Pedal Tuner – As you develop as a player, you may want to start playing gigs, so a pedal tuner that you can mount on a pedalboard is a popular option. See our guider, How To Set Up Your First Pedalboard for the complete lowdown.

Pedal Tuners

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Guitar Tuner Apps

These days, there are a plethora of apps available via your smartphone or tablet which will make tuning your guitar easy. For home use, they’ll do you fine. In a noisier environment, however, you’ll generally find that a clip-on does a better job.

Other Guitar Tuner Options

Polytuners – although EADGBE is certainly most common guitar tuning you will encounter, many alternative tunings are regularly used. These include drop-tuning, where the bottom string is lowered by an octave, and open tunings such as DADF#AD, which is a popular choice for playing blues music. Polytuners are available in a range of types, just like standard tuners, but allow you to tune your guitar to many different settings.

Evertune – Evertune is a wondrous piece of kit that replaces a standard guitar bridge (the part of your guitar that anchors the strings, at the opposite end to the headstock). Evertune uses an ingenious system of springs and levers to keep your guitar in tune, no matter what! You can buy guitars straight from the shelf with Evertune bridges already fitted, or you can buy a unit separately and install it yourself, or have it installed for you by an expert, which is recommended.

As your guitar playing journey progress, you’ll likely encounter innovative guitar designs such as the striking headless guitar (see Headless Guitars: Why are they so popular?) and the fascinating Floyd Rose tremolo system (see our comprehensive guide, What is a Floyd Rose & How Does it Work?) which require a little bit of extra knowledge to tune. For now, however, you won’t need to worry about that!

How to Tune a Guitar Without a Tuner

If you find yourself in a situation where you don’t have a tuner to hand, don’t fret! There is a simple method you can employ to get your guitar in tune, or certainly very close, using just the guitar itself.

1. Start by tuning the bottom E string to as close to pitch as you can – don’t worry, it doesn’t have to be perfectly in tune.
2. Next, fret the bottom E string at the 5^th fret and pluck the string. This is the A note which just so happens to be the pitch of the next string!
3. Now, tune the open A string until it sounds the same as the note you played on the bottom E string.
4. Repeat this process on the A and D strings whilst pushing down on the 5^th frets to find the target notes.
5. When you reach the G string (no jokes please), this time press down the string at the 4^th fret to make the B note, and then tune the open B string to match it.
6. Finally, play the B string at the 5^th fret to make the E note and then tune the high E string to the same pitch.

This method won’t get your guitar perfectly in tune, but each of the six strings will be in tune relative to each other, which is good enough at a pinch!

How Often Should I Tune my Guitar?

Ideally, you should tune your guitar every time you play it. Changes in temperature and humidity can cause guitar strings to expand and contract, making them go out of tune. Even the most expensive of guitars can and will go out of tune from time to time. With that in mind, the importance of knowing how to tune your guitar properly cannot be overstated.

If you play your guitar regularly, you will probably find that you only need to tweak the tuning, rather than start from scratch each time. One thing to consider though is that old, worn-out guitar strings will go out of tune quicker than new ones. A set of fresh, new guitar strings will ensure your guitar is sounding its best, assuming of course, it’s in tune!

Conclusion

We hope you have found this blog useful as you set off on your musical journey. When it comes to learning the guitar, as with most things, you will get out of it what you put in. Practice, practice and practice some more and don’t be afraid to make mistakes. You will become a better player for it in the long run!

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Amp Distortion

Before the first stompboxes came along, there was just the electric guitar, the cable and the amplifier. That meant if you wanted distortion, all you could do was push your amp – hard! But despite the advent of guitar pedals, that raw, natural breakup from a well-cranked amp is still the modus operandi for many players. 

While you might think there isn’t much variation here, you’d be surprised at just how much difference your choice of amp can make, not least when you’re comparing tube, or valve amps, with solid state alternatives.

Tube Distortion

For many guitarists, nothing beats the sound and feel of a growling valve amp. There’s something about the way a tube amp responds to your playing that’s very difficult to replicate, although not impossible.  

Think about your favourite iconic guitarists and their legendary signature tones, the likes of Jimi Hendrix, Eddie Van Halen, and Jimmy Page – all those tones came from pushing good old-fashioned tube amps. Of course, a big part of tone comes from the players themselves, but there’s no denying it: there’s something magical about a roaring valve amp.

The downside to tube amps? Volume! For a tube amp to work to its full potential and deliver that sweet overdrive, you need to get those tubes nice and hot, and that means cranking the volume way up high. If you’re playing a gig or in the studio? No problem. But try replicating that at home, and your neighbours might not be too impressed – so, that 100-watt Marshall Super Lead you thought was a good idea won’t get you very far if you’re not able to take the volume knob higher than 1!

One Trick Pony?

Another thing to consider is versatility. When you buy a tube amp, you’re essentially buying into the sound of that specific amp. Pick up a Fender Twin Reverb or a Vox AC30, for example, and you’re going to get a very sparkly, clean-sounding amp with plenty of headroom. That’s perfect for crystal-clear chords and jangly lead work, but it also means it won’t break up very easily – not ideal if you’re after a distorted guitar tone. Going in the other direction, an EVH 5150 III or something from the Mesa Boogie Rectifier series will offer up tonnes of gain that produces a smooth, organic overdrive/distortion, but with less headroom, you’re not going to have as many clean options as you might do with other amps. With this in mind, it’s best to do a little research and find a valve amp you love the sound of before you buy it.

