TEST: Carl Martin Acoustic Gig

 What a misery it used to be with live amplification on an acoustic guitar. In old videos you can still see the tense playing style of many acoustic guitarists, how they remain comparatively rigid in front of an SM58 or something similar that is fastened in a quick position in order to at least get some debriefing effect. With the introduction of the piezo pickup in the bridge inlay (I seem to remember that Ovation was the big dog here at the time) this pitiful practice changed rapidly, but only to a certain extent, as the appropriate amplification had not yet been developed. So it was time to send it to the wedge or PA via the DI box/monitor desk and hope that there was enough signal for a good performance, both to one's own ear and to the audience. These days are also long gone, as you can see from the Carl Martin Acoustic Gig multi-effects pedal available for testing.

A pedal for all occasions?

“Why not just use the clean channel of my amp?” some users will rightly ask themselves. “Why is there always such fuss when amplifying the acoustic guitar?” Well, the only thing an acoustic guitar has in common with an electric guitar are the (regularly used) 6 strings, otherwise the alignment in terms of sound, playing style, Handling and effects management couldn't be more diametrically opposed.

In addition to the fact that an A guitar should ALWAYS remain as clean as possible, you also have to face the latent problem of soaring feedback in the bass range! and the transmission of completely different frequencies than with a distorted electric guitar. While in the electric guitar sector you make use of the inertia of a 12 inch loudspeaker, for example, which has its peak between 2-3 kHz and drops to its knees at the latest at 4 kHz, to keep the caustic highs of a distorted guitar in check , exactly these frequencies are vital for a crisp sound on an A guitar. Nothing works without a separate tweeter.

So you can go and buy a special acoustic amplifier that already has the right equipment for high-quality signal transmission, or you can buy a special acoustic effects pedal that transforms an active speaker or floor monitor into an acoustic amp. We are dealing with just such a pedal today.

The construction of the Carl Martin Acoustic Gig

First of all, where do we actually use the Carl Martin Acoustic Gig? Of course, you can also use the pedal to record an acoustic guitar in the studio, but if a sound engineer comes to you with this solution, he is either just lazy or doesn't have high-quality microphones. Even the very best, internally installed pickups on an acoustic guitar only come close to the sound of high-quality large-diaphragm microphones, which is why the Carl Martin Acoustic Gig is primarily used on the stage.

And you can see that on the pedal too. The housing, made in China, is extremely solid and consists of a plastic tub covered with a steel frame, which protrudes slightly on the right and left so that you can lift the pedal better. The two elements are screwed together with six Phillips screws. Four large, rectangular rubber feet ensure a stable hold. In the effects area, the pedal has a complex three-band tone control with a compressor, an echo and a reverb area, as well as three other effects plus a tuner, the operating status of which is all displayed with a separate LED. The effects in detail:

Mute: When the mute switch is activated, the internal tuner is activated and shown on a large display.

3 Band Parametric Preamp: Carl Martin goes all out here and demands a lot of specialist knowledge from the user. In addition to a level control, which adjusts the signal strength of the filter when activated, three freely adjustable frequencies can each be raised or lowered by 15 dB. NOTE: With targeted reduction and simultaneous level correction, you can usually achieve a better sound, especially in the midrange, than by increasing a frequency. With three small level controls you can now freely select the bass range (20 Hz - 500 Hz), midrange (220 Hz - 5.1 kHz) and high frequency range (1.5 kHz - 16 kHz). The versatility it offers definitely has the quality of a studio filter, but it also offers plenty of opportunities for mismatching. If you haven't worked extensively with a parametric EQ yet, you may want to get some help from experienced colleagues in advance.

The fact that the frequency ranges overlap already shows the practical thinking of the developers. Regarding 20 Hz, it should go without saying that this frequency range can of course only be used as a high-pass filter. Please NEVER come up with the idea of wanting to boost anything in the double-digit Hz range on an A guitar! The entire EQ can be removed from the signal path with a push switch. The Carl Martin Acoustic Gig also has a phase switch in case unpleasant standing waves or frequency cancellations occur.

Boost: As the name suggests, you can continuously adjust the volume increase of up to 12 dB for solo passages.

Reverb: A reverb control that has the special feature of adding a few chorus modulations when the amount is higher.

Echo: A delay effect that can be adjusted in delay volume, number of repetitions and sound of the repetitions. The speed can be adjusted using a tap switch with your foot and converted into dotted eighths using a pressure switch.

Compressor: Still one of the most important effects on the acoustic guitar, adjustable in compression and level. Finer gradations such as threshold, ratio, attack and release have been combined in one controller to make it easier to use.

The front of the Carl Martin Acoustic Gig

In addition to jack input and output, the Carl Martin Acoustic Gig also offers an XLR DI output for feeding into the PA. An additional serial FX loop also offers the option of looping external processors into the signal path. Finally, there is the power supply input socket, which processes any DC voltage from 9 - 12 volts and which ensures a maximum power consumption of 500mA. The voltage is looped through an output socket using the daisy chain method and can also supply other pedals with power if the power supply features are designed accordingly.

In practice

Let's tune the instrument first. The tuner is easy to read, but in my opinion there would have been enough space for an LED display with more than three digits. Next we look at the equalizer, which, let's say this much, turns out to be the absolute highlight of the pedal. The basic sound of the preamp plus the EQ can be described as very successful. The frequencies grip well, don't bite, but have enough assertiveness in the band context. If you know how to use an appropriate filter and can hear the final sound of the instrument, it is a real pleasure to work towards the final sound.

