a live situation—so it wasn’t that we were all just crazed kids—at least not entirely—it was that we needed more volume to give one instrument the power of many.
As the amplifier was turned up to accomplish this task another aspect began to emerge. The output section of the amp was inadvertently being overloaded by high input voltages. The result of this imbalance was a distorted sound. At first this was not thought of as a good thing by amplifier manufacturers and they cautioned against doing this. But musicians quickly realized that the distorted quality of the amp created a thicker and warmer tone that allowed one instrument fill an even bigger space. This was the greatest thing ever and insured the electric guitar’s ability to be a multifaceted instrument.
With these two attributes now incorporated into the guitar player’s arsenal, single note runs and solo sections could easily be featured over the level of the band—no longer was it necessary to have an entire orchestra section play single note runs in unison just to be heard.
So, it really was the electric guitar that revolutionized it all, playing an integral role as music became the first and most complete means of global communication (and it still is). Almost effortlessly music crosses cultural, religious, race and language differences to touch the heart itself, striking a common kinship within all creation. Other than that, and the fact that music is such a primary part of the human psyche that its origin cannot even be traced or separated from the origin of the human species itself, no big deal. So now you know what to say when someone asks why you need another guitar—it is an important thing—like nothing else on earth!
In the majority of recordings done over the last six decades, it is the acoustic guitar that has stood beside the electric guitar, either featured or supporting almost every aspect of the song itself. As beautiful and as sweet as this layering of sound is, it has always presented a serious problem of recreation in a live-playing situation.
Again, it is a volume thing.
The acoustic guitar also needs to be loud and full enough to, as a solitary instrument, lay into the mix and match levels with an electric guitar that is easily able to command the whole room. The very aspect that makes an acoustic guitar sound so fine on record—rich, warm and woody hollow body—works against it when you take the stage—even in a very small venue—or someone’s living room, for that matter.
It’s the hole in the face of the acoustic guitar itself—greater depth and larger body size—that does it. It is like a mini Grand Canyon hanging over your shoulder. The hole hears the strings resonating above it and acts as a natural, organic amplifier—echoing the sound around the inner walls of the hollow guitar body like a canyon. It does that job wonderfully well, especially when played by itself in the studio, tracking with a microphone and headphones.
In a live-playing situation, however, with much greater sound pressure levels—drums, bass and other guitars—the “hole and the canyon” cannot help but amplify every other sound around them also. The result is uncontrollable feedback and overtones. The only solution had been to fill the hollow body with foam, or block the hole and re-EQ in an attempt to cancel all the unwanted frequencies but this always ended up canceling all the good stuff from the guitar as well. The results were very unsatisfactory and more often than not the traditional acoustic guitar was relegated to the studio or the closet during live-playing situations.
What to do? Crowdster—of course!
Yes, until the introduction of the original Crowdster, the acoustic guitar still had significant difficulty defining itself and thriving in live-playing situations. Crowdster easily remedies all of that by offering lush plugged-in acoustic guitar tone without any of the unwanted mannerisms—just big, bold and beautiful. With a Crowdster strapped on, domination is the result for all live-music situations, no matter how far the drummer and bass player want to push it. And this all happens with unparalleled ease of playability and astoundingly accurate intonation—makes playing one such a joy-filled experience.
So what’s the Plus for in Crowdster Plus?
Man, we thought you’d never ask.
Crowdster Plus presents itself with the same dominant plugged-in Acoustic Guitar persona as the original Crowdster…Plus more. The Plus is the addition of an Anderson-made electric guitar pickup that grants this unique instrument the ability to power forward with shockingly fabulous electric guitar tones—from the same instrument—really incredible—really.
The secret of the Plus lies in the CMA electric guitar pickup. Made especially for Crowdster in the Anderson Pickupworks laboratories, CMA listens differently than any other pickup—it is acutely adept at hearing Bronze Acoustic guitar strings and turning their input into formidable electric guitar output—so wonderful Crowdy acoustic guitar tones remain intact and untouched while delivery of tremendous electric guitar tonalities becomes second nature—and really fun to experience.
What can you do with this added attribute? Simply: you can play your Plus as you would a regular Crowdster, rip monster tones on it as you would one of your favorite electric axes or blend the two superb sounds together to recreate the layering effect of both an electric and acoustic guitar heard on record—now that’s really nice.
But another reason we wanted to show you this C+ at this time is for its finish. Natural Autumn Burst has quickly become one of—if not the—most ordered finish for all Crowdsters. You have seen it over Quilted Maple but until this very moment you have not had the chance to see it complement Flame Maple, and we just couldn’t wait another moment to show you.
• MODEL: – Crowdster Plus Acoustic
• FINISH: – Natural Autumn Burst with Binding
• BODY WOOD: – Flame Maple Top with Mahogany Back
• BODY WOOD BACK COLOR: – same
• NECK WOOD: – Indian Rosewood Fingerboard
• HEADSTOCK COLOR: – Matching
• NECK BACK FINISH: – Satin
• NECK BACKSHAPE: – Acoustic-Bronze
• NUT WIDTH: – 1.73-inch
• SCALE LENGTH: – 24 3/4-inch
• FRETS: – Small—Exclusive Anderson Stainless Steel
• BRIDGE: – Acoustic-style
• TUNING GEAR: – Split Shaft
• HARDWARE COLOR: – Chrome
• ELECTRIC PICKUP: – CMA
• ACOUSTIC PICKUP: – Anderson EQed LR Baggs Piezo
• CONTROLS: – Electric Volume—Acoustic Volume, Treble, Middle, Bass—Electric/Both/Acoustic Mini-Toggle—Mono/Stereo Subterranean Push Button
• STRING GAUGE REQUESTED: – .012-.053 Elixir® Acoustic Guitar with NANOWEB® Coating
• DESTINATION/LOCATION: Buddy Rogers Music/Cincinnati, Ohio