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Solid State Distortion

Another way of achieving amp distortion is via a solid-state amplifier. Solid-state amps rely on electronic transistors, which are much cheaper to manufacture than tubes, to generate distortion. As a result, solid-state amps are usually a more affordable option. While early models did tend to lack warmth, modern solid-state amps can deliver surprisingly good distortion at any volume.

Boss Katana

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Other than their comparative affordability, one of the main selling points of solid-state amps is that they generally sound as good at bedroom volume as they do when cranked. In fact, it’s possible to achieve high gain tones at very low volumes, which makes them a fantastic option for home use, or in any situation where it’s not possible to turn the amp up.

Many solid-state amps also come loaded with a plethora of great presets, which means you have a much bigger selection of distorted tones at your disposal than a tube amp. Amps like the massively popular Boss Katana range offer excellent distortion tones, with options to expand their preset libraries via external software and mobile apps. It’s true that some solid-state amps may not sound quite as organic as a traditional tube amp, but because of the multitude of other features they offer that just aren’t available on the majority of tube amps, many players are willing to look past this!

Modelling Amps

Modelling amps have come a long way in recent years. Instead of just replicating a few tones, today’s models can accurately recreate the sound and response of dozens of classic amps and cabs. Take the Kemper Profiler series, Line 6 Helix, or Neural DSP Quad Cortex. These units can “profile” (create an audio snapshot) any amp in the world with incredible accuracy. So accurate, in fact, that the resulting tones are almost indistinguishable from the real thing! Want to enjoy the searing crunch of a Soldano SLO-100, late at night, at home, without waking the neighbours? Done!

Because of their amazing versatility, modelling amps are perfect for players who like to experiment, use presets, or gig with different sounds. And as there’s no need to set up tonnes of equipment or dial in a bunch of knobs just right, they’re especially useful in recording or live settings, where consistency is key. And with modelling software often incorporating floor units and interfaces, the line between amp, pedal, and modeller is more blurred than ever before.

Modelling Amps

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Pedal Distortion

Now onto the little boxes we all love. Modern distortion pedals come in all shapes and flavours, from subtle overdrive to full-on metal mayhem. And with so many options to choose from, it’s easy to see why they can become an obsession for the tone chasers out there!

Stompboxes

There are probably more distortion pedals on the market today than any other type of guitar effect, and with good reason. They’re versatile, portable, and easy to integrate into your rig. So, whether you want to add a bit of grit to a clean amp or build an entire tone around one particular pedal, the possibilities are almost endless. 

From budget favourites like the Boss DS-1 to boutique tone monsters from the likes of Walrus Audio and Strymon Effects, and even the bona fide classics, such as the essential Tube Screamer or a powerful preamp pedal, there’s something here for every player. Some pedals even mimic iconic amp tones, making it super easy to get those massive sounds without lugging around an equally massive stack! 

With so many distortion pedals now available, many of which are extremely affordable, it’s never been easier to coax those awesome distorted tones out of your clean or single-channel amplifier. Ultimately, a good distortion pedal could just be the easiest way to turn your sparkly clean amp into a ferocious, fire-breathing monster!

Distortion vs Overdrive vs Fuzz – What’s the Difference?

These three terms often get lumped together and used interchangeably, but they actually have pretty distinct characteristics – pick the wrong one, and you might not get the result you were hoping for! So, what’s the difference?

Overdrive emulates the natural clipping that occurs when an amp is pushed. It tends to be smoother and more dynamic, which is great for blues, rock, and pushing a tube amp out of its comfort zone!
Distortion delivers a more aggressive, compressed tone. As a result, it reshapes your guitar signal for saturated sustain and punchy attack, which is why hard rock and metal guitarists often use them.
Fuzz is the wild card of the bunch! It clips the signal heavily for a thick, buzzy, almost synth-like sound. Fuzz pedal results can be weird, wonderful and surprisingly versatile – think everything from Jimi Hendrix to The Smashing Pumpkins.

Transform Your Amp!

Let’s just say you’re using a single channel amp that really only does clean tones, yet you want some smooth, distorted lead tones for solos. You’re not going to get that sound out of the amp alone, even if you’re lucky enough to be able to turn the volume right up. This is where distortion pedals really come into their own. Stompboxes like the ever-popular Boss DS-1 Distortion provide a wide range of classic distortion tones in an affordable, pedalboard friendly package. Other options include the Horizon Devices Precision Drive and the MXR 5150 Overdrive which both feature built-in noise gates for taming the extra noise that comes with high gain pedals.

Distortion pedals present a vast array of tonal options for players, making them a perfectly valid way of generating gain in your otherwise clean amp! Do they sound as good as a cranked amplifier? With the right amount of tweaking, yes, they absolutely can! With that in mind, if you’re the kind of player who is constantly evolving their tone, distortion pedals may be the best option for you!

Overdrive & Distortion Pedals

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Amp Distortion vs Distortion Pedals: FAQs

What’s the difference between amp distortion and pedal distortion?

Amp distortion comes from overdriving the amp itself, often resulting in a more dynamic and harmonically rich tone. Pedal distortion is instead generated by an external effect and is typically more portable and versatile.

Can I use a distortion pedal with a modelling amp?

Most modelling amps handle pedals well, especially if they have an FX loop. Just make sure to experiment with placement and settings to find the best results.

What’s better for home practice: amp distortion or pedals?

Pedals or modelling amps are often better for home use, as you can achieve saturated tones at low volumes. Tube amps usually need to be loud to sound their best – not ideal for home use!

Are there distortion pedals that sound like famous amps?

