Alvarez Guitars has one of the most diverse ranges of acoustic guitars in the world, boasting premium build quality at an affordable price point. For over 50 years, Alvarez has continued to push the envelope when it comes to acoustic guitar building, never resting on their laurels. By listening to the requests of their fans, Alvarez is constantly tweaking their designs and manufacturing processes to improve their products. Here are five things you should know about Alvarez Guitars!

1) All-Encompassing Range

As we alluded to earlier, Alvarez’s range is comprehensive to say the least. There are few other brands whose range includes dreadnoughts, parlours, jumbos and OMs, as well as baritones, 8-strings, 12-strings, and classicals! In addition to a whole selection of electro-acoustic models. The sheer number of different models available in the Alvarez range is truly astonishing. Every type of player is catered for, from the strummers to the fingerpickers! Here at Andertons, we stock a huge range of Alvarez acoustic guitars, so let’s take a closer look at the core models.

– Alvarez Regent Series

The Alvarez Regent Series of entry-level acoustic guitars is specifically designed for beginners, with a slim, comfortable neck profile and a versatile 1 11/16″ (43mm) nut width. Each Regent Series guitar also comes with a high-gloss finish and a good-quality gig bag. There’s a good selection on offer, from the RF26SB OM-sized model to the nylon-string RC26 Classical and RD26SB Dreadnought.

– Alvarez Artist Series

The Artist Series is Alvarez’s flagship line and is one of their most popular ranges, thanks largely to its diversity. Featuring everything from the AU66CCESHB Artist Concert ukulele to the bombastic jumbo ABT60 baritone acoustic guitar, the Artist Series offers unparalleled value and performance.

– Alvarez Artist Elite Series

As the name suggests, the Artist Elite Series of acoustic guitars takes the successful formula of the Elite Series and steps it up a notch! Featuring upgraded tonewoods such as Cedar, Macassar Ebony and Acacia, the Artist Elite series boasts luxurious Flamed Maple and Ebony binding and Alvarez’s signature bevelled armrest for maximum comfort. There are some lovely models to choose from, not least the beautiful Shadowburst Grand Auditorium, with Red Cedar top and Flamed Maple bevel.

– Alvarez Masterworks Series

Inspired by Japanese luthiery, the Masterworks Series includes a range of “truly eloquent professional guitars”. Boasting all-solid construction, Masterworks Series guitars and ukuleles are defined by their meticulous attention to detail and uncompromising quality. Check out the impressive MD60 Dreadnought with its open-gear nickel tuners, classic inlays, high-quality tortoiseshell-style pickguard and extended fingerboard. If you’re looking for a pro-grade instrument that won’t break the bank, look no further!

– Alvarez Laureate Series

The Laureate Series is Alvarez’s most premium-sounding, aesthetically impressive acoustic guitar made to date! This classically devised series has been designed with the contemporary player in mind, combining traditional appointments with modern building techniques. The Laurette series guitars comprise the finest tonewoods, such as quartersawn Sitka Spruce and East Indian Rosewood, that deliver a deep, dynamic, and rich sound, with distinctive shapes and unique finishes to create their most premium acoustic guitar yet! New models include the lovely LT66e Daybreak, constructed with a premium Mahogany top, back, and sides, and the charming LP70e Herringbone Sunset Parlour.

2) Attention to Detail

Research and design play a massive role in the building process of an Alvarez acoustic guitar. Every component has either been designed from scratch, tested heavily or chosen for its quality and performance. Whether it’s the neck carve, the bi-level bridge or the model-specific bracing system, the attention to detail is bordering on obsessive! Alvarez’s painstaking approach to building quality guitars that are affordable and reliable truly sets them apart from many of their contemporaries.

3) Hand-Built Guitars

The term “hand-made” typically implies that an item is of a higher quality than one that was mass-produced by a machine. The human touch and refined skills of artisans are what make Alvarez guitars so special, setting them apart from the competition.

Alvarez guitars are constructed on workbenches by highly skilled luthiers who have perfected their craft through years of experience. There are twenty-four luthiers at the Yairi factory, four of whom are Master Luthiers, each with over fifty years of expertise under their belts. This wealth of expertise, combined with premium, naturally seasoned woods, results in a playing experience like no other.

4) Model-Specific Bracing

Of all of Alvarez’s player-friendly features, the internal bracing may not be the first thing that springs to mind. It does, however, play a crucial role in the overall sound and response of the guitar. The entire line of Alvarez acoustic guitars features genre and model-specific bracing, with everything designed specifically for purpose and performance.

– FST2 – Forward Shifted Type 2

Forward-shifted bracing refers to the X brace and its relative position to the soundhole. By moving the X forward, or closer to the soundhole, it creates a larger soundboard area, yielding a louder, more open tone, with enhanced bass.

FST2 Bracing System

– MST1 – Middle Shifted Type 1

The X brace is positioned further back than with FST2 and is optimised for mid-size acoustic guitars, creating a darker, more mid-focused sound. It also allows smaller-bodied guitars to generate more energy, resulting in better projection, something that many smaller-bodied guitars lack.

MST1 Bracing System

– FS6 – Forward Size 6

Alvarez’s newest bracing design, the FS6 is forward-shifted and features lighter-weight bracing materials. This system delivers enhanced soundboard resonance and brings uniformity to the guitars, allowing their individual shape and size to influence their tone.

