It’s fair to assume that acoustic players of all levels and styles are going to want the best acoustic guitar that their money can buy. That’s why we’ve carefully curated this list of the best flat-tops around; from professional-grade collection pieces, to more affordable but high quality starter guitars.
Every option on our list of the best acoustic guitars has been chosen with a number of things in mind - sound, playability, price, quality and so on. There are some incredible depression-era classics that have stood the test of time, to more modern day examples from the likes of Fender and PRS that will no doubt appeal to different styles of player.
We know that the best acoustic guitar is going to differ from player to player, which is why we’ve also added some buying advice at the bottom. This will help you make some careful considerations before parting with your money to ensure that you get the best acoustic guitar for you.
Best acoustic guitars: Guitar Player picks
The single best acoustic guitar is hard to pin down; it depends what you like out of an instrument. That said, in terms of sound alone (and if money is no object), we’d go for the Martin D-28 Authentic 1937 VTS. The classic dreadnought body shape along with the classic wood combination of spruce and rosewood, and Martin’s VTS treatment means you get a guitar that sounds as close as possible to a D-28 from the 1930s.
A few price points down from there is the Lowden O-22 and Gibson Hummingbird Original. By no means cheap guitars, but still more affordable than the Martin, these are pro-level acoustics that can tackle a wide array of musical scenarios.
If you’re looking more at the starter end of things, the tried and tested Yamaha FG800 is built to a good standard and doesn’t break the bank. For electric players that want to switch things up, then one of the best acoustic guitars for them might be the PRS SE A60E.
Best acoustic guitars: Product guide
Yamaha is a company that has made their name as one of the most iconic and versatile manufacturers that the world has seen. They make everything from golf clubs to motorcycles - but it’s their acoustic guitars we’re interested in, specifically the FG800.
The Yamaha FG800 is a pure tone machine. For the impressively low price tag, you get a solid spruce top with nato and okoume back and sides. This combination offers up a seriously gutsy tone, more than capable of keeping up in an acoustic jam session. The warm, rich tone that comes from the dreadnought body size makes the FG800 a singer-songwriter’s best friend, delivering full-sounding accompaniment to vocals of the vast majority of styles.
If you’re in the market for your first ever acoustic guitar, or even just a spare for when you’re on the road, you can’t go too far wrong with the Yamaha FG800. It’s solid, reliable, affordable and sounds like it’s more expensive than it is. What more could you want?
You may know Fender best for the Stratocaster or Telecaster, but their acoustic guitars are some of the industry’s hidden gems. A beginner-friendly acoustic-electric guitar with a solid spruce top for under $350 is usually unheard of, making this CC-60SCE even more fantastic.
The Fender CC-60SCE is so highly revered due to its emphasis on playing enjoyment - something which we all need when playing the guitar. The CC-60SCE’s concert sized body means that it’s compact, easy to play and easy to handle too. As an acoustic guitar for smaller people or a smaller backup guitar, this CC-60SCE really took us by surprise.
The tone it produces is surprisingly huge - with bags of punch and resonance coming from the solid spruce and mahogany construction. The body size also contributes to this, with the smaller lower bout helping to avoid the boominess of a dreadnought. The CC-60SCE sounds as good plugged in as it does unplugged - with the low profile Fishman pickup dishing out a super-accurate and tasteful representation of your acoustic tone to your PA.
The GS Mini doesn’t just sound great ‘for a smaller guitar’ – it sounds great, period. It projects really nicely and offers a balanced frequency range. The bass response is probably more impressive than you might think from a guitar this size, and the top end is clear and sparkly. The combination of the solid sitka spruce top and the smaller grand symphony body shape gives you a dynamic and responsive guitar. The rosewood back and sides also helps a little in the mid range.
This model is equipped with Taylor’s ES-B pickup system too. This helps represent the guitar’s acoustic qualities via an amp or PA system. There’s also an on board tuner which is really useful, plus it comes shipped in a good quality gig bag.
When people think of Martin guitars, they often think of D-18’s, 28’s and other acoustics that cost the same as a family car. Well - while those are part of Martin’s product ranges, you’ll be pleased to know that they also cater for us folk who can’t always spend four digits, as much as we’d like to.
The 000 JR-10 comes in at the lower end of Martin’s ‘budget’ range in terms of pricing, but the specs, playability and tone vastly outweigh the price tag. The all-solid JR-10 is a slightly shrunken 000 acoustic, with the smaller body and scale length creating an all round lovely playing experience.
