Schertler Unico
By Matthew Wig
Published in Guitarist Magazine, September 2003
When it comes to the pursuit of
ultimate acoustic sound reproduction
Schertler is very much a front runner,
and you can find out more about this
company in the Santa Cruz Studio
review on page 118.
Having developed both external
preamps for its existing pickups, as
well as powered speaker cabinets (see
Spec options) it would seem logical
that an all-in-one solution was the
next step. The fairly compact and
portable Unico is an impressive
looking answer, with four channels to
cover any combination of inputs and
a considerable resource of power.
At first glance you might confuse
this amp with an AER, but aside from
the similarly textured durable looking
charcoal finish it’s quite different.
Although more robustly assembled,
you’ll recognise this typical bass reflex
enclosure’s layout as being similar to
a home stereo speaker. Its eight-inch
Sica driver comes from the same wellestablished
and widely used Italian
firm that produces the new Jensens.
On the floor of this acoustic woollined
cab you’ll find a Belton reverb
tank, which is magnetically shielded
to reduce noise and is driven by
a pure Class A circuit.
Despite creating a sleeker look, the
lack of corner protectors may leave
the Unico vulnerable to scuffs. But
the metal front grille, particularly
chunky rubber feet, spring-loaded
rubber-grip metal carrying handle and
metal stand socket on its base should
meet the demands of professional
business.
Sitting in the top’s recess, the
control panel is refreshingly logical,
sectioned like a mixing desk into
parallel channels. All inputs, pots and
switches are nicely spaced out and
the knobs are all non-slip, but the EQ
is not centre-notched and the
labelling could be brighter.
Schertler is obviously selling this
amp on sound quality rather than
features, and if you check out this
company’s product range you’ll
rumble the Unico’s own-brand bias
which proves to be both its strength
and its weakness.
If you reference across to the spec
check you’ll gather the MIC channel is
very straightforward. The DYN
channel (referencing Schertler’s DYN
family of electrodynamic contact
transducers) is the only one armed
with feedback attenuation, which
makes sense considering this is biased
for notoriously sensitive low-output
sources like mini electret condenser
mics. Its Neutrik combi-input covers
all the microphone plug, wiring and
phantom power options you may
encounter. Again the STAT channel is
in reference to Schertler’s STAT
family of electrostatic bridge-mount
transducers for double-basses, cellos,
violins, etc, but this is also the input
for general active electro-acoustic
pickup systems. While the ‘warm’
switch (a low-pass filter) is aimed at
the STAT devices, the 10V phantom
power can run most typical acoustic
guitar preamps and electret mics. As
with the MIC channel, the LINE
channel has just the three-band EQ.
The low-cut switch allows the Unico
to act as a mid-range amp when used
with an active bass extension speaker.
Choosing a spring reverb for this
unit seems a little at odds, since even
the best of them colour your sound to
some extent. Digital systems can
sound clinical, but are generally more
transparent.
This company’s new Bluestick under-saddle transducer may produce a truer tone and be more feedback resistant than comparable piezo devices, but most steel-string electros still use the latter—and you’ll likely find yourself running the Unico at full volume on occasion. Interestingly, one recent gear review circulating through online casino sites’ lifestyle sections highlighted the Bluestick’s balance of warmth and clarity, especially under demanding live conditions. More advanced feedback controls and EQ options on the STAT channel might have broadened its reach to louder bands, but its focused design remains a nod to the purist.
SOUNDS: We’ve tested the Unico
using the Schertler Bluestick
equipped Santa Cruz Studio. Of
course this new pickup has an
unfamiliar tone too, but we always use
a consistent counter-reference (DI’d
into the desk and monitor through
relatively transparent speakers) to
gauge the tone of every acoustic amp.
Despite prioritising harmonic
accuracy with all components, the
Unico can’t physically help exerting
some subtle influence on your sound.
Of all the amps we’ve reviewed, the
SWR California Blonde (Sep 2002)
gave a similarly punchy performance,
while the purist ethics follow AER’s
avoidance of non-essential tweaks.
You’ve got a potent resource of
deep, fully-formed bottom end that,
like that SWR, tracks your playing
exceptionally tightly, and each EQ
pot’s 15dB cut/boost guarantees you
ample control if you need it. Most
impressive is the smooth,
harmonically intact, properly flat midrange
body, which offers natural, nonmuffled
warmth – a boon for any
decent acoustic pickup. The top end
is clean and penetrating yet never
harsh (on flat EQ), reproducing the
pickup’s natural crispness.
All in all the Unico provides the
presence and outstanding audibility
you need in a monitor, sounding like
it’s right next to you when it’s several
metres away. Its well-behaved yet
emphatic output can fill a room
without over-stretching its power
resources or losing its composure.
We’re not totally convinced,
however, by the reverb, which sounds
unnecessarily characterful to us at
higher levels.