FS6 Bracing System

5) Unique Bridge Design

Kazuo Yairi’s original direct couple bridge changed the game back in 1980 and became a big part of Alvarez’s DNA. By increasing string tension and transference of vibrations to the soundboard, acoustic guitars deliver improved projection with an immediate response. You’ll notice that on Alvarez’s more modern style ranges, like the Artist and Masterworks series, they feature a bi-level bridge, which is an innovative step forward from Yairi’s original direct couple bridge. The bi-level bridge drops the bridge pins lower than the saddle, creating a more acute string angle. In doing so, it increases the string tension for improved resonance.

For the Laurette series, Alvarez has gone for a more traditional bridge style. The Laurette series features a solid Ebony piece, staying true to that Pre-War vintage aesthetic. Not only does this style of bridge complete the Laurette’s iconic look, but it also provides enhanced intonation and a bellowing tonal resonance.

Conclusion

So there you have it…five things you should know about Alvarez guitars and why they’re one of our favourite acoustic brands! Don’t just take our word for it though, as tone and playability are very subjective things. We would always encourage you to drop by the shop and try one of our many Alvarez guitars for yourself. You may just be surprised at how good they really are!

Shop all Alvarez Guitars

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Behind all the hairspray, makeup and spandex of the 1980s were exceptionally gifted guitarists like Eddie Van Halen, Yngwie Malmsteen, Steve Lukather, and Dan Huff, each with some of the most iconic, genre-defining electric guitar tones in the business.

Many of these guitar heroes used massive racks filled with studio-grade compressors, EQs, harmonisers and delays to bring their studio sounds to the stage. Thankfully, today’s guitar pedals mean that these once essential rigs are no longer necessary! You can achieve the same huge, studio-worthy tones with just a carefully crafted pedalboard.

How to get an Authentic ’80s Guitar Sound Today

The quintessential ’80s guitar sound can be split into three distinct tones: clean, rhythm, and lead.

• Clean: ‘80s clean guitar tones are instantly recognisable; they have an unmistakable shimmer and almost synth-like quality evocative of that decade. Luckily, you can authentically replicate it with some carefully chosen modern stompboxes. Start with a clean amp offering plenty of headroom; it will act as the best canvas to add colour with your effects.

• Rhythm: Classic ’80s rhythm tones feature mid-gain “British” crunch with prominent mids. While classic ’80s guitarists used cranked amplifiers, these pedals let you deliver similar results without ear-splitting volume.

• Lead: As with the rhythm tones, many of the classic ‘80s lead tones were achieved using a cranked amplifier. However, with the help of a few simple pedals, you can replicate these same searing tones using any clean amp.

Let’s dive into each of the essential effects for nailing these tones so that you can build the ultimate ‘80s pedalboard for yourself…

The first essential ‘80s effects we’ll explore are compression and EQ. Unlike some of the later pedals, the general tips for nailing the ‘80s sound are the same for your clean, rhythm and lead tones, although they’re most important for your clean sound.

Essential Effects for your ‘80s Pedalboard

Compressor: The Foundation of ’80s Clean

Classic Example: Andy Summers’ guitar on The Police’s “Every Breath You Take”.

Compressors create uniformity by making loud notes quieter and quiet notes louder. This “squashing” effect sacrifices some dynamics but delivers bigger, more balanced tones with enhanced sustain, which is perfect for those power ballad arpeggios that ring out endlessly.

You’re after a super squashed, highly processed sound from your compressor. So much so that doubling up with two compressors in your chain can actually work wonders, although you’ll be fine with one if you’d like to keep things simple. Models like Boss‘ CS-3 or a Diamond compressor are known to be great picks.

EQ: Sculpt Your Sound

Classic Example: The pristine clarity of Toto’s “Africa” clean tones.

While not flashy, EQ pedals can make a real difference in nailing the ’80s sound. Authentic ’80s cleans typically feature enhanced high-end presence with dialled-back low-end frequencies. A good 6 or 7-band EQ pedal will allow you to fine-tune your sound beyond the capabilities of your amp and dial in the right shine. Models like the Boss GE-7 or Behringer EQ700 will work excellently here.

Chorus: The Defining ’80s Sound

• Clean Tone: Classic Example: The opening of Def Leppard’s “Hysteria”.

If one effect defines ’80s music, it’s chorus. Used extensively across rock, pop, funk, and metal, chorus adds wide stereo spread by doubling and slightly detuning your signal. This creates the illusion of multiple guitars playing in unison while adding that signature lush shimmer.

No ’80s clean tone is complete without heaps of chorus on it! A tri-chorus produces the most spacious effect, but any quality chorus pedal can deliver authentic ’80s magic.

• Rhythm Tone: Classic Example: Alex Lifeson’s massive rhythm sound on Rush’s “Freewill”.

Just like your clean tone, a chorus is an absolutely iconic part of the ’80s rhythm sound. Chorus over overdrive/distortion creates thick, three-dimensional rhythm sounds that really fill up the space sonically. From Zakk Wylde to Phil Collen, many iconic ’80s rhythm tones are drenched in chorus. Mess around with your level to find the exact sound you’re after.

