AER AcoustiCube3 What’s In The New Version 3? • Two identical channels • Bass reflex cabinet that is separated from electronics • New two-way speaker system • 44V dynamic reserve in preamp EQ range • Separately adjustable and stabilised power source • Preamp matrix: three preamps, two phantom power supplies, combi-modus • 32-bit effect processor with USB interface for parameter adjustment and manipulation • Aux input, mute, insert AER AcoustiCube 3 Seeking an accurate reproduction of your guitar’s character is an ongoing challenge. Mark Tucker puts the AER AcoustiCube3 flagship amplifier through its paces and tests its ability to keep the integrity of your guitar tone alive, and also its flexibility. G erman-based AER are a company who have worked hard to perfect their amplifier range. Company founders, Udo Rösner and Michael Eisenmann, have complementary skills, each specialising in either instrument or speaker design respectively, combined with a wholesome understanding of acoustic instrument sound reinforcement. AER chose not to farm out to a Far East factory and are committed to European manufacturing, which has been confirmed by their recent move to a new Germanbased factory. AER clearly care about their products and their customers. Innovation and continual development in amp and speaker design, as well as taking on board constructive ideas from users, appears to be an ongoing policy of AER’s. The detail and finesse 52 demonstrated in their products are evident, and from the second you unpack any AER product it demonstrates signs of a company who are making every effort to impress. It’s often the simple things that unwittingly grab your attention, such as the way the amp is packed, the sleek design and the guitar strings that are provided. All these things combined give the purchaser a certain feel-good factor that is not always present in products. AER’s AcoustiCube has been available in various forms for more than a decade, with the current editing software being version 3; the amp has seen ongoing improvements in design and functionality. AER have a wide range of dedicated acoustic instrument amps, with the AcoustiCube3 sitting proudly among the six available models in the range. The current model (version 3) boasts such improvements as: improved dynamic range, identical twin channels, improved speaker and sound quality, cabinet, circuit and 32-bit effects processor, not to mention control panel improvements. It all amounts to a super upgrade at every level. The new speaker design boasts improved, clearer and smoother bass response, with further improvements in clarity across the frequency spectrum. Simple changes to the design, such as a redesigned control layout on the front panel, make for easier use, especially on a darkened stage. “The amp performed exquisitely, producing the very finest sounds possible from a small amp of this type” In Use Both channels are identically equipped and can handle any type of signal, from piezo to line and microphone inputs. Having plugged in a guitar, I now had to select the correct input setting. This meant shuttling between the various input settings which cater for inputs of radically different levels. I realised then that care should be taken doing this as you could inadvertently experience some very extreme changes in gain setting; you could run the risk of experiencing screaming feedback and damage to the speaker. The only way to avoid this radical gain structure differential is to turn the amp down before going anywhere near the EQ The EQ circuit featured on each of the two channels is identical, offering a basic three-way EQ: bass (+10db), middle (+6db) and treble (13db). Further tone can be manipulated by the colour control, notch filter and presence control (on rear panel). The colour control, activated by an on/off switch, enables a fixed -3db at 100Hz, with a further 6db at 10kHz. The notch filter (also found at the rear of the amp) further cuts a huge 24db at 120Hz plus a further -12db at 36Hz! The presence control is also featured on the rear panel and globally attenuates (reduces level) at 4k. AER AcoustiCube3 input selector. Whatever instrument or signal I chose to plug into the amp produced exceptionally clean and clear results, creating a sound that could easily be associated with a much larger amplifier. In fact, I chuckled to myself at the relatively tiny (330 x 330 x 265mm) AcoustiCube appearance and its ability to produce the degree of punch and clarity to such a high quality! Despite the relatively limiting fixed-frequency middle tone control, with careful setting of the relative bass and treble/colour control, an exceptional and wide ranging sound was achieved. Where some amps fitted with tweeters can produce hiss and harshness, the AcoustiCube3 wins the day with superb signal-to-noise and treble smoothness. The colour control sounded subtle, and in my opinion was somewhat superfluous. The frequencies the colour control adjusted could be very closely mimicked by the treble and bass tone controls. Arguably a sweepable mid-frequency filter would be more powerful and offer more tonal variation. Should you need to expand your amplifier system, an extensive array of extra outputs are featured on the amplifier’s rear panel. These include tuner and phones, stereo left and right, line, and independent “Both channels are identically equipped and can handle any type of signal, from piezo to line and microphone inputs” Fig 1. Fig 2. Fig 3. AcoustiCube3 Control 1.0.1 Software Editor Having installed the supplied software, connection of the AcoustiCube3 via a USB (found on the rear panel) on the amp to my PC cable was very straightforward. I installed the software in my Compaq laptop, which was running Windows XP, without a problem. With a little time spent