There certainly are. Many pedals are designed to emulate specific amp tones – from Marshall Plexis to Mesa Boogies. Look for “amp-in-a-box” style pedals.

Can I use both amp distortion and a distortion pedal together?

Yes, stacking gain stages is a common technique. Just watch out for those noise levels and maybe apply some EQ to avoid a muddy tone.

What’s the best distortion option for recording?

Modellers and distortion pedals are popular for recording thanks to their consistency, tweakability, and ability to sound great at low volumes, but many players prefer to capture the raw sound of a cranked valve amp. In short, whatever works best for you and achieves the sound you’re looking for is the best option!

Do I need an expensive amp to get a great distorted tone?

Not necessarily. A good distortion pedal running into a clean amp or modeller can sound fantastic. It’s all about how you use your gear and what tone you’re shooting for.

Conclusion

When it comes to amp distortion and distortion pedals, and which is better, there really is no right or wrong answer. However you choose to create your tone is the right answer, just as long as it works for you. Of course, there are pros and cons to each method, and it’s always worth experimenting with different options to see what you can come up with. You might just be surprised!

Enjoyed this article? Find more like it in our Labs section.

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Two guitars. Endless riffs. When you think of the Gibson Les Paul and the Gibson SG, you’re thinking of pure rock ‘n’ roll history. There’s no doubt both guitars have some serious pedigrees, and they each sound phenomenal. But despite sharing some common DNA, they actually offer very different playing experiences. In this guide, we’ll […]

The post Gibson Les Paul vs. SG Guitars appeared first on Andertons Blog.

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Two guitars. Endless riffs. When you think of the Gibson Les Paul and the Gibson SG, you’re thinking of pure rock ‘n’ roll history. There’s no doubt both guitars have some serious pedigrees, and they each sound phenomenal. But despite sharing some common DNA, they actually offer very different playing experiences.

In this guide, we’ll pit Gibson Les Paul vs Gibson SG, breaking down where each guitar came from and what makes them so unique. Whether you’re chasing thick, sustaining tones or something lighter and decidedly sharper, by the end of this guide, we’ll help you figure out whether you’re Team Les Paul or Team SG!

The History of the Gibson Les Paul and SG

The birth of the Les Paul

The Gibson Les Paul can trace its origins all the way back to 1952, when factory manager John Huis developed the instrument in collaboration with legendary jazz guitarist and recording pioneer Lester William Polsfuss – better known as Les Paul himself! The guitar originally featured a pair of P-90 pickups, which were swapped out in favour of dual humbuckers in 1957. But in 1961, after a spell of poor sales, Gibson gave the Les Paul a facelift – including a brand-new look that we’re pretty familiar with today!

How the SG came to be

By the early ‘60s, Gibson was looking to breathe new life into the Les Paul design, and in 1961, they introduced a radical redesign of the guitar, featuring a thinner, double-cutaway body and sharper contours. The new axe was still marketed under the Les Paul banner, but by all accounts, the man himself wasn’t a big fan of the LP 2.0’s look and asked Gibson to remove his name from the model. Thus, the SG – short for ‘Solid Guitar’ – was born.

Though originally intended as a replacement, the SG’s snappy tone, lighter feel, and edgy looks quickly built up a dedicated following, carving a legacy all its own.

Return of the OG

In 1968, the original Les Paul design made its long-awaited comeback. Despite the now-booming popularity of the SG, demand from musicians and dealers prompted Gibson to reintroduce the original Les Paul, complete with its now iconic single-cutaway body. This marked the beginning of a new era for both the Les Paul and the SG, cementing their places as two of the most legendary electric guitars of all time.

Famous Gibson Les Paul and SG Players

Amazing specs and unforgettable aesthetics are one thing, but the real legacy of a guitar is shaped by the legends who wield it. And in the case of the Les Paul and SG, the list of players who have relied on them is truly a who’s who of rock royalty.

Famous Les Paul Players

Once Gibson reintroduced the Les Paul in the late ‘60s, it didn’t take long for heavy-hitting guitarists to put it to good use. Led Zeppelin’s Jimmy Page and Billy Gibbons of ZZ Top were early adopters, while ’70s rock heavyweights like Marc Bolan and Ace Frehley of KISS also made the Les Paul their weapon of choice. 

In the ‘80s, icons like Slash of Guns N’ Roses brought the Les Paul roaring back into the rock spotlight, and Gary Moore wielded it with unmatched expression and power. But don’t think the Les Paul is a guitar only for years gone by – it’s certainly still relevant today. Adam Jones of Tool harnesses its weighty tone for his intricate alt-metal soundscapes, while Zakk Wylde’s hypnotic-patterned Les Paul is as recognisable a part of his persona as his impressively Viking beard!

Famous SG Players

Few players are as closely linked to the SG as Angus Young of AC/DC. Young’s unmistakable schoolboy stage presence and searing solos were a huge part of hard rock in the ‘70s – and beyond. But going in an undeniably darker direction was Tony Iommi. As guitarist of the genre-defining Black Sabbath, Iommi took the SG and literally used it to invent heavy metal, complete with down-tuned riffs and sinister tones.

But the SG is so much more than heavy riffs and searing leads. Frank Zappa used his SG as a vehicle for avant-garde virtuosity (and eccentricity!), while Derek Trucks channels its smooth sustain into slide guitar mastery with the Tedeschi Trucks Band. Thom Yorke of Radiohead has also frequently been spotted wielding an SG for his angular, atmospheric songwriting, and System of a Down’s Daron Malakian used one to craft some of nu-metal’s most chaotic yet memorable riffs.