• Lead Tone: Classic Example: The over-the-top chorus on Bon Jovi’s “Livin’ on a Prayer”.

For authentic ’80s lead tones, max out “Depth” and “Width” controls while keeping “Rate/Speed” low. Subtlety isn’t the goal – “more is more” defines the ’80s approach. You can really go all out with your chorus to make your lead sound absolutely huge.

Overdrive & Distortion: From Crunch to Face-Melting

• Rhythm Tone – Overdrive: Classic Example: The crunchy rhythm in Kenny Loggins’ “Danger Zone”.

Set your amp with moderate gain (not too much here), then use your overdrive pedal with low gain and maximum volume to push your amp into satisfying crunch territory. Tube Screamer-style overdrives work best here, delivering tight, defined low-end with that classic midrange bite.

• Rhythm Tone – Distortion: Classic Example: The driving rhythm sound in Whitesnake’s “Still of the Night”.

For clean amps lacking the natural gain you’re after, distortion pedals provide the solution. Choose “British” voiced distortion with medium gain settings. Too much gain kills pick attack and definition, so restraint is key. You’re not after loads of distortion here, and how much you will need depends on your amp and exactly what kind of rhythm sound you’re after. In general, a moderate level of classic British grit will enhance your sound and give it the ’80s feel you’re after without losing clarity.

• Lead Tone – High-Gain Distortion: Classic Example: Warren DeMartini’s solo on Ratt’s “Lay it Down”.

To achieve a classic ’80s lead tone, you’re going to need a distortion pedal with plenty of gain to replicate the sound of a cranked valve amp. Set a good amount of gain and dial in your tone/EQ for boosted mids to cut through the mix during solos. Stack an overdrive before your distortion for extra saturation.

Classic ’80s rhythm tones feature mid-gain “British” crunch with prominent mids. While classic ’80s guitarists used cranked amplifiers, these pedals let you deliver similar results without ear-splitting volume.

There are some fantastic distortion pedals on the market that are incredibly affordable, so you don’t need to break the bank to get great tones. If you’re after the best option for nailing the ’80s sound, models like the Friedman BE-OD or Wampler Pinnacle do the job excellently.

MXR Rockman: The Ultimate ‘80s All-in-One!

In 1982, the Rockman X100 headphone amp was launched by electronics company Scholz Research & Development. Originally released as an affordable practice tool, designed to bring a flavour of the classic ‘80s arena clean, dirty and lead tones to the masses, the Rockman X100 quickly earned its place as one of the defining pieces of guitar gear of the 80s. From Def Leppard to Jeff Beck, Boston and even Satriani, this analogue device has been featured on some of the most popular records of the ‘80s. Fast forward to 2025, and MXR finally gave the Rockman the recognition it deserved, reissuing it in pedal form with all the bells and whistles, including its signature luscious chorus mode, ready to help any player instantly access ‘80s clean and dirty tones at the click of a button.  

Antelope Audio‘s Zenith 2, Zen Quadro, and Discrete 8 Oryx all deliver exceptional audio quality, ultra-clean preamps with up to 75dB of gain, and Antelope’s renowned real-time effects processing. The difference in which one you pick for your recording space comes down to how you work, and how ambitious your dream recording setup is. 

Choosing the right audio interface isn’t just about what you need today, it’s also about where your playing and recording might take you in the next few years. Maybe you’re recording acoustic guitar at home today but you’re already thinking about mic’ing amps, collaborating with other musicians, or building a dedicated studio in the near future.

Zenith 2: Premium Recording Without Complexity 

If you’re a solo guitarist or songwriter, the Zenith 2 offers everything you need in a compact, portable package. 

With two microphone preamps, it’s ideal for stereo recording acoustic instruments such as guitar, ukulele, banjo or acoustic bass. It also excels at recording electric guitar using a microphone and DI signal simultaneously, giving you the flexibility to rework your tone later. 

Two inputs also allow for more creative mic’ing techniques. Try pairing a dynamic microphone with a ribbon mic on your guitar cabinet: one captures the bite and attack, while the other adds warmth and low-end depth. The Zenith 2 is equally at home recording two guitarists together or a guitarist and vocalist, with separate headphone mixes so each performer can hear exactly what they need. 

Portability is another major advantage. USB-C bus power, class-compliant operation with no driver required, top-panel controls and a lightweight design make it an excellent companion for recording on the road. 

Its built-in real-time effects can even transform it into a portable headphone practice rig. With Guitar Mode and Antelope’s low-latency processing, you can play through amp and effects simulations while recording or simply practise silently whenever inspiration strikes. 

For many guitarists, the Zenith 2 is the sweet spot for simplicity, premium sound quality and size.

Zen Quadro: The Swiss Army Knife 

Need more flexibility without sacrificing portability? That’s where the Zen Quadro shines. The two additional inputs and two extra outputs make it suitable for more ambitious recording sessions.  

Electric guitarists can easily record both a DI and mic’d amplifier, preserving the clean signal for future reamping or software amp simulations. You can record acoustic guitar with multiple stereo microphone setups at once, compare different microphone combinations, or capture both close and room microphones simultaneously. 

Recording with other musicians is also far easier. Two guitarists can each record in stereo with microphone and DI combinations while enjoying independent headphone mixes. Equally, a guitarist and vocalist can work together comfortably, or you can record a full rehearsal with guitar, bass and a drummer using a minimalist drum mic setup. 