reading the manual I was soon creating my own custom-made patches and sending to the amp’s memory patches via the USB cable. The software is fairly easy to figure out and allows you to set any element, such as ‘various types of delay’, ‘reverb’, ‘chorus’ and ‘flange’ etc. By selecting the properties (see fig 3) of the particular element (see fig 1) further editing can be made, setting parameters such as ‘delay time’ and ‘feedback’ for each effect required. Mixer elements can be inserted, creating complex combinations changing the order of the effects chain, such as ‘chorus to delay’, or ‘delay to chorus’, whichever is your preference (see fig 2). By selecting the ‘send to amplifier’ button and selecting the patch you wish it to appear in, you have your own personal effect patches stored for later use. These patches can also be saved to the PC. 53 AER AcoustiCube3 AER AcoustiCube 3 Contact Details Westside Distribution Tel: 0141 248 4812 www.westsidedistribution.com What we think Pros: Top-quality sound, build and design from a company with experience and knowledge who care about the customer and the products they manufacture. Cons: None really, although some points in the manual are unnecessarily confusing, possibly due to the English to German translation and terminology. Overall: Powerful at 120 watts, portable, faithful reproduction, sporting great modulations. ACOUSTIC RATING OUT OF FIVE Great flexiblity is to be had from aux ins, notch filter and line outputs. record channels on a stereo tipring-sleeve jack. Further rear-panel features are microphone input and master effect insert/return (on tipring-sleeve jack). The aux input (on stereo cinch connectors) has an independent level control, cinch being ideally used for domestic devices such as a CD or similar. The master DI output, also on the rear panel, has switchable pre/post effects. A further effect (2), send and return, is available on the rear panel and is equipped with pan, return level control and series/ parallel switch. Finally, AER offer a custom DIN connector wired switch that controls various footswitch functions (contact AER for details). Conclusion The amp performed exquisitely, producing the very finest sounds possible from a small amp of this type. I have no issues with the sound quality of the amp. This, combined with the functionality available in both the type of signal it can handle and the extensive inputs and outputs available, puts the AcoustiCube3 in a class of its own. I do have a minor gripe: the lack of a sweepable mid-frequency control or sweepable notch filter – this would have allowed wider tonal possibilities. This said, the amp sounds so good that it would only be with the input having been fed Acoustic Ratings Exceptional Excellent Good Average Poor with a signal that is fundamentally and tonally weak, that this may be needed. I can find very little fault with this amp, whether it be in build quality, functionality or sound quality. Maybe it’s as a result of reasonably high-quality products, that are now emerging from the Far East, putting pressure on companies like AER to produce better products to an even higher standard. AER are doing this, and the proof is in the pudding as the quality of the AcoustiCube3 couldn’t get much higher. Mark Tucker New Music Kate Doubleday Belonging Available from: www.katedoubleday.com Time spent travelling through Africa and an interest in nature have provided inspiration for Kate Doubleday, whose sweet voice perfectly combines African themes and a very English feel. The love with which she has crafted these songs is strong; on ‘In Full View’ it almost reduced me to tears. The arrangements are thoughtful, delicate and allow you to appreciate the contributions of each instrument, including reclaimed copper pots, which make up this superb album. Kate Lewis Iain Morrison Skimming Stones...Sinking Boats Available from: www.peatfiresmoke.co.uk According to his MySpace page, British singer/songwriter Iain Morrison is a champion of swimming naked on New Year’s Day and running at top speed in the rain; all of which makes him sound a lot more interesting than his record would suggest. A competent guitarist himself, Morrison has assembled an excellent bunch of musicians to back him, but unfortunately his songwriting rarely ventures above average. It’s all very ‘nice’, but the songs are just too forgettable to allow Skimming Stones...Sinking Boats to make any long-lasting impression. Brett Callwood Fola Goodnight Soldier Available from: www.myspace.com/folamusic Fola shine out like a beautifulvoiced gem this month, thanks to a mini-album made up of five exquisitely written songs that are well played by guitarist Andy Lucas and sung by the silkyvoiced and captivating Kate Barry. Fola know that there’s simply no substitute for great songs, and they’ve crafted five that should appeal to fans of traditional folk music as well as the more mainstream minded. Keep an eye on their website to see where they’re playing next. They’re surely worthy of a night out. Brett Callwood Ffred Jones Eyes and Ears Available from: www.ffredjones.co.uk South Wales-born singer/songwriter Ffred Jones’ debut EP is an impressive introduction; simple, understated but beguiling. Jack Johnson is an influence and there’s a nod to Coldplay on the excellent ‘Silhouettes’ and ‘Snowfall’, but Jones has very much his own sound. Intricate guitar picking decorates Jones’ languid voice, and the occasional other instruments, notably glockenspiel on one track, add depth. The simplicity of the arrangements only serves to highlight the quality of the songwriting, with never a jarring moment in the lyrics. The greatest compliment, however, is that the second time I played this EP the songs felt immediately familiar – high praise indeed. Brett Callwood 54