Trying to work out the single best acoustic guitar from such a huge field of instruments is a tough call, nigh on impossible in fact. The pantheon of acoustic guitars is extremely varied, going from the most basic of budget instruments to those hitting four or five figures, so pulling a single instrument from that pile is never going to please everyone.
If you're looking for the best acoustic guitar overall, it's, in my opinion, the Gibson Hummingbird. It's a premium-level instrument and a brilliant all-rounder when it comes to tone, well worth the investment. If the price of a Hummingbird leaves you feeling a little sweaty, don't worry, you can still get amazing acoustic tones for a lot less with my favorite budget acoustic, the Yamaha FG-800. It delivers way more than you'd expect for the price tag, and can more than compete with guitars two or three times the price.
To make it easier to decide which new acoustic guitar you should purchase, I decided to split them by use case to help give you an easier time. I've got over twenty years of experience playing acoustic guitars, so using that knowledge helps me inform the choices in our guides and provide a more useful recommendation for your next purchase.
If you're new to acoustic and like to stock up on knowledge before you buy, go have a look at our FAQs section, which features loads of common questions answered by myself and the guitar gurus here at Guitar Player. I've also curated an in-depth how to choose section, alongside a glossary of key terms to help you decipher the lingo used in this guide.
Best overall
✅ Buy if: You want the highest quality acoustic available, merging sonic and visual beauty together seamlessly.
❌ Avoid if: You are looking for a guitar to play small shows with minimal security. This is an expensive guitar that could be damaged or stolen.
Overview
The Gibson Hummingbird is one of those rare guitars that never fails to make guitarists smile. There’s something timeless about the look, natural about the sound, and comfortable in the feel of the ‘hummer’ that just makes you feel special. Whether you’re aware of it or not, we’ve all heard it so many times before on so many huge records that the powerful, direct tone immediately conjures up memories of your favorite songs – that is a really special gift to have.
Build quality
It should be no surprise that any acoustic from Gibson’s range is exceptionally well put together, and their first-ever square-shouldered model, the Hummingbird, utilizes perhaps the greatest pairing of tonewoods, Sitka spruce and mahogany. Completed with a treated top that sounds pre-weathered and played in, the construction of this guitar allows you to get the best from your Hummingbird straight out of the gate.
Usability
For many players, the Hummingbird will be a perfect guitar for any occasion, but it would be remiss of me not to mention that there’s one thing I’m not quite so fond of – it’s a pretty massive guitar. I 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. I can ease into it after a little time getting reacquainted with the Hummingbird, but smaller players might never find it comfortable enough.
Sounds
The interplay between the prized top and body tonewoods will fill any room with jangly vintage charm, all the while dishing out some punchy, rich-sounding tones that transport your sound to a different plane of reality. As mentioned, the size of the guitar also produces ample volume, so if you like playing unplugged, it’s excellent in even fairly large spaces.
Best for beginners
✅ Buy if: You are looking for a higher-end beginner guitar that a smaller player won’t want to get rid of as they grow larger.
❌ Avoid if: You are a particularly large individual with big hands. It will cater to most players, but the biggest may struggle.
Overview
It doesn’t feel like that long ago that the idea of calling any Taylor guitar beginner-friendly would be laughable, but the GS Mini range has established itself as the standard-bearer for 3/4 acoustic guitars that are brilliantly built and perfect for both brand new guitarists and players looking for a compact travel guitar.
My pick of the range is the GS Mini-e Rosewood, which adds integrated electronics for more oomph when required, and layered rosewood back and sides, which add class and additional warmth. It’s one of the best beginner acoustic guitars on the market right now, and arguably one of the most popular acoustic guitars ever manufactured.
Build quality
The combination of the solid Sitka spruce top and the layered rosewood back and sides is robust, and across multiple different GS Minis I’ve played remains consistent. This model is equipped with Taylor’s well-regarded ES-B pickup system too, and there’s also a really useful onboard tuner; plus it comes shipped in a good quality gig bag, which might seem like a little detail, but goes a long way in showing the care put into the whole product package.
Usability
The most important thing for any acoustic, but particularly for beginners, is the comfort of the guitar when playing it, and the GS Mini-e is a dream to play for guitarists of all sizes – though the biggest of players may find that the reduced 23.5” scale length is on the smaller side. The neck is sleek and slender and will provide comfort for hours of playing.
Sounds
The tonewoods and smaller grand symphony body shape give you a dynamic and responsive guitar that projects really nicely and offers a surprisingly 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. Overall volume isn’t massive, but that’s where the pickup comes in.
