{"id":82453,"date":"2018-02-26T11:53:41","date_gmt":"2018-02-26T10:53:41","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/come-amplificare-la-chitarra-acustica-copy\/"},"modified":"2026-05-05T18:23:06","modified_gmt":"2026-05-05T16:23:06","slug":"comment-amplifier-une-guitare-acoustique","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/fr\/tutos\/comment-amplifier-une-guitare-acoustique\/","title":{"rendered":"Comment amplifier une guitare acoustique ?"},"content":{"rendered":"\n

La question et l\u2019angoisse existentielle qu\u2019elle porte en elle ne datent pas d\u2019hier : comment amplifier une guitare acoustique ? Depuis que la guitare est pass\u00e9e du simple statut d\u2019accompagnatrice dans les orchestres des ann\u00e9es 1930 pour devenir soliste entre les mains de virtuoses comme Charlie Christian, il a fallu trouver des astuces pour mieux l\u2019entendre. C\u2019est ainsi qu\u2019ont \u00e9t\u00e9 d\u00e9velopp\u00e9s les micros magn\u00e9tiques, les amplis et les instruments solid body, mais cette \u00e9volution a cr\u00e9\u00e9 le nouveau son de la guitare \u00e9lectrique. Le probl\u00e8me reste donc intact : si l\u2019on pr\u00e9f\u00e8re jouer de l\u2019acoustique mais que l\u2019on veut se faire entendre, on fait comment ?<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Le probl\u00e8me peut se r\u00e9sumer de fa\u00e7on tr\u00e8s simple. Par essence, une guitare acoustique est un instrument qui d\u00e9gage peu de volume et dont le son tourne beaucoup dans la caisse. Pour peu que l\u2019on essaie de l\u2019amplifier, on fait face \u00e0 des probl\u00e8mes de feedback et de graves qui tournent n\u2019importe comment. En studio la vie est belle : tu choisis un excellent micro, comme un Neumann KM184 par exemple, et tu joues au casque pour \u00e9viter tout risque de larsen.<\/p>\n\n\n\n

En live, il y a bien des guitaristes qui s\u2019essaient \u00e0 cette m\u00e9thode. S\u2019ils sont seuls sur sc\u00e8ne et qu\u2019il n\u2019y a pas besoin de couvrir une section rythmique qui joue toujours trop fort, la solution peut \u00eatre viable. Dans ce cas, on privil\u00e9giera un micro dynamique cardio\u00efde comme le Shure SM-57 qui sera capable de bien r\u00e9sister au larsen et ne sera pas trop sensible aux changements de position (\u00e0 moins que tu ne bouges jamais en jouant sur sc\u00e8ne, et l\u00e0 c\u2019est un autre probl\u00e8me).<\/p>\n\n\n

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\n \"KM184\"\n\n <\/div>\n\n
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Neumann<\/p>\n

KM184<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
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\n \n 799 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"SM57\n <\/div>\n\n
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Shure<\/p>\n

SM57 LC<\/h3>\n <\/span>\n\n
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\n \n 111 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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\n \"1687GT-8\n <\/div>\n\n
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Adamas<\/p>\n

1687GT-8 RBB<\/h3>\n <\/span>\n\n
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\n \n 4\u00a0444 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Pr\u00e9histoire<\/strong><\/h2>\n\n\n\n

Mais d\u00e8s les ann\u00e9es 70, les constructeurs ont commenc\u00e9 \u00e0 explorer des solutions plus fiables pour int\u00e9grer l\u2019amplification \u00e0 la guitare acoustique en tentant de conserver son grain caract\u00e9ristique. Il y a eu Ovation\/Adamas, dont le fameux corps en fibre de carbone projetait tr\u00e8s peu \u00e0 vide pour privil\u00e9gier le son amplifi\u00e9 via un capteur pi\u00e9zo\u00e9lectrique au sillet. Ce syst\u00e8me dit \u201cpiezo\u201d est tr\u00e8s diff\u00e9rent d\u2019un micro magn\u00e9tique d\u2019\u00e9lectrique, il r\u00e9agit diff\u00e9remment \u00e0 la dynamique et donne un son plus hi-fi et \u00e9quilibr\u00e9 en fr\u00e9quences. La fid\u00e9lit\u00e9 au son d\u2019origine de la guitare n\u2019est pas son fort, mais il est tr\u00e8s r\u00e9sistant au feedback et les ing\u00e9nieurs du son ont appris \u00e0 faire marcher ce son typique dans le contexte d\u2019un concert. Takamine deviendra ensuite la marque electro-acoustique par excellence, notamment gr\u00e2ce \u00e0 ses pr\u00e9amplis int\u00e9gr\u00e9s aux riches possibilit\u00e9s d\u2019EQ pour permettre un grand contr\u00f4le sonore directement sur la guitare, et Taylor finira par plier le game avec son fameux Expression System, un degr\u00e9 de r\u00e9alisme qui a fait \u00e9cole.<\/p>\n\n\n

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\n \"EF341SC\n <\/div>\n\n
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Takamine<\/p>\n