One of the Zen Quadro’s most unique features is its dual USB-C connectivity. It can exchange audio between your computer and a second device, such as a tablet or smartphone. That invites creative workflows like sending your guitar into an amp modelling app on an iPad, recording the processed sound back into your DAW, then enhancing it further with the Quadro’s onboard DSP effects.  

Content creators will also appreciate the ability to send a finished mix directly to a phone for livestreaming on platforms like Instagram or TikTok. Or you could just charge your phone! 

Despite its compact size, the Zen Quadro is surprisingly expandable. ADAT and S/PDIF connections allow you to add more inputs in the future. For example, connecting a Discrete 8 Oryx to gain eight additional microphone and instrument inputs as your studio grows. 

It also includes Antelope’s full real-time effects platform, featuring classic microphone preamps, compressors, EQs, guitar amplifiers and speaker cabinets, with additional effects available as optional expansions. 

If you want one interface that can handle almost any recording situation today while leaving plenty of room to expand tomorrow, the Zen Quadro is difficult to beat. 

Discrete 8 Oryx: Built for the Serious Studio 

The Discrete 8 Oryx is designed for guitarists who want a permanent, professional recording setup. As a large interface with eight microphone inputs, you’ve got a plethora of options for both guitar and full band setups with plenty of room to connect to other studio hardware, keyboards and synths.  

For a guitarist specifically, you can keep one amp ready to record, another cabinet mic’d differently, your acoustic guitar microphone setup ready to go, and still have inputs available for vocals or additional instruments. 

The Discrete 8 Oryx is equally suited to recording full bands. Four independent headphone outputs allow every musician to receive their own personalised monitor mix, while the built-in talkback microphone makes communication effortless if performers are recording in separate rooms. There’s even support for a remote talkback footswitch, allowing hands-free operation while engineering sessions. 

For electric guitarists, one standout feature is the inclusion of dedicated reamp outputs. Reamping allows you to record a clean DI guitar performance, then send that recording back through real amplifiers later to experiment with different tones. You can compare multiple amps using the same performance, build complex pedal chains, or even process synthesizers, keyboards or drum recordings through guitar amplifiers and stompboxes for unique textures. 

Because the Discrete 8 Oryx includes dedicated reamp outputs, you don’t need to purchase a separate reamp box, making professional reamping both simpler and more convenient. 

If you’re building a dedicated recording room, regularly recording bands, or simply want every piece of gear permanently connected and ready to capture ideas at a moment’s notice, the Discrete 8 Oryx is built for exactly that environment. 

Which Antelope interface should you choose? 

All three interfaces deliver Antelope Audio’s renowned conversion quality, ultra-low-noise preamps and powerful real-time DSP effects. The right choice depends on how you record. 

• The Zenith 2 is perfect for solo guitarists, singer-songwriters and musicians who value portability without compromising sound quality. 
• The Zen Quadro offers the greatest versatility. It’s compact enough to travel with, powerful enough for collaborative sessions, and expandable enough to grow alongside your studio. 
• The Discrete 8 Oryx is for players who want a true professional studio recording hub. With abundant inputs, multiple headphone mixes, dedicated reamping and professional workflow features, it’s designed to stay at the heart of your studio for years to come.

If you enjoyed reading this, check out our article on studio monitoring techniques featuring Antelope Audio interfaces, and our other Labs blogs! 

The post The Best Antelope Audio Interface for Guitarists: Zenith 2 vs. Zen Quadro vs. Discrete 8 Oryx  appeared first on Andertons Blog.

Monitoring is one of the most important aspects of the recording process. Whether you’re recording vocals, guitars, drums or any other instrument, what the performer hears has a direct impact on the quality of the performance. Monitoring can take place either through headphones or studio monitors, and there are two different ways of achieving it. Understanding the difference between them will help you make better decisions when setting up your recording sessions.

Option 1 – Monitoring Through Your DAW

This is the most familiar method and the default workflow in almost every digital audio workstation (DAW). Imagine you’re recording an electric guitar. You create an audio track in your DAW, connect the guitar directly to the instrument input of your audio interface, then Record Arm the track or enable Input Monitoring. The guitar signal is routed to the output assigned to that track, allowing you to hear it through your headphones or studio monitors in real time.

The biggest advantage of this approach is that you hear exactly what is being recorded. Professional studio engineers often refer to this as confidence monitoring. Additionally, if you’ve inserted effects such as EQ, compression, reverb or amp simulation plug-ins on the channel, you’ll hear them all while performing, allowing you to respond to the sound in real time rather than imagining what it will become later.

Dealing with latency

The main drawback of DAW monitoring is latency. Latency is the small delay between the audio entering your interface, being processed by the computer, and returning to your headphones. Although this delay may only be a few milliseconds, us musicians are surprisingly sensitive to it and can make performances feel disconnected.

The amount of latency is largely determined by the audio buffer size, measured in samples. A typical recording setting might be 128 samples, which represents approximately 2.9 milliseconds of latency. You’ll typically want the buffer set as low as possible while keeping the sound intact, because if it’s set too low, you may experience clicks and glitches. During mixing, you may want to increase the buffer to give your computer more time to process audio, allowing you to use significantly more plug-ins without overloading the CPU.