Gibson Les Paul vs. SG: head-to-head comparisons

Now that we’ve explored the history and heritage of both guitars, it’s time to compare the current line-ups side by side. From vintage vibes to modern playability, entry-level price tags to high-end luxury, there’s a Les Paul or SG out there with your name on it!

The Standards: ‘50s and ‘60s Les Paul vs. SG Standard and SG Standard ’61

If you’re looking for those classic Gibson tones and traditional aesthetics, then this is where your search ends. Think “Gibson” and, chances are, these are the guitars you’re thinking about.

The Les Paul Standard comes in two flavours: the ‘50s model, which has a chunkier neck and vintage-style ‘Burstbucker’ pickups, and the ‘60s model, with a slim taper neck and brighter tone. Both models have that classic carved maple top on a solid mahogany body for the signature Les Paul weight and sustain.

The SG Standard, on the other hand, offers a much lighter playing experience. The regular SG Standard has a rounded neck profile and 490R/498T pickups, while the SG Standard ’61 features a slimmer neck and those classic Burstbuckers for some extra bite. Tonally, the SG tends to be more aggressive and mid-forward, making it a firm favourite for riff-heavy rock and metal aficionados.

Suggested Les Paul and SG models

•  Les Paul Standard ‘50s in Transparent Blueberry Burst
•  Les Paul Standard ‘60s in Bourbon Burst
•  SG Standard in Ebony
• SG Standard ’61 in Vintage Cherry

The Specials: Les Paul Special vs. SG Special

If it’s vintage tone and a stripped-back look that you’re aiming for, then the Gibson Special models could be just the thing. One of the key differences here is the inclusion of P-90 pickups in both the Les Paul Special and SG Special. These sit somewhere between humbuckers and more traditional single-coil pickups, packing plenty of punch, clarity, and a healthy dose of mid-range grit, for a raw yet dynamic sound that’s just perfect for blues, punk, and garage rock players.

The Les Paul Special typically features a slab mahogany body, with a wraparound bridge and a pair of soapbar-style P-90s. It’s an absolute workhorse of a guitar, one that offers thick, growly tones with plenty of bite. Over in the other corner, the SG Special keeps that same lightweight, double-cutaway design of the SG Standard, but it also swaps in those P-90s for a snappier, more aggressive edge.

Suggested Les Paul Special and SG Special models

• Les Paul Special in TV Yellow
• SG Special in Faded Vintage Cherry

The Moderns: Les Paul Modern vs. SG Modern

If you’re thinking that Gibsons are a relic of the past that just can’t meet the demands of today’s player, then the Gibson Modern line begs to differ! Blending classic tone with cutting-edge features, these guitars excel in both tradition and innovation. The Les Paul Modern and SG Modern are each designed with contemporary players in mind, featuring upgrades to comfort, playability, and tonal versatility.

The Les Paul Modern comes with that same classic combo of a mahogany body and a maple top, only this time the body is weight relieved. There’s also an asymmetrical slim taper neck and an ebony fingerboard. It’s packed with features like coil-splitting, phase switching, and a fast-access heel, making it plenty versatile for modern genres.

Then there’s the SG Modern, which packs a lightweight mahogany body, contoured heel joint, and a compound radius ebony fingerboard. Its Burstbucker Pro pickups deliver searing tone with clarity and punch in spades, and the slim neck is an absolute dream to play at any tempo.

Of course, you couldn’t name a guitar ‘Modern’ without also offering some contemporary styles, and Gibson doesn’t disappoint here. You can pick both models up in a range of striking finishes, including satin finishes, translucent paint jobs, and deep and vibrant bursts that really push the boundaries of what a Gibson can look like.

Suggested Les Paul Modern and SG Modern models

• Les Paul Modern with Figured Maple Top in Seafoam Green
• SG Modern in Blueberry Fade

The Supremes: Les Paul Supreme vs. SG Supreme

When only the very best will do, there’s the Gibson Supreme models. These premium instruments offer unmatched performance and simply stunning visual flair. Whether you go for the Les Paul Supreme or the SG Supreme, you’re going to get a guitar that’s crafted with professional players and collectors in mind, blending high-end features with a bold sound.

The Les Paul Supreme has a stunning carved maple top with AAA flame figuring, a mahogany body with weight relief for improved comfort, and a neck-through-body that has sustain for days. Decked out with Burstbucker Pro pickups and push-pull coil tapping, the guitar can handle both vintage warmth and modern flexibility, and high-end finishes in the form of gold hardware and split block mother-of-pearl inlays only sweeten the deal.

The SG Supreme shares much of this high-end DNA, also rocking the contoured AAA flame maple top, neck-through-body construction, and a rich mahogany back. Like the Les Paul, it features Burstbucker Pro pups, split block inlays, gold hardware, and an ebony fretboard, but it still brings that undeniably SG snappy tone and lighter feel to the table.

Suggested Les Paul Supreme and SG Supreme models

• Les Paul Supreme in Transparent Ebony Burst
• Les Paul Supreme in Fireburst
• SG Supreme in Translucent Ebony Burst
• SG Supreme in Wine Red

Low-cost Gibson entry points

Of course, not every guitarist needs to splash out on a top-tier axe to experience that legendary tone and feel. If you’re jonesing for the Gibson vibe without the premium price tag, you’re in luck: there’s plenty of excellent options out there to explore.

The Les Paul Studio and SG Studio models strip things back to the bare essentials, giving that same iconic build and rich tone, but with more streamlined looks and fewer bells and whistles. You’ll still get top-quality tonewoods, powerful humbuckers, and solid craftsmanship, just without a few of the pricier cosmetic features.