EF341SC w\/Softcase<\/h3>\n <\/span>\n\n
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\n \n 1\u00a0289 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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Taylor<\/p>\n

214ce<\/h3>\n <\/span>\n\n
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\n \n 999 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
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<\/div>
<\/div>

Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n
PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>

West Coast contre East Coast<\/strong><\/h2>\n\n\n\n

\u00c0 l\u2019heure actuelle, deux marques se partagent l\u2019essentiel du march\u00e9 de l\u2019\u00e9lectroacoustique, avec des syst\u00e8mes plus ou moins \u00e9volu\u00e9s : les californiens de L.R. Baggs et Fishman sur la C\u00f4te Est. C\u00f4t\u00e9 Fishman, le Matrix est leur version la plus simple du piezo et c\u2019est un classique que l\u2019on retrouve mont\u00e9 d\u2019origine dans de nombreux instruments. L\u2019\u00e9quivalent c\u00f4t\u00e9 L.R. Baggs est le Element, avec ses deux r\u00e9glages discr\u00e8tement int\u00e9gr\u00e9s sur le c\u00f4t\u00e9 de la rosace.<\/p>\n\n\n

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Fishman<\/p>\n

Matrix Infinity VT Narrow<\/h3>\n <\/span>\n\n
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\n \n 159 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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L.R.Baggs<\/p>\n

Element Active System VTC<\/h3>\n <\/span>\n\n
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\n \n 219 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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L.R.Baggs<\/p>\n

Anthem<\/h3>\n <\/span>\n\n
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Maton<\/p>\n

EBG808 Tommy Emmanuel<\/h3>\n <\/span>\n\n
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Mais il existe aussi des syst\u00e8mes plus complexes qui int\u00e8grent un vrai micro \u00e0 l\u2019int\u00e9rieur de la guitare ou m\u00e9langent plusieurs sources pour arriver \u00e0 un r\u00e9sultat plus fid\u00e8le et r\u00e9aliste. L.R. Baggs a par exemple son syst\u00e8me Anthem, qui sonne tr\u00e8s bien mais s\u2019av\u00e8re plus sensible au feedback \u00e0 fort volume qu\u2019un piezo de base (c\u2019est toujours un compromis \u00e0 trouver). Maton, la marque australienne qui doit son succ\u00e8s au virtuose Tommy Emmanuel, a d\u00e9velopp\u00e9 un pr\u00e9ampli qui permet de doser le son entre micro et piezo, pour s\u2019adapter aux contraintes en toutes situations. La marque allemande d\u2019amplis AER a quant \u00e0 elle d\u00e9velopp\u00e9 son propre syst\u00e8me \u00e0 deux sources, le Lily One.<\/p>\n\n\n\n

Dans tous les cas, il sera plus pertinent de confier l\u2019installation \u00e0 ton luthier pr\u00e9f\u00e9r\u00e9 si tu souhaites des performances optimales. Une installation maison peut donner un syst\u00e8me qui fonctionne mais pr\u00e9sente par exemple des probl\u00e8mes d\u2019\u00e9quilibre entre les cordes, m\u00eame si \u00e0 l\u2019heure actuelle il existe de nombreuses vid\u00e9os Youtube pour tenter l\u2019aventure.<\/p>\n\n\n

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AER<\/p>\n

Lily One Acoustic Pickup<\/h3>\n <\/span>\n\n
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\n \n 199 \u20ac <\/span>\n <\/div>\n\n <\/div>\n
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\n
<\/div>
<\/div>

Vous \u00eates actuellement en train de consulter le contenu d’un espace r\u00e9serv\u00e9 de YouTube<\/strong>. Pour acc\u00e9der au contenu r\u00e9el, cliquez sur le bouton ci-dessous. Veuillez noter que ce faisant, des donn\u00e9es seront partag\u00e9es avec des providers tiers.<\/p> Plus d’informations<\/a> <\/div>

D\u00e9bloquer ce contenu<\/a> Accepter le service requis et d\u00e9bloquer son contenu<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

L\u2019hybride secret<\/strong><\/h2>\n\n\n\n

Mais il existe une solution bien plus simple qui n\u2019est pas forc\u00e9ment moins bonne : le micro de rosace. Comme son nom l\u2019indique, ce micro magn\u00e9tique se suspend dans la rosace et sort en jack, soit par une sortie sur l\u2019\u00e9clisse (si l\u2019installation a \u00e9t\u00e9 fa\u00eete proprement), soit directement par la rosace (\u00e0 l\u2019arrache mais \u00e7a fonctionne). Les avantages sont multiples : d\u2019une part, l\u2019installation est tellement \u00e9l\u00e9mentaire que l\u2019on peut mettre le micro sur la guitare pour les concerts seulement et le laisser dans la housse le reste du temps, et d\u2019autre part le r\u00e9sultat sonore est moins caricatural qu\u2019un piezo. Il existe de tr\u00e8s nombreuses options, de l\u2019entr\u00e9e de gamme \u00e0 jack de sortie int\u00e9gr\u00e9 comme le Harley Benton TrueTone \u00e0 l\u2019ultra fid\u00e8le L.R. Baggs M80 en passant par le standard L.R. Baggs M1 que l\u2019on a notamment vu sur les guitares de Tom Petty<\/p>\n\n\n