Your PC’s operating system, audio driver and certain plug-ins all contribute small amounts of additional latency. While modern computers perform remarkably well, these delays accumulate, making low-latency monitoring increasingly difficult as sessions become more complex – problematic if you’ve already started mixing and decide to record additional live parts.

Option 2 – Direct Monitoring

The alternative is direct monitoring. Instead of the signal travelling into the audio interface, through the computer and DAW and back to the interface before reaching your headphones, direct monitoring routes the signal straight from the interface to the headphones.

Because the computer is effectively bypassed, latency is reduced to an almost imperceptible level.

The obvious limitation of conventional direct monitoring is that you can no longer hear the plug-ins running inside your DAW. Since the audio never passes through the computer before reaching your headphones, software effects such as reverbs, compressors or guitar amp simulations are unavailable while performing.

How Antelope Audio interfaces solve the problem

Leading audio technology outfit Antelope Audio take a different approach to recording. Quite a few audio interfaces provide onboard DSP processing, allowing certain effects to run independently of the computer. Antelope Audio interfaces take this concept a step further by combining DSP and field-programmable gate array (FPGA) processors into what it calls the Synergy Core architecture.

DSP processors are excellent at running audio effects, while one of the advantages of FPGA processing is latency. In many DSP-based systems each additional effect introduces a small amount of extra delay. FPGA processing opens up multiple effects to be combined with little or no additional latency in many situations. The result is an exceptionally responsive monitoring experience, even when using complex real-time effect chains.

For example, while recording guitar you can monitor through an amplifier simulation, EQ, compression and reverb, all processed inside the interface itself, while your DAW continues recording the signal.

Meanwhile your DAW sends the previously recorded backing tracks – drums, bass, keyboards or guide vocals – back to the interface. Inside the Antelope mixer, these playback channels are blended with your live monitored signal to create the performer’s headphone mix.

Antelope Launcher Mixer

The built-in Antelope Launcher Mixer lets two musicians to create separate headphone mixes tailored to their individual needs. This is particularly useful when recording more than one person at a time. The Discrete 8 Oryx goes a step further by providing four independent headphone outputs, making it an excellent choice for recording bands and larger ensemble sessions.

Another major advantage of the Antelope Mixer is the flexibility it offers over the recording path itself. You can choose whether the real-time Antelope effects are applied only to the monitoring signal or whether they’re also recorded directly into the audio track in your DAW. This allows performers to hear exactly the sound they need for inspiration while preserving maximum flexibility during the mixing stage.

For users who want even greater options, Synergy Core interfaces can record multiple versions of the same performance simultaneously. For example, you could record:

• one completely clean guitar track
• one processed with compression and a flanger
• another with EQ and amplifier simulation

…all at the same time, each recorded onto its own separate track in your DAW. This gives you the freedom to experiment with different sounds after the performance has been captured without having to ask the guitarist to play the same part again.

Microphone preamps

The microphone preamps in Antelope Audio interfaces provide up to 75 dB of gain, which is more than enough for even the most demanding microphones without the need for external gain boosters.

It is also worth mentioning that these are fully discrete microphone preamps. Rather than relying on a single off-the-shelf preamp chip, the amplifier itself is built from carefully selected individual
components. That gives Antelope’s engineers considerably more freedom when designing the circuit and refining its performance. The result of such discrete design is a preamp that is capable of delivering not only high levels of gain while remaining clean, quiet and natural sounding, but also a recording that is a pleasure to listen to.

Dedicated Reamp Outputs

If we really want the amplifier to behave as though a guitar has been plugged into it, we first need to convert the line-level output of the interface back into an instrument-level signal. Traditionally, that’s done using a dedicated reamp box.

This is one area where some Antelope Audio interfaces offer a particularly useful feature. Interfaces such as the Discrete 8 Oryx and Orion Studio Synergy Core include dedicated reamp outputs. That means you can connect the interface directly to your guitar amplifier or pedalboard without needing a separate reamp box in between.

• Instead of going: Audio Interface → Reamp Box → Guitar Amplifier
• You simply connect: Discrete 8 Oryx / Orion Studio Synergy Core Reamp Output → Guitar Amplifier

It’s one less box, one less power supply/batteries to think about, fewer cables, and one less hassle to consider every time you want to reamp a guitar. If reamping is something you do regularly, it’s one of those features that saves time every single session.

Summary

We’ve established how monitoring has a huge impact on the mix and finished product of your music. What you hear as you record live instruments makes a difference to your performance, as well as being able to identify all the details of your sound in the mixing stage.

Even with top quality studio monitors, there are other factors at play like your audio interface, which ensures you’ve got the optimal setup, whether that’s monitoring through your DAW or direct monitoring.

We also now know that a fantastic solution to issues of latency and recording rigidity are Antelope Audio interfaces. They do a great job to combat latency while still running multiple audio effects like EQ, compression, reverb and a guitar amplifier across independent headphone outputs. You get the choice to record multiple versions of the same performance with different amounts of plugins applied to each track.

There’s also the chance to reamp (feed your audio through a different amp to change its tone without re-recording) by converting the interface’s line-level output back into an instrument-level signal, ensuring the same monitoring quality as before.