Best budget
✅ Buy if: You’re looking for an acoustic that sounds and plays great at an accessible price point.
❌ Avoid if: You’re looking for a premium acoustic guitar. This plays a lot like one, but it is still a more budget instrument.
Overview
Yamaha might be my favorite acoustic guitar manufacturer. I always feel their acoustics offer excellent value for money, and no model in their range demonstrates this more than the FG800. In many ways, this feels like an ideal upgrade for players who have started on very cheap acoustics and are looking to upgrade to something altogether ‘better’, yet it’s still one of the best acoustic guitars below $500.
Build quality
Despite the impressively low price tag, you get a solid spruce top with laminated nato and okoume back and sides. At this price point, you’re never going to get solid back and sides, but I think on a guitar like this, which is the perfect workhorse, the laminated woods offer a little more resistance to humidity changes and temperature fluctuations, which makes it ideal for taking to practices and gigs.
Usability
The FG800 is extremely accessible, which means it needs to cater for a wide variety of players, which I’m pleased to say it absolutely does. The neck is a standout feature and is really comfortable with a smooth, satin finish, which makes playing it really comfortable, and even beginners should be able to practice for extended periods without their hands taking too much of a beating.
Sounds
The combination of tonewoods and body shape offers up a seriously gutsy tone, more than capable of keeping up in an acoustic jam session. The sound is notably warm with plenty of rich overtones, and the dreadnought body size makes the FG800 a performing singer-songwriter’s best friend, delivering full-sounding accompaniment to vocals of the vast majority of styles.
Best mid-range
✅ Buy if: You want Gibson looks and feel, at a fraction of the price.
❌ Avoid if: You’re looking to make a guitar investment. A Gibson J45 will retain its value; this is unlikely to.
Overview
The whole ‘Inspired by Gibson’ range from Epiphone is punching above its weight, with the electric lineup having received plenty of acclaim for some time, but I really want to shout about the acoustic range, and notably the Inspired by Gibson J-45 Standard, a magnificent guitar for any musician looking for a professional-level instrument, and one of the best acoustic guitars below $1,000.
Build quality
An area where the Inspired by Gibson range easily outperforms the previous Epiphone acoustic models is the build. The J-45 Standard features solid mahogany back and sides paired with a solid Sitka spruce top, with no laminates in sight. The body itself features a durable tapered dovetail neck joint, and the hardware is of high quality, with nickel Grover Rotomatic tuners and a real bone nut in place. They have not cut corners on this guitar.
Usability
The Epiphone Inspired by Gibson J-45 Standard is definitely in that "workhorse" spot for acoustic guitars, in no small part due to its comfortable rounded C-neck profile, making it a dream to play regularly. The slightly rounder shoulders on this dreadnought make it feel a little smaller than a square-shouldered acoustic. The addition of a Fishman Presys VT pickup system means you can effortlessly go from studio to stage and beyond, and it being tucked away inside the soundhole is a nice touch, though it can be a touch fiddly.
Sounds
The Epiphone J-45 Standard has a warm, balanced, and punchy sound, closely mimicking its classic Gibson counterpart. It may lack a tiny bit of the monstrous low-end of the Gibson, but most won’t notice this. Its focused midrange makes it a great finger-picking acoustic, while strummers will love how dynamic it is.
Best electro-acoustic
✅ Buy if: You want to experience modern effect technology integrated into your acoustic guitar.
❌ Avoid if: You feel that additional effects are a bit of a gimmick. Yamaha makes plenty of other acoustics without them.
Overview
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 one of their wildest acoustic inventions in recent memory. This CSF-TA has integrated effects. That in and of itself might not sound wild, but what makes this particularly incredible is that these effects work without plugging the guitar in – they resonate directly from the soundhole of the guitar.
Build quality
Independent of this incredible tech, the CSF-TA's solid spruce top and mahogany back and sides show that this isn’t a gimmick guitar; it’s still a really well-built acoustic-electric with exceptional attention to detail. Nato neck and rosewood fretboard continue the theme of premium woods used throughout, and the die-cast chrome tuners offer a little bit of class to the top of the guitar. It also comes with a decent gig bag included as standard.
Usability
The smaller size of this guitar makes it really comfortable, and I see this as an ideal travel/gigging guitar due to the lack of space it takes up. If you have any concerns about being limited to only being able to use it at home, though it may lack power, it does have a line out to amplify if required.
