Amplifying an acoustic guitar can be a daunting task, often complicated by the very qualities that make a guitar sound great acoustically. After tackling this challenge for 50 years with a popular line of acoustic pickups, L.R. Baggs has taken a different approach: designing a guitar from the ground up for amplified performance. The result is the company’s first acoustic-electric guitar, the AEG-1, which combines an innovative internal structure with L.R. Baggs’ latest pickup system, the Hi-Fi Duet. After spending time with the AEG-1, I found it to be a well-executed blend of comfort, playability, and a remarkably natural amplified tone.
Sleek and Thin
The AEG-1 is roughly the size of a dreadnought (15.5 inches wide at the lower bout and 20 inches long) and weighs about six pounds. However, its relatively large footprint is offset by a very thin body depth (2.5 inches) and a bevel. The slim, 20-fret, C-profile African mahogany neck joins the body at the 14th fret, while a cutaway—combined with the shallow body depth—allows easy access to at least the 18th fret.
The AEG-1 stands apart from other shallow-body acoustic guitars in two key ways: its construction details and its electronics, which work in tandem. The guitar’s frame is made of dense, strong, laminated poplar—you can actually see the layers of the plywood-style frame on the sides. This substantial outer shell is paired with a unique (patent-pending) internal support system for the bolt-on neck, ensuring exceptional stability. In contrast, the top and back are designed to be flexible and responsive.
Our review model featured a solid torrefied Sitka spruce top, supported by a fairly standard scalloped X-bracing pattern. Buyers can also opt for an Engelmann spruce or sunburst Sitka spruce top. The solid Indian rosewood back includes a removable round panel secured with six small screws, providing easy access to the internal electronics. A wooden plug mostly fills the soundhole, leaving a small air gap around it. To enhance feedback resistance when plugged in, the AEG-1 comes with a rubber ring that fits into the remaining space.
Though it doesn’t match the volume or bass response of a full-depth acoustic, the AEG-1 is far from a silent guitar. Its unplugged tone has a charm of its own, offering plenty of volume for home practice and potentially even for performances when amplified with a microphone. In a recording test, I achieved a pleasing sound with only minor EQ adjustments to compensate for the weaker bass response of the unplugged guitar.
The guitar’s nut width is 1.7 inches (just slightly more than 1-11/16 inches), and the string spacing at the saddle is 2.168 inches (not quite 2-1/8 inches), making it particularly appealing to flatpickers and those accustomed to the narrower spacing of electric guitars. The fretboard radius is 16 inches—relatively flat, similar to most Martin guitars.
Plugging In
While the AEG-1 can be played acoustically, it is primarily designed for amplified use. It features a version of L.R. Baggs’ latest pickup system, the Hi-Fi Duet, which pairs the dual soundboard transducers from the original Hi-Fi system with the new Silo microphone and supporting onboard electronics. While the Hi-Fi Duet is available as a standalone product for installation in other guitars, the AEG-1 exemplifies the benefits of a unified design approach, where both the guitar and pickup system are developed to complement each other—
sonically and structurally. The output jack and an easily accessible 9-volt battery compartment are located in the lower side corner.
The AEG-1’s control knobs, set into an inset panel on the top side, allow for volume and tone adjustments, as well as blending between the Hi-Fi transducers and the Silo mic. Turning the blend control fully counterclockwise engages only the Hi-Fi, while the middle position provides a 50/50 blend. Fully clockwise, the system uses the Silo mic for higher frequencies and the Hi-Fi for lower ones. I found the 50/50 blend to offer the best tone for my taste—retaining the solid, direct sound of the Hi-Fi while adding a bit more openness and air from the mic. However, with both the blend and tone controls, it’s easy to fine-tune a variety of sounds.
The choice of the Hi-Fi Duet in a relatively quiet, thinline guitar like the AEG-1 might seem surprising, given that soundboard transducers respond to the vibration of the top, while a microphone captures the actual sound produced by the instrument. However, as Baggs points out, the solid support provided by the multi-ply side frame and neck-block system allows the top to vibrate exceptionally well, making it an excellent match for the Hi-Fi Duet.
Indeed, the AEG-1 comes alive when amplified, producing a big, full sound with ample low end and a responsive feel. The tone is solid and direct, without the boominess sometimes associated with full-depth amplified acoustic guitars. I was able to play at surprisingly high volumes without feedback, maintaining a clear, full-range sound. Even at louder settings, the guitar exhibited no peaky notes or problematic resonances. Tone is always subjective, but to my ears, the amplified AEG-1 sounds excellent—I doubt anyone listening would suspect the sound was coming from a thinline.
The Bottom Line
Overall, I found the AEG-1 fun to play, thanks in part to its fast, sleek neck and very low action, but also due to its sound—both unplugged and amplified. It’s also quite comfortable, with its thin body made even more ergonomic by the bevel. Because I primarily play fingerstyle, I usually prefer wider string spacing at both the nut and saddle, but I adapted easily to the narrower spacing. Strumming and flatpicking felt natural, and the low action made playing lead lines as fluid as on an electric guitar.
Of course, the AEG-1’s strongest feature is its amplified sound. By pairing a unique construction approach with the Hi-Fi Duet’s strengths, L.R. Baggs has created an instrument with excellent feedback resistance and outstanding amplified tone—a stage-ready guitar that delivers exceptional sound and playability.
Specs
BODY Thin-body acoustic-electric; solid torrefied Sitka spruce top with scalloped X-bracing (also available with Engelmann spruce or sunburst Sitka spruce top); solid Indian rosewood back with removable electronics access panel; laminated poplar side frame; soundhole with removable wooden plug and optional rubber insert for feedback resistance; Indian rosewood bridge with composite saddle with 2.168″ string spacing; satin finish
NECK 25-5/8″-scale African mahogany bolt-on neck; dual-action truss rod; Indian rosewood fretboard; 16″ radius; 20 frets; 1.7″ nut width; slim C-profile shape; closed-back tuners; satin finish
ELECTRONICS L.R. Baggs Hi-Fi Duet pickup system with dual soundboard transducers and Silo microphone; volume, tone, and blend controls
OTHER D’Addario XT Phosphor Bronze strings (.012–.053); softshell case
MADE IN Korea (by Crafter Guitars)
PRICE $1,599 street
This article originally appeared in the May/June 2025 issue of Acoustic Guitar magazine.
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