If you enjoyed reading this article, check out more of our Learn blogs!

Shop all Antelope Audio interfaces

The post How to get the best monitoring quality when recording instruments appeared first on Andertons Blog.

The Dreadnought is the quintessential acoustic guitar. If a child were asked to draw an acoustic guitar, then the chances are that they’ll draw a dreadnought, and there’s a good reason for that – dreadnoughts are the most popular guitar shape in the world.

However, the Jumbo acoustic provides an alternative for players after a bigger body and classically larger, more encompassing sound. But interestingly the bigger body doesn’t always mean greater volume. The reasons are fairly scientific and logical, though they might be surprising.

Understanding the tone equation

It would be remiss to write about the best acoustic guitar for the type of player you are  without discussing the equation that gives a guitar its sound in the first place. This ‘tone equation’ is made up of the following three ingredients that mesh to create a unique and distinct sound.

• Body Shape – The body shape gives you a platform from which to work. It’s the base of your guitar sound but it doesn’t form the whole picture. Each body shape has a different personality and physical feel which automatically means certain shapes will appeal more to certain players. For example: smaller players with smaller hands might be inclined to play a Parlour shaped guitar rather than a Jumbo, simply because it’s more comfortable!
• Tonewood – The woods used to build the guitar are another important part of the equation, though the choice of woods will often be defined by the body shape. Certain woods are denser and therefore reflect sound better than other wood types which could be described as ‘warm’. Warm woods might not give you the volume that a brighter wood does, but what it lacks in volume, it makes up in character. Tonewood adds flavour, character and definition to the body shape of your acoustic.
• The Player – The most important part of the equation: the player. How a guitarist actually plays will determine which guitar they’re best suited to. It’s almost like the guitar chooses the player rather than the other way around. This is because everyone has a different attack and feel, and different guitars respond differently depending on how they’re played. For example: A gentle fingerstyle player would be better off with a smaller-bodied guitar because it requires less energy to get sound out of the smaller body.

Dreadnought acoustic guitars

The Dreadnought has a slightly ‘boxy’ shape which gives it a subtle midrange scoop. That’s exactly where the vocals sit in the mix, so they’re great for singers. That slight mid-scoop means you get a bold, fat-sounding low-end and snappy top-mid for excellent clarity. When you think of a dreadnought, a Martin or Taylor guitar is probably what comes to mind.

Dreadnought guitars have a straighter body and don’t have the tight waist that a Jumbo does. This results in a more balanced EQ-response, unless you have a slope-shouldered Dreadnought like the Gibson J-45, which shaves off a bit of top-end for a warmer strumming sound. These are heavily favoured by singer-songwriters to support their vocals.

What type of guitarist best suits a dreadnought?

The Dreadnought shape is known as the Swiss Army Knife of acoustic guitars. It’s by and large the most versatile acoustic guitar shape around. Dreadnoughts are brilliant for flatpickers and strummers or players after a traditional acoustic sound and shape. They are widely regarded as the ultimate workhorse and will serve you in the studio, on stage whether you play solo or in a band, or even at home.

Surprisingly, it works very well for fingerpickers too as it has a very balanced tonal response so will pick up those treble notes with ease. A Dreadnought doesn’t require quite as much energy to get those big notes out that a jumbo guitar does.

Jumbo acoustic guitars

Jumbo acoustic guitars are the ‘big strummer’ in the acoustic guitar family. They’ve got the most ‘air’ inside their body. That means more energy is required to get a sound out of them, but it also means more energy can escape from the body.

A jumbo typically has a circular style body with a tight waist which is what gives it that top-end snap and presence. If it didn’t have this tighter waist, it would instead lose clarity and it would result in a rather muddy tone, making it almost unusable in any applicable musical situation.

Who is the jumbo acoustic best for?

The jumbo is the ultimate strummers guitar. It isn’t really made for fingerpickers or players with a gentle approach. Big folk, country and pop songs in a band mix sound amazing played on a jumbo and there’s a reason why they’re favoured in the Nashville music scene (home to some of the best musicians on the planet in those genres.

Jumbos have a lot of clarity and top-end jangle thanks to the tight waist, but a large amount of air in the body means that with the right approach you’ll also get tons of low-end. Singer-songwriters or rhythm guitarists will love the sounds you get from a jumbo.

Dreadnought or jumbo? A quick summary

The guitar chooses the player in the sense that you need to match your guitar playing style to the right acoustic guitar. That’s how you’ll get the best sound! Heavy strummers or rhythm players in a band should go for a jumbo guitar. If you’re after something with a bit more versatility or traditional sound, then the Dreadnought is the one to get.

If you’re on a budget, then check out Alvarez or Epiphone for unbeatable value and quality. If you’re looking to invest a little more, then perhaps Martin, Taylor or Gibson will be more up your street.

If you enjoyed this read, check out more of our Labs Articles!

The post Dreadnought vs. Jumbo Acoustic Guitar appeared first on Andertons Blog.

So you’re in the market for a beginner guitar. It might be for yourself, your kid, a loved one or a good friend. You can quickly look up and buy a cheap instrument from a massive online retailer – think Amazon, Argos (UK), Walmart (USA) and Aldi (EU), or second-hand and classified ad sites like eBay, Gumtree and Craigslist.