Sounds
Despite its compact form, the CSF-TA delivers bags of punch, clarity and power. I was shocked to note that this parlor has a rich depth about its tone, again, something you’d more commonly expect from a larger acoustic.
The big selling point of this guitar is the TransAcoustic system, though. 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. That might seem a little out there (it is!), but it results in a really cool effect, unlike any other acoustic I’ve played before.
Best small body
✅ Buy if: You want a smaller-bodied acoustic that doesn’t feel like it’s made for children.
❌ Avoid if: You want to perform with your acoustic unplugged. This lacks significant volume.
Overview
When people think of Martin guitars, they often think of D-18s, 28s 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.
Build quality
The all-solid JR-10 is a slightly shrunken 000 acoustic, with a smaller body and scale length. That doesn’t mean it is a kid’s guitar; however, this is a guitar from Martin’s Navojoa factory in Mexico – the tier sitting just below their US-made range – which is why you get the solid woods, which will age well over time. Martin’s famous scalloped X-bracing is used to maintain structural rigidity and ensure superb resonance.
Usability
Of all the “shrunken” acoustic guitar shapes, the Jr body style from Martin is my favorite. It feels more comfortable to play than either a full-sized auditorium body shape or the even smaller ‘mini’ body styles, in a bit of a Goldilocks zone. It has a deep cutaway for good access to the high end of the neck, and the overall weight of the guitar is tiny, making it super playable for hours at a time.
Sounds
You’d think that an even smaller body would be detrimental to the tone, but you'd be wrong. While it doesn’t quite have the guts of a D-28, the tone that this Junior produces has some serious punch. The solid 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. If you want extra volume, the integrated Martin E1 electronics means you can achieve great plugged-in tones with ease.
Best jumbo acoustic
✅ Buy if: You want bags of volume and low-end when unplugged.
❌ Avoid if: You’re a smaller individual who wants to be able to play in comfort.
Overview
Lowden is 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 a giant Jumbo acoustic, with lots of character and a massive amount of volume on tap.
Build quality
The O-22 is pure premium craftsmanship from top to bottom, utilizing AAA-grade solid Red Cedar for the soundboard paired with solid Honduran Mahogany back and sides. The internal soundboard uses George Lowden's signature "Dolphin" strut profiles, which are hand-carved, to produce a unique bracing that maximizes the volume, projection, and balance of the large jumbo "O" body without sacrificing structural stability.
The guitar is finished with a hand-applied satin finish that allows the wood to breathe and mature beautifully over decades of playing. And to top it off, that add premium gold Gotoh SG381 tuners with ebony buttons. There isn’t an inch of this guitar that hasn’t been built to the highest standard.
Usability
While I can imagine this being an excellent recording acoustic, live is where this thing shines, so anybody looking for an acoustic to use in this environment should give it real consideration. I would suggest it probably has a little too much volume for comfortable home use without irritating others.
Sounds
The O-22 is incredibly dynamic and responsive – 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 and “woody”, almost piano-like overtones. The sound is complex and would work beautifully for fingerstyle playing or folk.
Spec comparison
Struggling to decide between the options listed above? Well here you'll find all of the key specs of each of our top choices side by side, which will make it easier for you to decide which one is right for you.
Model |
Type |
Top |
Back/sides |
Neck |
Fingerboard |
Scale |
Pickup? |
|---|---|---|---|---|---|---|---|
Gibson Hummingbird Original |
Dreadnought |
Sitka spruce |
Mahogany |
Mahogany |
Rosewood |
24.75” |
No |
Yamaha FG800 |
Dreadnought |
Spruce |
Nato & Okoume |
Nato |
Rosewood |
25” |
No |
Taylor GS Mini-e Rosewood |
Small grand symphony |
Sitka spruce |
Layered rosewood |
Tropical Mahogany |
Ebony |
23.5” |
Yes |
Epiphone Inspired by Gibson J-45 Standard |
Dreadnought |
Spruce |
Solid mahogany |
Mahogany |
Rosewood |
24.75” |
Yes |
Yamaha TransAcoustic CSF-TA |
Parlor |
Spruce |
Mahogany |
Nato |
Rosewood |
23.6” |
No |
Martin 000C Jr E |
‘000’ |
Sitka spruce |
Sapele |
Hardwood |
Richlite |
24.9” |
Yes |
Lowden O-22 |
Jumbo |
Red Cedar |
Mahogany |
5-Piece Mahogany/Maple |
Ebony |
25.5” |
Yes |
Also consider
The guitars above should cover most acoustic guitarists need in our opinion, but if you didn't quite find what you were looking for don't worry. Here are some more great options for you to consider when buying a new acoustic guitar.