You’d think that an even smaller body would be detrimental to the tone? Well, you’re wrong. While it doesn’t quite have the guts of a D-28, the tone that this Junior produces has some serious punch. A Sitka spruce top takes care of the top end, while the mahogany back and sides join forces to provide warmth, depth of tone and a little bit of extra resonance.
Now, Yamaha has been known to push the boundaries when it comes to innovating new ideas for their instruments - and the TransAcoustic series just might be their biggest flex to date.
TransAcoustic is, in a nutshell, a system that adds effects to your unplugged acoustic guitar. The back panel of the CSF-TA features an actuator that vibrates in response to string vibration, and those vibrations are conveyed through the guitar's body and into the air inside the guitar. It's pretty out there, and it's okay if we lost you there for a minute - but fancy new effects aren't the only thing about the CSF-TA.
Independent of this incredible tech, the CSF-TA's solid spruce top and mahogany back and sides deliver bags of punch, clarity and power - impressive for such a small-bodied guitar. We were shocked to note that this parlor has a rich depth about its tone, something which again we wouldn't expect from a guitar this size. If you're partial to a smaller acoustic, and don't want to shell out the big bucks, the CSF-TA is absolutely worth considering.
From the kings of glitz and glamour, comes something a little less in-your-face. PRS’s SE range has made its name in the world of electric guitars, and now it’s time to see how they fare when it comes to acoustics, with the very pretty A60E.
Like much of this guide (and most other acoustic guitars on the market), a solid sitka spruce top adorns this model. However, things start to get interesting when we delve into the solid ziricote body. Ziricote is an alternative to rosewood and has had some serious comparisons made about its tonal qualities. It’s closer to Brazilian rosewood in terms of density, and is a brilliant way to get close to that tone on a reasonable budget. Of course, it’s not quite the same, but overall the A60E still possesses that little bit of magic.
The iconic abalone bird inlays and flamed maple accents scream PRS, even from a distance - but when you take into consideration the care and attention paid to this guitar in the manufacturing and finishing process, you start to realize just how perfect these SE’s can sound and play. We currently live in a weird world, where value for money is more important than ever before, and although you could spend a little more on a USA-made Martin or Taylor, is there much point when a PRS SE is calling your name?
Rolling on back to the mid-’30s, Martin, like many other companies, was struggling in the midst of a crushing financial crisis. In order to fight their way through the Great Depression, they decided to start making cheaper, all-mahogany acoustic guitars in order to boost sales and help them survive - and we’re glad they did.
This 000-15SM looks oddly different to a standard ‘000’, but the reasoning is very simple. With its vintage-inspired appointments, the SM is a 12-fret as opposed to a standard 14. This, alongside the slotted headstock, provides a classic vibe that oozes style, and gives this guitar its very own personality. The difference in body shape makes a tonal impact, as well as an aesthetic one, with the slightly deeper shoulders warming up the tone ever so slightly and creating a fantastic harmonic resonance.
It might not be the most impressive looking guitar on the list. It might not be the most versatile either - but as an affordable USA-made Martin; as one of the best Martin guitars around, and as a tip-of-the-hat to days gone by, we don’t think it gets any better than this sub $/£2,000.
Taylor’s American Dream series of guitars, although one of their lowest priced offerings, is far from cheap. Crafted from all-solid tonewoods (some more unusual than others however), the AD17e is ready to be played, enjoyed and cherished.
Another slope-shouldered dreadnought (that Taylor refers to as a ‘Grand Pacific’ body shape), the AD17e consists again of a solid spruce top, but this time with a solid ovangkol body. This pairing of tonewoods, along with the eucalyptus fingerboard, creates a responsive and powerful tone that is equal parts rich and bright. Ovangkol is a relative of rosewood - so expect to hear those warmth, smooth traits in the low end, while the midrange comes across a little more pronounced.
The matte finished top and satin back and sides allow the AD17e to breathe, creating an intense resonance that feels organic and natural. Unfortunately, it’ll only be a matter of time before that matte top is covered in finger marks, pick scratches and other playing wear, but if you don’t mind that kind of thing, the AD17e could be a great choice.
Always pushing the envelope, Takamine has done it yet again. This TSP178ACK isn’t exactly your standard acoustic-electric guitar, but in a world where ‘traditional’ has been done so much already, a little change is welcome.
Crafted in Japan, Takamine’s heavy koa usage on this model sets an interesting and unique precedent as to what this guitar can do. Paired with a mahogany neck and ebony fingerboard, the all-koa body delivers a satisfying warmth, while also allowing for some articulate high-end to creep through. Described as sharing tonal elements with ‘mahogany and maple’, Takamine believes that their koa approach can help players find their unique voice - and to be honest, we’d have to agree.