Then there’s Epiphone, Gibson’s trusted sibling brand. Epiphone Les Paul and SG models take direct inspiration from their Gibson counterparts. They might not be made in the same Nashville factory, but they’re still perfectly capable of delivering remarkable tone and excellent playability for a fraction of the cost.

Suggested low-cost Les Paul and SG models

•     Les Paul Studio Session in Cobalt Burst
•     Les Paul Studio in Smokehouse Burst
•     Epiphone SG Standard in Pelham Blue
•     Epiphone SG Modern Figured in Purple Burst
•     Epiphone Adam Jones 1979 Les Paul Custom in Antique Silverburst

Gibson Les Paul vs. SG: FAQs

What’s the biggest difference between a Gibson Les Paul and an SG?

The main differences are in the weight, body shape, and tone of each guitar. The Les Paul is heavier with a thicker sound and more sustain, while the SG is lighter and has a sharper, more aggressive tone.

Is the Les Paul or the SG better for beginners?

With their cutaway designs, both guitars have great playability, although the lighter body weight of the SG could be a little more beginner-friendly. That said, plenty of players, including some beginners, do prefer the Les Paul’s solid feel.

Do Les Pauls and SGs use the same pickups?

Not always. Most models do feature humbuckers, but the specific pickup types can vary. Some Les Pauls and SGs use Burstbuckers, while others come with 490R/498T sets. Some even still use the original P-90s – it all depends on the model in question.

Is the Les Paul more suited to certain genres than the SG?

Generally speaking, the Les Paul’s warmth and sustain are perfect for blues, classic rock, and heavy rock. On the other hand, thanks to its cutting tone and fast neck, many hard rock and metal players favour the SG. That said, you can (and will!) see plenty of Les Pauls in metal, and SGs in rock and blues. It all comes down to your personal preferences.

Why is the SG lighter than the Les Paul?

The SG has a thinner, flat mahogany body, a double cutaway shape (as opposed to the Les Paul’s single cutaway), and generally doesn’t come with a carved maple top. Add that all up, and you’re left with a significant reduction in weight compared to the chunkier Les Paul.

Do SGs suffer from neck dive?

It’s not unheard of. That lighter body weight is great for extended playing sessions, but, together with the position of the strap buttons, it can leave things a little unbalanced. It doesn’t need to be a serious issue though – a good quality guitar strap with grip, or even repositioning the strap button, can help.

Can you play metal on a Les Paul or SG?

Definitely – both guitars are widely used in metal! The Les Paul’s thick tones and incredible sustain make them a joy for cranking out riffs, while the bite of the SG delivers a raw, cutting tone that’s just perfect for more aggressive styles.

Gibson Les Paul vs. SG: which one is best for you?

So, does the bold heft and smooth sustain of a Les Paul sound good? Or maybe you’re leaning towards the lean bite and speed of an SG. Truth be told, there’s no wrong answer here – only the right choice for your playing style.

The Les Paul, with its heavier build and warm, singing tone, is always a great choice for classic rock, blues, and metal. But if a lighter body, snarling mids, and a punchier, aggressive style is more your bag, then it could be worth checking out the SG.

Whichever way you’re leaning, and whether you want to splash out on a Supreme or ease into the Gibson playing experience with a Studio or Epiphone guitar, there’s a guitar here for every taste, skill level, playing style, and budget – and each one offers an incredible playing experience that’s been formed from decades of expertise and development.

Ready to pick out your perfect axe? Check out our incredible range of Gibson Les Paul and SG guitars today at Andertons Music Co. And if you’re in the market for something really special, don’t forget to take a look at our ultra-luxe Gibson Custom Shop models!

Gibson Les Paul guitars

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Gibson SG guitars

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Further reading

If you’d like to learn more about Gibson guitars, Browse our related articles:

• Gibson vs. Epiphone – Which Guitars Are Better?
• What is Gibson Weight Relief?
• Is the Les Paul Modern the Most Versatile Gibson?
• The Top 7 Gibson Pickups
• ’50s vs ’60s Les Paul Guitars: What’s The Difference?
• Les Paul Buyer’s Guide

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Compressor

Compressors bring a uniformity to your guitar sound, essentially making your loudest bits quieter and your quietest bits louder. By “squashing” the sound, you sacrifice some of your dynamics but gain a bigger, more balanced tone with enhanced sustain. This effect is perfect for those power ballad arpeggios that ring out for days!

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Chorus

If there is one effect that is synonymous with ‘80s music, it’s chorus. It was used, and some would say overused, on absolutely everything from Rock to Pop, Funk to Metal. Chorus adds a wide stereo spread to your sound by doubling up your signal and detuning it slightly. This gives the illusion of two guitars playing in unison as well as adding a lush shimmer. A tri-chorus will produce the most lush and spacious effect but any good chorus pedal will do the job just fine! No ‘80s clean tone is complete without heaps of chorus on it!

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Digital Delay

A digital delay with plenty of repeats is another essential effect when creating an epic ‘80s clean tone. Delay is perfect for adding a thick, ambient wash to your sound, particularly when used in a stereo rig! For the best results, try using two separate delay pedals set with different delay times. Alternatively, an all-singing, all-dancing dual digital delay will achieve the same effect.

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EQ

The humble EQ pedal (or equaliser) may not be the most exciting effect you’ll ever buy, but it’s importance cannot be overlooked. ‘80s clean tones often have a lot of presence in the high-end with many of the lower bass frequencies dialled back. A good 6 or 7-band EQ pedal will allow you to fine tune your sound beyond the capabilities of your amp.