How to choose
Acoustic guitars might be one of the most difficult musical instruments to buy, particularly if you’re not entirely sure what you’re looking for. Even if you are being primarily guided by your budget, in just about every sector of the acoustic market, there is a huge amount of choice.
All of those choices will have a lot in common too; all will be made of wood of some variety, all will have strings, hovering over a sound hole, but there are many nuances and details that will mean that one acoustic would be much better for your needs than another – they are not all the same. To help narrow down your options to the right acoustic for you, I believe there are several things that you should consider, which will steer you in the right direction.
1. Where to play
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If you’re intending on using your acoustic live, it may well be worth considering buying an acoustic with integrated electronics so you can use an acoustic guitar amp or plug it into a PA system. Even the largest acoustic with the most projection may struggle with large venues, but with a pickup and preamp, smaller acoustics – which happen to also be easier to travel with – can fill a room. You can, of course, add a pickup afterwards, but if you can buy an acoustic with one seamlessly integrated from factory, that may save time and could well be cheaper too.
Pickups can also be useful for recording, allowing you to plug in directly and record without the use of an external microphone. If I am looking to record an acoustic through its integrated electronics, I would always prefer a guitar which has a microphone built in with its pickup, as this gives a more natural “acoustic” tone, but if you’re looking for a way to record quick demos, pretty much any pickup will do the job.
If you play exclusively at home and have no desire to record, then a pickup is probably surplus to your requirements, however the vast majority of acoustic guitars will either come with a pickup as standard, or will have an option to spec one, and I don’t feel that there is any significant downside to having this, so, if in doubt, I’d spec your acoustic to have a pickup.
2. Prioritise comfort
Acoustic guitars differ from solid-bodied electric guitars – hollow and semi-hollow electrics are a different story – as their shape and size have a really pronounced impact on the sound of the guitar, as well as the comfort of playing it. Even on the largest electric guitars – take a Flying V for example – smaller players may be able to play in some sort of comfort as the body profile is still slim enough, however on large acoustics, such as Jumbo models, smaller individuals may struggle entirely to even get their arm over the voluptuous curves of the body, and even if they can, it’s unlikely to be comfortable.
Fortunately, there are many smaller versions of these same shapes, which may not boast the volume and massive low-end of their bigger brothers – that’s just physics, unfortunately – but can still have a balanced and punchy tone, with much more comfort.
On the other side, there has been a rise of tiny acoustics, ideal for travelling, but also aimed at players who want something their body and arms can accommodate in more comfort. Through clever design, these often punch well above their weight for sound and can be comfortable for all but the largest players, who may find shrunken scale lengths too small for their larger arms and hands.
In my opinion, it is always best to prioritise comfort when picking any guitar, because you simply will not want to play it if it is cumbersome or cramped.
3. Budget constraints
The entirety of my playing career, and to this day, I have had to shop to a budget when buying acoustic guitars, and while I have been lucky enough to get acquainted with a number of high-end acoustics, the reality is that they were always well out of my reach financially. The vast majority of players are in this same position and may find themselves asking whether it’s really worth stretching to a “premium acoustic” or whether more budget-friendly models can do a comparable job. Of course, what constitutes budget or not will be different for each individual.
If you are shopping in the super-budget end of the market – say $200 and less – then the reality is that there will be some trade-offs in construction materials and build quality, but that doesn’t mean that you can’t get something that is still competent enough to learn on from a reputable brand. I would definitely stick to brands you know with a history of making great acoustics, as they will generally only produce instruments they are comfortable putting their name against.
If you are fortunate enough to be shopping in the tier above this, it’s entirely plausible that you may have questions about whether it is worth spending a little more to get something that may be significantly better. My experience is that, in every part of the guitar world, you will get diminishing returns as you spend more – the difference between a $200 acoustic and a $700 acoustic will be substantial. The difference between a $700 acoustic and a $1,500 acoustic is likely to be less so.
This does not mean you shouldn’t spend more, as all the incremental improvements in materials, hardware, and build do mean that, generally, the more you spend, the better the instrument will be, but live within your means and buy the best that you can comfortably afford. There are brilliant acoustics available, whatever your budget, so don’t necessarily feel that you need to go to the level above. However, if your budget allows, you will likely get a better product if you spend more.
FAQs
Is a solid top that much better than a laminate?
