Cole Clark Fat Lady 2 Series Australian Blackwood Dreadnought Acoustic-Electric Guitar Sunburst

Dimensions (Overall): 48.5 inches (L), 8.5 inches (H) x 20.5 inches (W)
Weight: 18.45 pounds
Size: Full
Hand orientation: Right-Handed
Instrument body construction: Solid
Number of strings: 6
Warranty: No Applicable Warranty. To obtain a copy of the manufacturer's or supplier's warranty for this item prior to purchasing the item,
• Cole Clark Patented 3-Way Pickup System gives the most natural and versatile plugged-in sound
• 100% Sustainably-Sourced Solid Australian Timbers completed with a Satin Nitrocellulose finish
• Unique construction techniques like Spanish Heel neck joint, Internally carved Top and Back Timbers
• Fully-integrated pickup system
• Plek machine used to achieve exacting standards of playability and intonation
Cole Clark guitars have a bold sense of self in terms of design and materials, and their guitars have a consistency of personality that is the hallmark of all great instrument makers. The materials used in creating the Fat Lady 2 are sourced from abundant Australian tree stocks, and those groves are tended with care for replenishment. Cole Clark employs classical construction methodologies alongside innovative design and manufacturing techniques to produce a lighter, stronger guitar with a completely natural sounding pickup. An Australian Blackwood top, back and sides combine to create an aggressive tone with a strong midrange projection for an acoustic that’s ideal for percussive players. The Queensland maple neck is sure and steady, comfortable to play. Please note that Queensland maple isn’t even related to American maples. This is an unusual wood that lends itself extremely well to guitar building, especially in neck construction. Its pickup system is truly spectacular, with six individual piezo sensors underneath the bridge saddles that provides excellent string separation and clear, round, warm respons across the spectrum. There is additionally a built-in condenser microphone that has no response below 2.4kHz, so as to avoid any possibility for that low, woofing feedback that condenser mic systems encounter in stage environments. can dial in the amount of microphone response want with a rotary knob, so as to fill in the sparkle and complexity of the upper-end harmonics. There is a three-band slider-style EQ as well as a “face sensor” knob that is built into the lower bout. It allows cutting and boosting of midrange frequency, and when used in conjunction with the EQ and the mic system, allows to dial in just the nuance ’re after. Great for recording.