But there are some important reasons as to why you should steer clear of buying a guitar, drum kit, keyboard or any other instrument from these websites. While the prices are attractive and the purchase process is straightforward, you don’t know that you’re going to get a reliable instrument. Quite simply, they don’t have your best interests at heart. So what’s the answer?

Here’s why we think you should buy your first guitar from a music shop:

1. You get to choose from a wide range of instruments
2. They don’t stock rubbish
3. You get more for your money
4. The experts look after you and your instrument
5. They’ll introduce you to the community

N.B. while we’ve written this article based on guitars, the same points also apply to other instruments like bass guitars, acoustic guitars, digital pianos, drums and percussion, and much more.

1. You’ll Get Plenty of Choice

You can buy a generic entry level guitar from pretty much any large retailer – but what about a guitar you’d actually like to look at and play? To state the obvious, buying your first guitar is an incredibly important and exciting step in your musical journey and you’ll want a guitar to continue to inspire you to keep practicing every time you pick it up to play.

When you buy from a music shop, you’re presented with a huge number of options tailored specifically for musicians. You can get a better idea of what you like the look of, what suits your style and feels comfortable. If you’re able to visit a music shop in person, you can feel and listen to the guitar too! This will help you make a more informed choice. Regardless of whether you’re at a shop or just browsing on a guitar shop’s website, the staff will be able to guide you in the right direction with expert advice – more on that later.

2. They Don’t Stock Rubbish!

Not only do you get a wider variety of instruments to choose from in a music shop, but the quality is far, far superior to that of large generic retailers. Music shops are not going to stock guitars simply because they’re made on the cheap. The people who own and run music stores know what they’re buying and take great pride in stocking legitimately good guitars across all price ranges. You’re getting the real deal rather than buying unknown brands or copies.

Reputable music shops stock some of the best brands in the business including Squier, EastCoast, Yamaha, Ibanez, Epiphone and loads more. These guitar builders cater to professional musicians, so you know that you can trust them!

3. You Get More For Your Money

We all love a bargain, and while you might be able to buy a guitar from a larger retailer for around £80, it will almost certainly be terribly made, it’ll barely last a year and there’s a good chance it will put you off playing the instrument entirely.

Spend even a little more at a guitar shop and you won’t regret it. EastCoast guitars are the very best entry level guitars around and their electrics start from just £99. They feel good to play, sound excellent and will last you the entirety of your formal years. The beginner guitar bundles we offer includes everything you need to get started, like a guitar amp, gig bag, guitar stand, strap, picks and a cable at a discounted price.

4. Experts Look After You & Your Instrument

Buying from a music shop is a personal, enjoyable experience that you’ll remember for a long time to come. Whether you pay a visit to the shop itself or shop online, your custom is valued and you’ll always be taken good care of as you get to take your time browsing instruments.

Here at Andertons, all our staff love making music and bring their own specialist knowledge in across every department. You don’t get that from any old shop. You can ask for personal advice and recommendations and take the opportunity to sit with the instruments if you’re there in person. Our experts can play them for you too, to get an idea of how they sound in experienced hands. Let’s say you decide to buy an instrument; it doesn’t end there. It’ll come arrive with you ready to play. You’ll receive all the advice you need on getting started as well as suggestions for accessories and upgrades you might want or need down the line.

If you’ve got any questions or issues, you can always call or pop into the shop. How do I re-string my guitar? How do I connect my keyboard to my computer? Most reputable music retailers like us have friendly teams on hand to deal with any enquiries.

5. They’ll Introduce You to the Community

For many musicians, beginner or veteran, learning an instrument is more than just a hobby. It sounds cliché, but it’s a way of life. When you decide to pick up a new instrument, you become part of a community and when you buy from a music company, you’re sure to get a warm welcome. As a family-run business for over 50 years, it’s how we do things at Andertons Music Co.

This means everything from tips on tuition and finding guitar, piano and drum lessons, to an insight into what’s to come. Local events, big releases, music news, helpful guides and articles (much like this one, we hope!) and more. You’re part of the family now!

Are Second-Hand Instruments Good for Beginners?

Some people consider second-hand instruments to be a viable choice for beginners. The main draw is the price, where the likelihood of grabbing a bargain is good on sites such as eBay and Gumtree.

Although finding a gem is possible, most of the time second-hand starter instruments will be duds. Whether they’ve been left banished in damp-ridden closets for years, or simply mistreated by their owners, there’s always an element of risk when it comes to buying second-hand gear – especially more affordable instruments.

Most beginner instruments are constructed from cheaper materials to keep their costs low, so they can be more susceptible to wear and tear. Of course, we’re not saying that you should avoid second-hand musical equipment at all costs. In fact, we have our very own dedicated second-hand section featuring some amazing gear. However, with cheaper instruments we’d always recommend trying them out before buying!

Andertons Music Co. – The Best Musical Instrument Store in England?

OK, we might be a little biased but whether you’re local to the Guildford & Surrey area or a musician living in Brighton, Bristol or London looking for your first guitar, Andertons is just a short trip away. We’re 45 minutes by train from London and just over an hour in the car from Brighton and the South Coast. You’ll find the best selection of guitars, pedals, amps, synths, drums and more – all at competitive prices with friendly faces to answer your questions. Find out more about our shop opening times and location and plan your visit!