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Reverb

The last piece of the puzzle in achieving a lush ‘80s clean tone is reverb, ideally with a long decay time. Most reverb pedals will include a “Hall” setting and this is what you’ll want to use to recreate those epic reverbs, reminiscent of a huge concert hall or arena. When combined with a digital delay, your otherwise bland guitar tone will be transformed into an ambient soundscape!

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’80s Rhythm Guitar Tone

When you think of classic ‘80s rhythm guitar tones, what comes to mind? The chances are you’re imagining a mid-gain “British” crunch with plenty of mids. Back in the ‘80s, guitarists favoured cranked amplifiers to achieve these tones, and the results speak for themselves. However, if you’re not in a position to turn it up to 11, there are a number of pedals that’ll get you close.

“Danger Zone” by Kenny Loggins features a solid overdriven rhythm guitar tone with loads of chorus!

Overdrive

One of the most effective ways to dial in a great ‘80s rhythm sound is to start by setting your amp up with a good amount of gain, but not too much. Next, take your favourite overdrive pedal and keep the gain control low, with the volume control maxed out. This will push your amp further into overdrive for a satisfying crunch with a tight, defined low end. You can then fine tune the gain on the overdrive pedal to your taste. A “screamer-style” overdrive pedal (you know the one) will achieve the best results for this sound!

Distortion

If your amplifier is a real clean-machine with not a lot of gain on hand, you may find a distortion pedal is the best option. There are probably more distortion pedals on the market than any other effect, so your choices are seemingly endless! A good “British” sounding distortion pedal, set with a medium amount of gain, will give you a great sounding rhythm tone. Too much gain though, and you’ll lose all of your pick attack and definition, so don’t go overboard!

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Chorus/Detune

We’ve already discussed the importance of chorus on your clean tone, but it can be used to great effect on your rhythm tones too. Chorus on top of overdrive/distortion can produce a thick, almost three-dimensional rhythm sound that fills up the space sonically. From Zakk Wylde to Alex Lifeson, Slash to Phil Collen, some of the biggest rhythm guitar tones from the ‘80s are drenched in chorus!

For a similar effect, try using a harmoniser or “detune” style pedal for a massive sounding rhythm tone. It works just like a chorus but without the modulation (or movement) and sounds epic! You can set the precise number of cents by which your tone gets detuned. Think Eddie Van Halen during the Sammy Hagar years…this was achieved by setting the pitch controls somewhere around +9/-9 cents.

’80s Lead Guitar Tone

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 even the cleanest of amplifiers.

Warren DeMartini’s tasty solo on Ratt’s “Lay it Down” features a classic ’80s lead guitar tone!

Distortion

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. 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. Set the pedal with a good amount of gain and dial in the tone/EQ control so that the mids are boosted. This will help you cut through the mix when it’s time for your face melting solo! If you need an extra bit of gain, try putting an overdrive pedal before the distortion in your signal chain.

Delay & Reverb

Much like with the clean tones, you’re going to want plenty of digital delay and a long reverb to make your lead tones that little bit more epic! Try setting your delay with fewer repeats and EQ the delays so they’re a little darker than your dry signal. This will help the delays to blend with your dry signal and not get in the way.

When setting up your reverb, you’ll probably want to stick to the “Hall” or “Plate” settings with a long trail for the best effect. Try experimenting with the tone control on your reverb pedal and you might be surprised at how different the reverb sounds at darker and brighter settings.

Chorus

It wouldn’t be an 80’s guitar tone with a generous helping of chorus now, would it?! Don’t be afraid to max out the “Depth” and “Width” controls (where applicable) on your chorus pedal but keep the “Rate”/”Speed” control low. For a truly 80’s lead tone, you don’t want to be subtle with the effects! “Less is more” is not what you’re going for here… “More is more” is the way to go!

Conclusion

So there you have it…the perfect ‘80s guitar tones at your feet without needing to hire a road crew to set up your rig! As with anything, experimentation is key, so don’t be afraid to mix and match different pedals and mess around with the settings. In this writer’s humble opinion, ‘80s guitar tones are some of the most fun and satisfying to play with, and isn’t that the main thing? So embrace your inner ‘80s and have some fun with it!

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Kommotion – Duane Eddy

Released in 1960, Duane Eddy’s instrumental hit “Kommotion” was recorded with a legendary Danelectro baritone. The baritone’s unmistakable twang is what makes the song so catchy and played a bit part in Eddy’s sound.

Frank Sinatra – The World we Knew (Over and Over)

This popular song by the legendary crooner was adapted from a composition by German composer Bert Kaempfert and was released in 1967. Despite being low in the mix, you can clearly hear a baritone guitar in the background, playing the role of a bass by accentuating the root notes.

Van Halen – Spanked

The dirty, sleazy riff in this lesser known Van Halen song was recorded using a custom made Music Man double neck guitar. Eddie played the main riff on the baritone neck and would switch to the standard neck for the guitar solo.

Nickelback – Should’ve Listened

Canadian Rock giants Nickelback are no strangers to writing huge radio-friendly rock hits! From their 2003 album The Long Road, “Should’ve Listened” features a baritone acoustic guitar throughout, over which Chad Kroeger sings. The guitar’s lower tuning perfectly matches Kroeger’s vocal range and is extremely effective.

Dream Theater – These Walls

Prog-Metal legends Dream Theater are known for their often complex and highly technical song arrangements. From their 2005 album Octavarium, “These Walls” features a simple but heavy riff recorded on a signature Music Man John Petrucci baritone, played by the shred-extraordinaire himself!

