Sunday, March 21, 2010
The Acoustic Control Corporation Amplifiers and The Black Widow Guitar and Bass
Most of the company’s amplifiers were solid state although they produced a few tube models. Perhaps the best remembered model was the Acoustic 360, which was actually a preamp for bass guitar designed to be combined with the Acoustic 361 W-bins which contained a rear facing 18” Cerwin Vega speaker and a folded horn (similar to the old Voice of the Theater speaker cabs.) and a 200 watt power amplifier. The normal configuration was two of these monster amp/cabs with the preamp which was enough to power a coliseum. This was a huge amplifier that produced nearly 400 watts RMS.
The company went out of business in the 1980’s and the trade name was sold to True Tone Audio. Steve Marks founded SWR amplification and sold it to the Fender Musical Instrument Corporation. Fender then sold SWR to Raven amplifiers in the late 1990’s.
The group also backed up Melanie on her song, Candles in the Rain.
Lily brought with her a pianist and bass player. I was enlisted as the chauffer and got to drive Ms. Lily around all day. This meant I got to attend her rehearsal. The bass player had this unusual instrument which had a black, glossy finish and no frets. This was the first time I'd seen a fretless bass. I looked at the headstock and it said Acoustic. Being curious I discovered that
Acoustic Amplifiers aka the ACC produced the bass and a guitar.
In looking back on the company's history the bass and guitar production only lasted a few years, from 1972 through 1975. Both instruments were built in Japan and based on designs by Paul Barth. (Barth was part of the group that founded the Electro String Corporation in the 1930's. The other members included Adolph Rickenbacher and George Beauchamp. These men collaborated on the first electric Hawaiian guitar also known as The Frying Pan. Electro String later became Rickenbacker.)
Both the Black Widow guitar and bass had a familiar body style similar to the Les Paul Junior only larger. The double cutaway horns had more of a flared shape. The bodies were made of maple and had a high gloss black lacquered finish.
Both guitar and bass had a German carve around the edges (as did Moseley’s guitars). The two octave necks were bolt-on, the headstocks were triple bound. The necks had a zero fret (as did Mosrite) and miniature dot fret markers. The strings went over a tune-able bridge and were held in place by a tailpiece that was set rather far back and was designed to increase sustain.
The fingerboard was made of rosewood. The scale length from the nut to the bridge was an incredible 27”. Although not uncommon for classical guitars, this was much longer than Gibson’s 24 ¾” or Fender’s 25 1/2” scale. Oddly enough, the Black Widow bass was short scale of 31” with 20 frets”
The bass came with one humbucking pickup that had 8 pole pieces and was mounted in the center of the body. The jack was mounted on the top of the body. The bass came in a fretted or non-fretted version (that had lines for position markers). The pickups output was higher than most produced during this era.
Originally the guitar and bass were equipped with Grover tuners, however by the end of the run the bass tuners were changed to Schallers. One of the most interesting features was the red pad on the back of each instrument. This snapped on to the body just like some Gretsch guitars. On the pad was the design of a black widow spider.
The guitars were ahead of their time and somewhat reminiscent of Schecter guitars produced today.
By 1975 the company went back to what it did best...produce amplifiers.