There are two things we need to know here: how we connect with the guitar unplugged and how it works plugged in.
We’re old enough to remember a time not so long ago when buying a mid-priced electro was a trade-off, you often sacrificed the unplugged experience for the option of a preamp and the ability to play live. directly with. We called it a “stage” guitar. Fortunately, times have moved on and the Sigma proves just how much.
There’s plenty of control at your disposal with the Prefix Plus-T. Its electro tone is quite zingy at flat levels, but it’s lively rather than quacky. Experimentation of treble and brilliance controls with contour editing proves responsive and underlines versatility here.
Speaking of Fishmans, the Fender’s less full Presys makes us want more to pair that nice neck. Unfortunately, the dreaded piezo quack rears its beak, perhaps accentuated by the mid-range nature of the F-1030SCE, and while lowering the EQ’s treble helps remedy this, the game of fowl still lurks somewhere in the background. ‘back.
While we’re on the subject of plastic, Yamaha’s and Fender’s rather fiddly controls aren’t the most accessible for those of us with more sausage cadence numbers. Takamine’s sliders are better, but the GD20CE-NS reminds us of those old “stage guitars” again.
Compared to the resonant Sigma and Yamaha here, it feels relatively uninspiring unplugged, and its electro offering is a solid, if less detailed, electro experience compared to the others. It cuts well, but we quickly wanted to go down a midnight notch on the treble dial to soft abrasive highs. By comparison, Yamaha’s warmer mids were reflected in our test acoustic combo, balancing well with the brightness, thanks to the adjustable midrange frequency control which didn’t seem to have much effect on our ears.