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Harley Benton<\/p>\n

TrueTone SH-30 Pro Active<\/h3>\n <\/span>\n\n
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\n \n 49 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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L.R.Baggs<\/p>\n

M80<\/h3>\n <\/span>\n\n
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\n \n 299 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
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L.R.Baggs<\/p>\n

M1 Soundhole Pickup<\/h3>\n <\/span>\n\n
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Gibson<\/p>\n

J-160E Original VS<\/h3>\n <\/span>\n\n
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\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Mais il y a aussi un b\u00e9n\u00e9fice secret de ces micros de rosace : ils se comportent de fa\u00e7on tr\u00e8s int\u00e9ressante si on les branche \u00e0 un ampli de guitare \u00e9lectrique. Bien s\u00fbr, le risque de larsen n\u2019est pas n\u00e9gligeable et il faudra adapter tes r\u00e9glages d\u2019EQ pour ne pas surcharger de graves, mais c\u2019est un tr\u00e8s bon moyen de trouver un son original et personnel. Dans les ann\u00e9es 50, Gibson avait sorti la J-160E, une version de sa J-45 avec un P90 directement mont\u00e9 sur la table c\u00f4t\u00e9 manche. Cette premi\u00e8re version du concept de l\u2019\u00e9lectroacoustique n\u2019a pas connu de grand succ\u00e8s jusqu\u2019\u00e0 ce que John Lennon ne la branche sur son Vox AC30 pour l\u2019intro de \u201cI Feel Fine\u201d des Beatles, un son rest\u00e9 l\u00e9gendaire \u00e0 ce jour. Kurt Cobain reprendra l\u2019id\u00e9e pour le concert Unplugged<\/em> de Nirvana avec sa Martin D-18 branch\u00e9e sur un Twin Reverb, et \u00e0 l\u2019heure actuelle la chanteuse californienne Madison Cunningham tourne avec une Martin 000C12-16E \u00e0 cordes nylon dont le syst\u00e8me Fishman Matrix sort \u00e0 la fois sur une D.I. Radial mais aussi sur un ampli Fender Princeton Reverb silverface. Le m\u00e9lange des deux est encore une nouvelle voie \u00e0 explorer, et une le\u00e7on pour nous tous : il y a aura toujours un bon moyen de r\u00e9inventer la roue, et amplifier une guitare acoustique est un chemin plut\u00f4t qu\u2019une destination.<\/p>\n\n\n

\n \n
\n
\n
\n
\n
\n \"AC30\n <\/div>\n\n
\n\n
\n\n \n

Vox<\/p>\n

AC30 C2<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (150)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0098 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"D18\"\n\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

D18<\/h3>\n <\/span>\n\n
\n Note : 10.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (1)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 3\u00a0699 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"65\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

65 Twin Reverb<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (40)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0199 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"000C12-16E\n <\/div>\n\n
\n\n
\n\n \n

Martin Guitar<\/p>\n

000C12-16E Nylon<\/h3>\n <\/span>\n\n
\n Note : 0 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n <\/div>\n<\/div>\n\n
\n \n 2\u00a0699 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"PZ-DI\"\n\n <\/div>\n\n
\n\n
\n\n \n

Radial Engineering<\/p>\n

PZ-DI<\/h3>\n <\/span>\n\n
\n Note : 9.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (29)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 309 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n
\n
\n \"68\n <\/div>\n\n
\n\n
\n\n \n

Fender<\/p>\n

68 Custom Princeton Reverb<\/h3>\n <\/span>\n\n
\n Note : 8.00 sur\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (22)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1\u00a0359 \u20ac <\/span>\n <\/div>\n\n \n \n Voir le Produit\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n
\n \n \n \n<\/svg>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

<\/p>\n

PUBLICIT\u00c9<\/div>
\"\"<\/a><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Si l\u2019on pr\u00e9f\u00e8re jouer de la guitare acoustique mais que l\u2019on veut se faire entendre, on fait comment ? R\u00e9ponse dans cet article ! \ud83d\udc4c<\/p>\n","protected":false},"author":76,"featured_media":10014475,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[10724,926],"tags":[26004,26006,18869,26000,26002],"class_list":["post-82453","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tutos","category-gear","tag-amplifier-guitare","tag-amplifier-guitare-acoustique","tag-guitare-acoustique","tag-micro-guitare","tag-micro-guitare-acoustique"],"category_colors":{"color_key":"learn","css_classes":{"text":"cat-learn","text_light":"cat-learn-light","bg":"cat-bg-learn","bg_light":"cat-bg-learn-light","border":"cat-border-learn","text_on_bg":"cat-text-on-learn"}},"reading_time":{"minutes":6,"formatted":"6 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/82453","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/users\/76"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/comments?post=82453"}],"version-history":[{"count":6,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/82453\/revisions"}],"predecessor-version":[{"id":10014477,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/posts\/82453\/revisions\/10014477"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media\/10014475"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/media?parent=82453"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/categories?post=82453"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/fr\/wp-json\/wp\/v2\/tags?post=82453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}