Another main event here is the Thinline body which Takamine has employed on this model. Designed to offer greater levels of playability, the thinline body also combats unwanted feedback during live performances and introduces a more ‘electric-like’ feel to playing, something which will appeal to those looking to put on a great performance with a guitar that’s easy to play.
This will definitely upset some purists, and rightly so - Takamine has taken everything we knew about the acoustic guitar and flipped it on its head - but as a feat of acoustic guitar engineering? Well, it’s a beauty.
Played by legends such as Paul McCartney and Peter Frampton, it was only a matter of time before Epiphone reissued the Texan to be built at Gibson’s Bozeman plant - and it lives up to expectation.
The Texan gets its charm and charisma from the classic combination of a Sitka spruce top and mahogany back and sides. Thankfully, its slope-shouldered design allows it to sit in the ‘comfortable dreadnought’ region of playability, allowing you to make the most of the smooth low end and punchy balanced mids that make this guitar so ideal for pop, country, rock ‘n’ roll - you name it.
Built with the utmost care and attention to detail, you’ll be struggling to find anything on this guitar that doesn’t scream quality - and yes, we know it’s an Epiphone. In all honesty, that’s our only gripe, and we know it seems petty. For north of two grand, the world of Gibson starts to open up. If you’re looking for something to play and love and keep forever, then this could be perfect, but if you’re investing your money in a guitar? We’d probably take a Gibson.
Gibson’s SJ-200 Studio model takes the iconic SJ-200 down a notch, and to be honest that doesn’t seem like such a bad idea.
This jumbo has an impressively balanced tone for a guitar which is still so massive. The depth of the SJ-200 Studio is actually slimmed down a little bit from the dimensions of a standard SJ-200, and this improves the overall playability quite considerably. As well as upping the comfort stakes a little, this also reduces the potential for live feedback - making the SJ-200 Studio a brilliant choice for live performers.
A solid sitka spruce top and walnut body is not the most traditional of tonewood pairings, but it certainly works a treat in the case of the SJ-200 Studio. The punch and attack of a sitka spruce top works pleasantly with the warmth of the walnut back and sides, creating an ultra resonant, chimey, almost piano-like tone that will be heard no matter what you play.
It’s not a full-fat SJ-200, but what you may lose in tone you definitely make up for in terms of ease-of-use. And come on, it’s hardly a bargain basement option.
The Gibson Hummingbird is one of those guitars that never fails to make us guitarists smile. There’s something about the look, sound and feel of the ‘hummer’ that acts like an auditory comfort blanket. We’ve heard it so many times before on so many huge records that the powerful, direct tone has become almost instantly recognisable - and we love it.
Gibson’s first ever square-shouldered model, the Hummingbird utilizes perhaps the greatest pairing of tonewoods, sitka spruce and mahogany. The interplay between these prized top and body woods will fill any room with jangly vintage charm, all the while dishing out some punchy, rich sounding tones to help your playing transcend. The top is treated, so sounds weathered and played in - allowing you to get the best from your Hummingbird straight out of the gate.
We do like the Hummingbird, a lot - but there’s one thing we aren’t so fond of that we’d like to mention - it’s a pretty massive guitar. We know it’s no bigger than a standard dreadnought, but the square shoulders especially make this guitar feel bulky and sometimes awkward to play. Granted, that shape is what helps to produce the massive sound we love so much - but it’s still a bit too much of a handful sometimes.
Lowden are one of the most respected names in the realm of acoustic guitars, and they are used by some of the biggest artists in the world. They’re harmonically rich, complex and have a wonderfully balanced frequency range.
The O-22 is incredibly dynamic and response - it will put out exactly what you put in. The red cedar top and mahogany back and sides help deliver a rich and warm tone, with plenty of clarity in the top end. It’s great for performing and recording with, so will serve you well in any application. Even though the Lowden O-22 is essentially a jumbo guitar, it avoids ever sounding muddy or boomy, but retains that full bodied warmth.
We could have picked any Lowden to sit in our list of the best acoustic guitars really, but we’ve chosen the O-22 for its superb dynamics, balanced tone and suitability for both strummers and fingerpickers alike.
There are few acoustic guitars as iconic as the Martin D-28 - especially a ‘golden era’ D-28. But if, like most of us, you don’t have that kind of money knocking around, then this might be the next best thing.
