Now, thanks to the financial muscle of Guitar Center, the Acoustic brand is back. The new Acoustic lineup bears clear resemblance to its celebrated forbearers, and while the current offerings aren’t directly correlated to the original gear from a design perspective, their mid-heavy voicing is an intentional homage. The new Acoustic range includes combos, cabs, and 200- and 600-watt heads, and there are rumors of a note-for-note remake of the old Acoustic 360 head. I checked out the 1x15 B100 and B200 combos.
Unlike the original Acoustic gear, the B100 and B200 are targeted at burgeoning players on a budget looking for portable combos capable of enough output for loud rehearsals and small-to-medium-size gigs. The B100’s preamp is different than the B200’s, which shares it circuit with the B200H head. The B100 is as simple as it gets. PASSIVE and ACTIVE inputs feed a solid-state circuit offering control over the gain-to-master volume ration, a midfocused NOTCH filter, and a 4-band EQ. The back panel has a q" extension speaker output and an effects loop in parallel with the bass signal. Unfortunately, the combo is missing a few connectivity features I like to see, like an auxiliary input for playing along with an external sound source. The B200 shares the GAIN, MASTER, and NOTCH controls with the B200, but boasts a more robust 6-band EQ section, a tweeter on/off switch, a switchable NOTCH filter, and a full-featured balanced XLR output with VOLUME and GROUND LIFT con- trols. The Acoustics’ control-panel layouts were clear and orderly, and I had no problem seeing the front-panel text in a dimly lit room.
The Acoustic combos’ construction was average for the price. The B100 had a solid topmounted handle, hardy metal corners, and smooth-turning metal-shafted pots. Upon arrival, the B100 amp section was loose and rattled, but I fixed it quickly with a screwdriver. Peeking inside both combos revealed clean and orderly construction for the price point, with a few areas of mild concern. Unusually, both combos wire the extension speaker jacks in series with the internal speaker. Since their 4Ω internal speakers place the amp at its minimum operational load, series wiring actually doubles the impedance the amp sees when an extension cab is connected. The amp will be operating less efficiently, thus putting out less power, but the added air movement will mitigate the decline in volume somewhat.
B100 SOUND
Given the B100’s value-packed price, it’s clearly aimed at entry-level players who want volume and gutsy tone that goes beyond the typical low-cost practice amp. It delivers. The B100’s tone was inherently mid-heavy, aggressive, and remarkably loud, considering the output rating and size. The EQ functioned well, and was particularly important for achieving rounder tones that didn’t exploit the amp’s righteously rocking grit. For an appreciably thick and supportive sound, I bumped the BASS knob up a hair, pulled back on the HI-MID knob, and dialed in a small notch. The combo particularly excelled at bouncy pickstyle tone that cut, especially when I cranked up the mids, took out the notch, and dialed in some grit on the GAIN control.
The B100 would be an excellent choice for a rock-minded up-and-comer looking for big volume and at a low price. It doesn’t have much in common with the original Acoustic rigs— except perhaps for its inherently aggressive and loud tone—but it’s a competitive new option in the crowded low-price combo category.
B200 SOUND
The B200 is voiced much like the B100, but louder and with more high-frequency extension thanks to the cabinet’s piezo tweeter. Unfortunately, our test unit suffered from a ever-present hum, probably because the power transformer was inducing it due to inadequate shielding or placement too close to a signalbearing line. Acoustic is said to have remedied this problem in new production units.
The B200 was way loud. Again, like the B100, it was heavily mid-focused and seemed well suited to rock and other propulsive, energetic styles. It doesn’t have a ton of headroom, but I dug the way it broke up—I could hear the speaker break up at loud volumes, a source of distortion with a uniquely nastyin- a-goody-way voice. The B200’s preamp was significantly more versatile than the B100’s, and it worked well to coax less authoritative rock-y tones out of the ballsy combo.
The B200 would be another solid option for players who don’t crave delicacy in their tone, but rather want gritty personality and color. It was totally unrefined in a consistently compelling way. A kid (or kid at heart) with a P-Bass and a pick could do some seriously cathartic wailing on the B200, and it wouldn’t skip a beat.
ACOUSTIC B100
Street $250
Pros Loud and assertive tone; great price
Cons Missing a few cool features
ACOUSTIC B200
Street $350
Pros Super loud and assertive; low price
Cons A couple of construction concerns
TECH SPECS
Acoustic B100
Power output 100 watts @ 4Ω minimum load
Tone controls NOTCH: -10dB @ 50Hz–1kHz; LOW: ±14dB @ 60Hz (shelving); LO-MID: ±12dB @ 340Hz; HI-MID: ±10dB @2kHz HIGH: ±15dB @ 10kHz (shelving)
Power amp topology Class AB
Weight 53 lbs
Acoustic B200
Power output 200 watts @ 4Ω minimum load
Tone controls NOTCH: -10dB @ 50Hz–1kHz; ±12dB @ 40Hz; ±12dB @ 120Hz; ±12dB @350Hz; ±12dB @ 800Hz; ±12dB @ 2kHz; ±12dB @ 5kHz
Power amp topology Class AB
Weight 67 lbs
Made in China
Warranty Three years limited
Contact www.acousticamplification.com