Solid tops typically have much more resonance, as they are one continuous piece of material, rather than lots of bits glued together. With this comes more volume, sustain, and harmonic complexity, which can even improve with age, but this does come at a higher cost.
That doesn’t mean laminate is bad, and it can have benefits, such as being less reactive to changes in humidity/temperature, and, of course, lower cost. If you’re a serious pro and want the best sound, then a solid top is a good way to go, but if you want a durable travelling instrument that can take a bit of a beating, needs less upkeep, and doesn’t cost a fortune, then laminate is still a great option.
Is there actually any difference between tonewoods?
There can be a huge difference in tonewoods, with each having a unique harmonic character. Spruce is one of the most common top woods, chosen for its bright, clear, and punchy sound with a great dynamic range. As you go for darker top woods such as mahogany, you’ll find that you can get a "woodier" sound with strong midrange, which often feels a bit warmer. The choice of top wood will generally impact the volume and clarity of your acoustic.
The tonewoods used for the back and sides can also have an impact on the tone, this time having more of an impact on sustain, warmth, or brightness. Many manufacturers will pair top woods with perfectly complementary back and sides to achieve their target acoustic tones.
Does the wood on the back and sides matter if the top is solid?
The back and sides have less of an impact on the overall volume and projection of the acoustic, but can still impact the sustain and tone of the guitar, so it definitely does matter, but a little less than the top. If you are in a position where you can’t afford a fully solid wood acoustic, then a good compromise is a guitar with a solid top and laminate back and sides.
What acoustic body shape should I go for?
The right acoustic body shape for you is going to come down to a few things. Firstly, how big are you and how big do you want your guitar to be? If you’re a larger individual and want a similarly large guitar, then a Dreadnought or Jumbo style acoustic would make a lot of sense. If you are significantly smaller, then a parlor style guitar would be a good fit. If you are somewhere in the middle, chances are that most guitar shapes will work in terms of their size, and some manufacturers will do slightly reduced-size shapes too – e.g. shrunken down Jumbos or Dreadnoughts.
But acoustic shapes aren’t just about comfort for the player; they also have distinct tonal qualities and are often aligned to specific genres. A Dreadnought, for example, is known for a loud, booming sound with strong bass and high projection, ideal for strumming and flatpicking, whereas a Jumbo, which is a similar, though slightly larger again, body style, produces massive volume, sustain, and deep bass, making it a pick for country/folk music due to its full, rich sound.
The Auditorium (Triple-O) shape is a medium-sized acoustic with a tapered waist that offers a balanced, intimate, and articulated sound with strong mids, which makes it excellent for fingerstyle playing. A Parlor is a very small, vintage-style body with a distinctive punchy, and often "boxy" sound with low bass but high clarity, perfect for blues and recording at home. This is by no means an exhaustive list of acoustic body shapes, and there may be some more specific models that really suit you, but the important thing to factor in is size and the genres that they have historically been used for.
How much does the nut width matter on an acoustic?
Nut width is really impactful when playing an acoustic and for general comfort, as it largely defines the spacing between strings at the headstock. However, there are reasons why you may want the nut width to be wider or narrower. Standard widths range from 1 11/16” and are narrower, which is better for strumming or those with smaller hands, whereas 1 3/4” or more will feel wider, which is generally preferred for fingerstyle or those with larger hands. While this may sound almost insignificant, this difference directly impacts fretting-hand comfort and can feel very noticeable when playing.
Do I need to humidify my acoustic guitar?
If you have a solid wood guitar, then humidifying it regularly is a good way to make sure it is performing as well as possible. Solid woods are much more likely to be impacted by changes in humidity, and humidifying it provides a level of consistency to the guitar, which means it is at its best. There are a number of ways to do this, from simply putting a damp sponge in a ziplock bag in the case with your guitar – this is not my preferred method and can damage your acoustic if done incorrectly – to specifically designed soundhole and case humidifiers.
Laminate guitars don’t require humidifying in quite the same way, though it is still a good practice, particularly for the neck and fretboard.
Should I factor in a setup in the cost?
Despite often being the first instruments that children learn to play on, acoustic guitars are arguably a little harder to play than their electric counterparts, particularly if they are not set up well out of the box. A setup will address things like the action, the truss rod, the nut, and the saddle, all of which may need some tweaking to improve tone, tuning, and, crucially, playability.
