Maybe swapping out the crunchy options for a couple more acoustic models would have made it even more useful, but this remains an appealing six-string multi-tool and a genuine problem-solver for many gigging players. “The launch of the Acoustasonic Player Telecaster feels like a no-brainer move for Fender, spreading the potential appeal of what is virtually a whole new category of guitar. The feel of the bevelled arm rest and fingerboard edges says quality and comfort this is an inviting guitar and that Modern Deep-C neck will feel familiar to anyone who has played the electric Player series models.” A lovely dark rosewood fingerboard and bridge replaces the US version’s ebony, but that’s not anissue for us. “In terms of feel and build, we honestly can’t find a compromise between this Ensenada-made Player and the US Acoustasonics we’ve tried. MusicRadar: The onboard voice options might have been scaled down but the Acoustasonic Telecaster sticks the landing as a Player Series model, in what could be one of the guitars to make the hybrid build truly go mainstream.įender Player Series Acoustasonic Telecaster: The web says That, in sum, is the sort of thing the Acoustasonic format encourages. That said, it can be pressed into service of many different kinds of styles, perhaps some that are all your own. It is warmer, with a little more width than you’d expect from a Tele’s bridge pickup. of trimmable height for pickups with suspension modifications or oversized tires. Fender promises twang but this isn’t Pete Anderson levels of twang. Trim to fit rubber available and provides 24 in. Park yourself on position one for a more traditional electric guitar experience, but don’t necessarily expect a traditional Telecaster experience. In a sense, this is a sound that almost exists outside of the spectrum of acoustic/electric tones, and is sure to support pedalboard experimentation. The sound is just coming from the piezo and as you turn the blend control it adds drive. Here is where the true hybrid tones are, and as such, there are fewer references for what we are hearing. EconoSpace©) may be used as an optional way to create space into which pastel dust can fall (or as a design preference).ĥ) The original pastel painting - which has been carefully mounted by hinges or corners, mounts to an acid-free backing board.Ħ) The acid-free protective backing board and then the dustcover – usually a brown or black kraft paper to help seal out dust and insects.ħ) Do not use hammer-in style bumpers on the back of the frame as their application can cause vibrations that could shake loose some pastel dust.Ĩ) When transporting your newly framed pastel or charcoal, rest it on its back so driving vibrations will not cause pastel dust to be loosened.The Lo-Fi voicings are interesting. The mat helps to lift the glass above the pastel.Ĥ) An acid-free foam board spacer or plastic spacer (e.g. The glass should not touch the pastel.ģ) It is recommended all mats used on pastels be acid-free and cut with reverse bevels the latter prevents pastel dust from showing on the beveled edges. Do not use plexiglass or acrylic sheeting as the static electricity will draw pastel dust to itself. When securing the painting into frame, lean painting vertically so loose pastel dust will not fall on glass.įrame in the following layers, from top to bottom:ġ) Use a frame moulding deep enough to support the layers of materials selected.Ģ) Use UV filtering glass or museum glass. Handle pastel paintings extremely gently if/when working face side down. The framer should not lay a ruler or mat or frame samples on top of the pastel. It is better if you can lift the protective covering with spacers/risers along the outside edges so it does not touch the art at all. If you must, lay some protective covering over the pastel for transporting, use wax paper, affixing it so it will not slide around damaging the art. AVOID TOUCHING the SURFACE of the artwork.
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