Joe Bonamassa – The Ballad of John Henry

Nowadays, vintage guitar aficionado Joe Bonamassa tends to favour old Gibson and Fender guitars. However, when recording the song “The Ballad of John Henry” from the album of the same name, he used several modern guitars, including an Music Man BFR John Petrucci baritone model. The riff sounds extra-heavy thanks to the baritone’s lower register!

Rabea Massaad – JUSCOS

Regular viewers of our YouTube channel will be more than familiar with the afro-sporting chug-machine Rabea Massaad! Rabea is a keen baritone player and even has a number of his own signature guitars. In the video below, he can be seen playing his monstrously heavy song “JUSCOS” on his Chapman Rabea Massaad Signature ML3 Bea Baritone in Irthyll Burst Green!

Who Makes Baritone Guitars?

Here at Andertons, we are proud to stock a wide range of baritone guitars from a number of respected manufactures. If you’re looking to dip your toe into the baritone world, there are a lot of great options that won’t leave a hole in your wallet.

Alvarez have several fantastic acoustic baritones in their popular Artist Series. Offering top-level craftsmanship and exceptional playability, you would do well to find many other acoustic guitars that offer so much bang for your buck! English company Faith are another popular acoustic brand who offer baritone models in their catalogue. Much like Alvarez, Faith pride themselves on their build quality and attention to detail for the best possible playing experience that won’t break the bank!

If you’re looking at electric baritones, there are many different models available from Chapman, Squier, ESP, PRS and more. In most cases, these brands offer baritone versions of their most popular designs, giving you the benefits of a baritone guitar in a familiar package! Certain brands such as Chapman and ESP cater more for metal players, with modern, ergonomic body shapes and high-output pickups. If you’re looking for a more old-school vibe, you may choose to look at more traditional brands like Fender/Squier and Gretsch as these guitars will feature more vintage specs and appointments.

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Conclusion

Baritone guitars may not be for everyone, but they certainly have their merits. If you’re looking to expand your creative horizons without straying too far from your comfort zone, a baritone may just be what you’re after. They have been responsible for some truly memorable music over the years, spanning myriad genres, and continue to inspire songwriters today.

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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 flamencos! 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 guitars so let’s take a closer look at the core models.

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 compact ukuleles to bombastic jumbo baritone models, the Elite Series offers unparalleled value and performance.

Alvarez Artist Elite Series

As the name suggests, the Artist Elite Series 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.

Alvarez Jazz & Blues Series

Alvarez’s Jazz & Blues Series is inspired by the definitive chapters in American music, offering a refined selection of parlour-style guitars, made popular in the early 20^th century. Combining modern manufacturing techniques with classic tonewoods and vintage aesthetics, the Jazz & Blues Series pays tribute to the golden age.

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 are defined by their meticulous attention to detail and uncompromising quality. If you’re looking for a pro-grade instrument that won’t break the bank, look no further!

Alvarez Masterworks Elite Series

Building on the foundations laid by the Masterworks Series, the Masterworks Elite Series features unique cutaway models inspired by some of the most popular acoustic designs. Featuring premium tonewoods, stunning aesthetics and market-leading LR Baggs electronics, Masterworks Elite Series guitars are the ultimate acoustics for live performance!

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 comprises of the finest tonewoods such as silked Sitka and East Indian Rosewood that deliver a deep, dynamic, and rich sound from distinctive shapes and unique finishes to create their most premium acoustic guitar yet!

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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.

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 crafted on work benches by highly skilled luthiers who have perfected their craft through years of experience. There are twenty four luthiers at the Yairi factory, four of which 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.

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 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 hole sound, 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 guitars, creating a darker, more mid-focussed sound. It also allows smaller bodied guitars to generate more energy, resulting in better projection, something that many smaller bodies 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 a uniformity to the guitars, allowing their individual shape and size to influence their tone.

FS6 Bracing System

Original Bridge Designs

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, the guitars delivered 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 a 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 have gone for a more traditional bridge style. The Laurette series features a solid Ebony piece staying true to that Pre-War vintage acoustic guitars. Not only does this style of bridge complete the Laurette’s iconic look, but it 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 to you 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!

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Guns N Roses – Paradise City

According to Slash, the opening riff to this Guns N Roses classic was recorded not with a chorus pedal, but rather a Roland JC-120 Jazz Chorus amplifier. When performing live, Slash has been known to use the MXR M234 Analogue Chorus to replicate the tones from the recording.

Bryan Adams – Run to You

The main guitar riff in Bryan Adam’s hit song features the distinct sound of a chorus. Whilst it is unclear whether the guitar was recorded with chorus or the effect was added in post-production, there’s no denying that the riff just wouldn’t be the same without that lush sparkle!

Def Leppard – Hysteria

‘80s rockers Def Leppard were no strangers to the chorus effect and it featured heavily on their 1987 behemoth album “Hysteria”. The opening riff to the title track features a lush, heavily modulated guitar tone, which was recorded with a Tom Scholz Rockman headphone amp of all things!

Ozzy Osbourne – Miracle Man

“Miracle Man” is great example of how chorus can be used to enhance an overdriven guitar tone. Guitarist Zakk Wylde’s tone here is huge, thanks to the wide stereo spread created by the chorus effect.