Find out more

If you enjoyed reading this, check out the rest of our learn articles. If you want to know more about buying for beginners then head over to our site to browse our comprehensive catalogue!

Featured Products

Professional PA Systems You Can Trust

If you’re on the hunt for a professional PA system, there’s a pretty strong chance that QSC Audio is already on your radar – and for very good reason. With their premium build quality, powerful sound, and expert engineering, QSC have certainly earned their reputation as an S-tier speaker manufacturer, delivering top-notch audio in venues, rehearsal spaces, and mobile rigs around the world. Once you’ve decided to follow the QSC path, there’s a whole new dilemma you’ll need to contend with: C Class or K Class? What’s the real difference, and which one is the right choice for you?

QSC Loudspeakers

Browse QSC Loudspeakers

In this guide, we’re going to break it all down. We’ll take a closer look at both the CP Series (C Class) and K.2 Series (K Class) models to help you decide which QSC PA system is the best fit for your specific needs. We’ll cover all the key features and strengths, and we’ll also examine a few ideal use cases for each range. To wrap everything up nicely, we’ll also take a quick run through some related gear that could be just what you need to round out your PA rig, including the KC12 column system and KS Series subwoofers.

QSC Trademark Quality

Before we dive into the differences, let’s take a quick look at what they’ve got in common. Importantly, both speakers come loaded with QSC’s trademark attention to quality and reliability. And whether you go for the C Class or the K Class, you’re still going to get the same generous six-year warranty upon registration.

That attention to detail and extended warranty mean you can rest easy knowing you’ve got a solid speaker unit that will serve your purposes beautifully. From here on, the two ranges start to go in different directions.

QSC C Class vs. K Class Loudspeakers

At first glance, the C Class and K Class ranges might look similar. After all, they’re both active loudspeakers with a smart design and a host of versatile applications. However, scratch beneath their rugged exteriors, and you’ll find a few key features that cater to different use cases.

QSC C Class

The QSC C Class range is split into two solutions.

QSC CB Loudspeaker

The CB10 is a compact, battery-powered loudspeaker system offering unrivaled audio performance and versatility. It features a 10-inch LF driver, 1-inch compression driver and 3-channel mixer for microphones, instruments and Bluetooth® streaming. Ideal for DJs, event professionals and musicians, it offers easy plug-and-play operation and customization via the QSC Loudspeaker Control app.

QSC CB Loudspeaker

Re-stringing a guitar is generally an easy process, which gets easier the more you do. At first, it’s a challenge, and then you start challenging yourself to do it faster.

Bigsby Yoga

What looks like a fairly simple tremolo system can actually cause a bit of a headache the first time you come around to re-stringing your Bigsby-equipped electric guitar. I know it did for me the first time I tried to do it. It’s safe to say I needed a few extra arms to get it right, because the ball-end of the string just wouldn’t stay hooked to the Bigsby. What a mess.

But, after doing it a few more times, I wanted to share some advice to make life easier for you when you want to re-string that Bigsby.

Disclaimer: This is just a basic how-to guide. If you aren’t confident with doing it yourself, then book your guitar in for a setup or for a re-string with your local tech. Always be careful when using string clippers and make sure to release the string tension before clipping the string.

The problem with the Bigsby Trem – In a Nutshell

When stringing a string-thru body guitar, or even a classic tremolo style body, the string catches on the bridge-piece, leaving both of your hands free to focus on pulling the string through the machinehead and winding it onto the string post.

A Bigsby is slightly different, because you have to hook the ball-end over a pin extruding from the Bigsby tailpiece. And the trick is making sure the ball-end stays hooked onto the small pole-piece while you do the work on the machinehead post.

The second any tension is lost, the string will fall off and you’ll need to start again.

Bigbsy themselves recommend getting a small foam wedge to keep the ball-end in place every time you do another string.

The Official Bigsby Guide To Re-Stringing

You’ll need:

• Wirecutters – to clip strings
• Needle Nose Pliers – to crimp the string

Here’s the step-by-step guide:

1. Crimp the string at a 45° angle next to the ball end (A).
2. Feed the string underneath, around and over the axle (B).
3. Place the ball end of the string onto the axle pin (C), keeping tension on the string to hold the ball in place.
4. Push a foam wedge (D) into the space under the axle to keep the string in place on the pin while winding.
5. Wind the string onto the tuning machine, tune to pitch and remove the foam wedge.

The Capo Trick

You’ll need:

• Wirecutters
• Needle Nose Pliers
• A Capo

Another good way to hold the tension of the string down while you wind it around the post is by simply using a capo!

You’ll still need to crimp the string to feed it onto the rotating shaft of the Bigsby trem. Feed the string underneath the rotating shaft and put the ball-end onto the axle pin as normal.

Then, instead of using the foam wedge to hold the string in place, you can pull the tension of the string and place the capo onto the 9th fret. Hey, presto!

This will hold the string in place while you measure how much string you’ll need to wind around the post. The best thing about this is you can take your sweet time winding it around the post. With the capo on, you could even leave the guitar and make a cup of tea!

From there you can just thread the machinehead post and string as normal.

The Bigsby vs. Floyd Rose challenge on Andertons TV