The most expensive acoustics are likely to have had some kind of setup before leaving the factory, though bear in mind that if they’ve travelled, some of that work may be undone. Mid and low-priced acoustics are less likely to have an in-depth setup, and you may be surprised at how much difference it makes to the guitar, so I would suggest, if you can, then try to get a setup when you buy your acoustic, or as soon as you can after purchase.
Is it better to play an acoustic guitar before buying it?
Generally, most guitars are better to play before buying if you can to make sure they are comfortable and easy to play for you, but there are things you can do to make sure that, even when buying online, you can get something that is likely to be right. If you check out the specifications of the neck, including the scale length and neck shape, along with the body dimensions, you are likely to know roughly what the guitar will feel like when holding it. Also use existing online reviews or forums to get anecdotal information from players just like you, who may have already answered questions you have. The guitar community is great for this!
Key terms
- Action: The height of the strings above the fretboard. Lower action feels easier to play, while higher action can give you more volume and reduce fret buzz.
- Attack: How quickly and sharply a note responds when you pick or strum the strings.
- Bookmatching: A woodworking technique where two matching pieces of wood are mirrored to create a symmetrical guitar top or back.
- Bracing: The wooden support structure inside an acoustic guitar that shapes its strength, resonance, and tone.
- Bridge belly (bellying): A slight bulge in the guitar top behind the bridge caused by string tension over time.
- Compressing: When a guitar naturally smooths out hard picking so the volume feels more even and controlled.
- Fret buzz: An unwanted rattling sound caused when a string vibrates against the frets.
- Headroom: How much volume and dynamic range a guitar has before the tone starts to compress or lose clarity.
- Laminate: Wood made from multiple thin layers glued together, often used on more affordable acoustic guitars.
- Mid-range: The middle frequencies in a guitar’s tone, where much of the body and character of the sound sits.
- Nut: The small piece at the top of the fretboard that guides the strings and helps set string spacing and action.
- Overtones: Extra harmonic frequencies that ring out alongside the main note, adding richness and complexity to the tone.
- Saddle: The piece on the bridge that supports the strings and helps transfer vibration into the guitar top.
- Scale length: The distance between the nut and saddle, which affects string tension and playing feel.
- Scooped mids: A tone shape with reduced mid-range frequencies, often sounding bigger, deeper, and more sparkly.
- Setup: The overall adjustment of a guitar’s action, neck relief, and intonation to improve playability and sound.
- Solid top: A guitar top made from a single piece of wood rather than laminate, usually offering better resonance and tone over time.
- Sustain: How long a note continues to ring out after it’s played.
- Truss rod: A metal rod inside the neck used to adjust neck curvature and help control action and playability.
- X-bracing: A common bracing pattern where two braces cross in an X shape under the top, helping balance strength and resonance.
How we test
At Guitar Player, our team of writers aren't just music enthusiasts; we're real-life musicians. Our hands-on experience with acoustic guitars ensures that our reviews and recommendations are backed by practical knowledge and real-world testing.
When we get our hands on a new acoustic guitar to test out, the first thing we'll look at is the specs and features of the instrument in question. We'll start by looking at the composition of the guitar, its top and body woods, neck construction, what type of bridge it has, the type of tuning machines, the bracing pattern, and anything else that can affect the sound and playability.
Looking at these things helps us inform our review, as specs will tell you a lot about who the guitar is intended for. Whilst we're doing this, cross-referencing with any literature provided by the manufacturer, we'll also be examining the build quality in depth. We're looking for any potential issues with the way the guitar is put together, whether that's the fret ends, how the binding is at the edges, even down to the placement of the fret dots.
Once we're satisfied we've got a well-put-together instrument, the next thing is to test the playability. Here we'll get a good feel for the neck profile, trying various playing techniques to establish how it reacts under strumming, fingerpicking, and hybrid picking. We'll judge how easy it is to fret barre chords and how it feels under legato, paying close attention to the overall feel of the instrument.
Whilst this is happening, we'll of course be paying attention to how it sounds, but we'll always be sure to specifically test the sound to see how it stands on its own. Here we'll use our years of guitar listening expertise to judge where it sits in the pantheon of acoustic guitars, whether it's a big body jumbo with a huge low end, or something smaller that perhaps has more energy in the mid-range. We'll try various pieces we already know to compare to other guitars we've played, even going as far as to record the guitar to see how it fits into a mix.
Ideally, we like to test guitars for as long as possible, with two weeks being a good amount of time to get to know an instrument intimately. Living with an instrument is so important, and often you can only really gauge the greatness of something once you've spent some time with it.
Read more on how we test gear and service at Guitar Player.