Crafted from highly sought-after Adirondack spruce, the top and braces get Martin’s own VTS (Vintage Tone System) thermochemical treatment. This removes moisture from the wood at very high temperatures, allowing the top to resonate as freely as possible, and to sound as sweet as a genuine vintage Martin. If that wasn’t enough harmonious beauty, the Madagascan rosewood back and sides help produce a rich low end and sparkling clarity - with dark resonant undertones. Combined, this leads to a balanced and truly satisfying tone that will make this guitar worth every penny.
At close to seven grand, it’s a price tag that some will still find pretty prohibitive - and that’s fair enough. This guitar is the culmination of decades of R&D and millions of dollars worth of research, and that comes with a price. But honestly, listen to this guitar and it will all make sense. And then, like us, you’ll want one. Or two.
Best acoustic guitars: Buying advice
Choosing the best acoustic guitar for you
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For something that can look so similar, the many different versions of the acoustic guitar available to players today all have striking differences that can really help yield a wildly different playing experience. Things like tone, the response you get from your picking hand and how comfortable it is to play can all differ from model to model.
Which tonewoods should I choose?
The tone of an acoustic guitar is determined a lot by the wood it’s made from. Solid wood moves and resonates more, so essentially it sounds better – it also costs more. A guitar with its body made from all solid wood will likely yield a richer, stronger tone than a guitar made from laminate wood. A nice middle ground however is a guitar with a solid top and laminate wood back and sides.
The top wood has a fairly crucial role in the guitar’s tone, and there are different options that players love, the most popular being spruce and mahogany.
Spruce: When discussing the best acoustic guitars, you’ll almost always encounter spruce. It’s one of the most common tonewoods due its availability, sustainability and consistent tonal qualities. It’s generally very versatile but can help lend rich mid and upper range frequencies, allowing your guitar to cut through nicely.
Mahogany: Often described as ‘woody’ or ‘smooth’ sounding, these are often more intimate sounding guitars and have a strong low end presence, along with a clear mid range. They’re popular with a lot of guitarists, but old-school blues players do gravitate towards mahogany.
Cedar: Cedar isn’t quite as popular as spruce or mahogany, but it isn’t uncommon. It can be very rich, full, slightly dark and warm. It’s quite a light wood, so some fingerstyle players like it as the top requires less energy to get it moving.
Which acoustic body type should I choose?
The shape of the guitar’s body also affects how it sounds, and how it reacts to your playing. Big bodied guitars are often favored by heavy strummers, as the larger top is able to move more when strummed hard. They can still be dynamic, but there’s more volume on tap for those that need it. You also tend to get a stronger bass response for big bodied guitars, like jumbos.
Conversely, lighter handed players might like a small bodied guitar. The smaller top requires less energy to get it moving so they can explore their dynamic range more easily. Something in the middle like a grand auditorium will give the best of both worlds for some guitarists.
The dreadnought is the most common acoustic guitar shape and will normally have a strong bass response as well as a rich top end, with a slight natural mid scoop (great for vocals to sit). Fingerpickers and flatpickers alike have found themselves at home with a dreadnought over the years.
Do the back & sides make a difference on an acoustic guitar?
Absolutely - although not quite as much as you’d think. Obviously, as the back and sides are attached to the rest of the guitar and resonate with each pluck of a string, they do have a bearing on the overall tone of the instrument. But, when you take into consideration the fact that the main point of string contact and resonance (the bridge) is on the top of the guitar, and that every string vibration passes through that point, you can safely assume that the top makes up a significant proportion of the tone produced.
Obviously, a guitar with a solid back and sides will resonate more freely and richly than something with a laminate back and sides, but beyond that, the difference is pretty minimal. Mahogany, rosewood, koa - they’ve all got their own characteristics, but buying something specifically for the body wood may become a futile task. Look out for that combination of woods that really catches your eye (or ear). For some, it’s spruce and mahogany; for others, cedar and rosewood. The only way to find out is to play them.
How much should I spend on an acoustic guitar?
While there’s no straight cut answer, we would suggest avoiding anything under $/£200, if possible. It’s around here that you start getting good quality starter guitars, with hardware that will retain tuning and intonation. You might get a solid top around this price, but chances are you’ll have to pay a little more for that. If you are just starting out, you probably don’t need to spend more than $/£600.
Intermediate players are likely to find something that works for them anywhere between $/£500-1,500. Of course you can spend more, and you’ll get a better guitar, but within this price bracket, you’re going to get some great workhorses that will stand up to the rigours of regular gigging and recording.
All solid guitars and US-made guitars hover probably just above this price point, and that’s where you start seeing professional grade flat-tops. Is a 10k guitar five times better than a 2k guitar? It doesn’t necessarily work like that, but when you’re in the upper price points, you’re likely going to be investing in a guitar, rather than just buying one.
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