The compressor does a good job, but I miss the ratio control a little. During strong forte passages, the compressor works almost like a limiter, which limits the natural dynamics somewhat. However, the controller works perfectly for uncomplicated, quick volume adjustment. The fixed reverb sound sounds a little artificial, but otherwise does its job well. Adjusting the delay time using just your foot may seem a bit unusual at first impression, but it shows that it is very practical. A delay only really makes sense in a rhythmic context, so the tap function is to be welcomed.

Although all switches fulfill their function well, I personally would have preferred switches of a higher quality for a product over the 600 euro mark, which were a little softer and less fiddly in their switching process. All of this is balanced out by the great preamp / parametric three-band tone control, which in itself is worth the retail price.

Conclusion

With the Carl Martin Acoustic Gig, the Danish manufacturer offers an upper-class acoustic guitar multi-effects pedal. Excellent workmanship with the currently best combination of preamp / parametric three-band tone control available in an acoustic guitar floor pedal make the pedal a clear favorite when it comes to professional amplification of an acoustic guitar.

If you can't take a high-quality acoustic amplifier with you to your gigs for transport reasons, you should definitely take a look at the pedal, it's worth it!

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Additional Informations:

The tale of Carl Martin Pedals is a narrative steeped in the tradition of craftsmanship, innovation, and an unwavering commitment to quality. Founded in Denmark, a country known for its rich design heritage and acoustic excellence, Carl Martin has grown from a modest enterprise into a revered name within the global music industry, particularly among guitarists and bassists seeking premium effects pedals.

### Beginnings and Philosophical Foundations

The inception of Carl Martin dates back to the early 1990s, when founder Søren Jongberg sought to bridge the gap between the guitarist's need for superior sound quality and the technological limitations of existing effects pedals. Jongberg's vision was clear: to craft effects pedals that combined the sonic richness of studio-quality processing with the durability and simplicity required for live performance. This vision was rooted in a deep appreciation for music, an understanding of the musician's craft, and a commitment to excellence that would become the hallmark of the Carl Martin brand.

### Crafting the Sound: The Early Innovations

Carl Martin's initial foray into the effects pedal market was marked by the release of the Hot Drive'n Boost, a pedal that quickly gained acclaim for its warm, tube-like overdrive and versatile boosting capabilities. This early success was a testament to Jongberg's meticulous approach to design and sound quality, setting the stage for future innovations.

Following the Hot Drive'n Boost, Carl Martin continued to expand its lineup with a series of pedals that addressed specific needs of guitarists, from the Compressor/Limiter, recognized for its studio-quality compression, to the PlexiTone, which offered the coveted tones of classic rock in a compact format. Each pedal was designed with the musician in mind, combining intuitive controls with a breadth of sonic possibilities.

### The Distinctive Carl Martin Approach

What sets Carl Martin apart in the crowded field of effects pedal manufacturers is not just the quality of its sound, but also its approach to design and production. Carl Martin pedals are characterized by their robust construction, ensuring they can withstand the rigors of touring, and their user-friendly interface, making it easy for musicians to dial in their desired sound.

Moreover, Carl Martin has been at the forefront of incorporating high-quality, regulated power supplies into their pedals, a feature that contributes to the pedals' consistent performance and noise-free operation. This attention to detail reflects the brand's philosophy that to truly enhance a musician's performance, every aspect of the pedal, from its sound to its functionality and reliability, must be of the highest standard.

### Collaboration and Community

A pivotal aspect of Carl Martin's development has been its collaboration with musicians. The company has always valued the feedback and insights of guitarists from various genres, allowing them to refine existing products and inspire new creations. This collaborative approach has led to the development of signature pedals, such as the Andy Timmons Signature Compressor/Limiter, designed to meet the exacting standards of the artists themselves.

Furthermore, Carl Martin's engagement with the music community extends beyond product development. The company is known for its active participation in music trade shows, workshops, and online forums, where they share their expertise and engage with musicians. This community-focused approach has helped Carl Martin not only to build a loyal customer base but also to stay attuned to the evolving needs of musicians.

### Expansion and Evolution

Over the years, Carl Martin has not rested on its laurels. The company has continuously sought to innovate, expanding its product range to include multi-effects units, power supplies, and even amplifiers. Each new product category has been approached with the same commitment to quality and innovation that defined Carl Martin's early pedals.

One notable innovation is the Quattro, a multi-effects pedal that combines several of Carl Martin's most popular effects into one unit, offering guitarists a versatile and high-quality effects solution. The development of such products reflects Carl Martin's understanding of musicians' needs for both versatility and quality in their gear.

### The Legacy and Future of Carl Martin

Today, Carl Martin stands as a testament to the enduring value of quality, innovation, and collaboration in the music industry. The brand's dedication to crafting pedals that enhance the musical experience has earned it a place on the pedalboards of amateur and professional musicians around the world.

Looking to the future, Carl Martin remains committed to its founding principles while also embracing new technologies and trends in music production. With a legacy of excellence and a forward-looking approach, Carl Martin is poised to continue its journey as a pioneer in the world of guitar effects, contributing to the music landscape with tools that inspire creativity and elevate performances.