John Mayer – Last Train Home

John Mayer’s “Last Train Home” has played a big part in getting people excited about chorus pedals again! The hugely popular song features a heavily ‘80s inspired guitar tone, reminiscent of ‘80s Eric Clapton. It certainly had us all reaching for our chorus pedals again upon its release! Click here to watch our video of The Captain and Danish Pete attempting to recreate John’s tone from “Last Train Home”.

Our Favourite Chorus Pedals

There are so many great chorus pedals on the market today but we’ve picked out a few of our favourites!

Boss DC-2W Waza Craft Dimension C Chorus

A recreation of the legendary and highly sought after Boss DC-2 Dimension pedal. This unconventional chorus doesn’t have any control knobs, rather four preset buttons which can be used independently or paired together. As the name suggests, the DC-2W adds a whole different dimension to your tone!

Eventide TriceraChorus Stereo Tri-Chorus

Inspired by ’70s and ’80s rackmount tri-choruses and analogue pedals, the TriceraChorus pairs bucket brigade-style chorusing with Eventide’s legendary MicroPitch detuning. The result is an abundance of rich modulated tones — all from a compact, easy-to-use stompbox!

MXR EVH 5150 Chorus

Based on the classic rack mounted Roland DC-30 unit, the 5150 chorus delivers huge stereo chorus tones with simple controls. With no rate knob, the 5150 has a slow, fixed rate as per Eddie’s tone on Van Halen’s “Diver Down” album. It’s hard not to love the cool striped paint job too!

Tone City Angel Wing Chorus

Massive, lush chorus tones in a tiny, pedalboard friendly box! The Tone City Angle Wing is proof that you don’t have to spend a fortune to get great tones. This budget friendly pedal boasts controls for level, rate and depth and offers incredible bang for your buck!

Landlord FX Brewers Droop Analogue Chorus

Another example of an inexpensive pedal that sounds fantastic! The Brewers Droop adds subtle width or head-spinning momentum to your tone at the flick of a switch, without leaving a hole in your wallet!

Strymon Mobius Multi-Modulation

Strymon’s all singing, all dancing modulation pedal! Whilst not a stand alone chorus, the Mobius features five different chorus “machines” including dBucket, Multi, Vibrato, Detune and Digital. The Mobius is not cheap, but you would be hard pushed to find a another pedal that offers so much and sounds so good!

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Conclusion

Whether you’re a fan of chorus or not, there’s no denying it’s impact on popular music, particularly in the 1980s. As with most things music related, trends often go full circle. It certainly seems like guitarists are rediscovering their love of chorus again. With chorus pedals available for less than £30, there’s never been a better time to add some sparkle to your tone!

So, are chorus pedals cool again? We certainly think so, but let us know what you think on our social media channels!

Enjoyed this article?

Why not read some of our other Learn articles below:

Gibson Les Paul vs. SG Guitars

Boost, Overdrive, Distortion & Fuzz: A Beginner’s Guide to Gain Pedals

The Best 5 Guitar Effects Pedals for Synths (2022)

The Best Guitar Pedals of 2021

7 Weird & Wonderful Guitar Brands

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Traveling Light

With touring becoming increasingly more expensive, musicians are finding themselves having to pack lightly when travelling abroad. This is where multi-effects units like the Plethora X5 really come into their own. It’s now incredibly easy to have a great sounding, complete pedalboard that is small and light enough for you to throw in your carry-on luggage. Most multi-effects units have a line-out feature which allows you to plug directly into a PA system when playing live. Not only does this negate the need for a guitar amplifier altogether, but the sound guy will also thank you for it!

Get Creative!

When it comes to guitar tone, we are only really limited by our own creativity so don’t be afraid to mix things up and experiment! The key thing to remember is that there is no right or wrong when it comes to tone…If it works for you then that’s all that counts!

Check out the whole range of guitar effects pedals available at Andertons here!

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https://blog.andertons.co.uk/learn/12-string-acoustic-guitar https://blog.andertons.co.uk/learn/12-string-acoustic-guitar#respond Tue, 08 Jun 2021 14:58:18 +0000 https://blog.andertons.co.uk/?p=7621

Have you ever heard a song where the acoustic guitar just seems to sparkle and shimmer, almost as though two guitarists are playing together in perfect unison? If the answer to that question is yes, the chances are you were listening to a 12-string acoustic guitar With a number of models on the market to […]

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Have you ever heard a song where the acoustic guitar just seems to sparkle and shimmer, almost as though two guitarists are playing together in perfect unison? If the answer to that question is yes, the chances are you were listening to a 12-string acoustic guitar

With a number of models on the market to suit every budget, 12-string acoustic guitars can add a sense of depth and texture to your playing that your favourite 6-string simply cannot!

What is a 12-string acoustic guitar?

Simply put, a 12-string acoustic guitar is an acoustic guitar with, yep…you guessed it, 12 strings! In terms of body shape, tone woods and general specs, 12-string acoustic guitars are almost identical to their 6-string counterparts, but with one major difference: there are twice as many strings.

12-string acoustic guitars are typically tuned to the same pitch as 6-string models (EADGBE) but with each string doubled up. The top two pairs of strings are tuned in unison (the same pitch), and the bottom four pairs are tuned in octaves, i.e. the doubled-up string will be the same pitch as the open string played at the 12^th fret. The resulting sound is bright, shimmery and almost chorale-like.

How Do You Play a 12-String Acoustic Guitar?

A guitar with twice the number of strings is going to be twice as hard to play, right? Well, no, fortunately this isn’t the case, although it does take some getting used to and requires adjustments to your playing – and plenty of practice, of course.

The string spacing on a 12-string acoustic guitar is generally narrower than that of a 6-string. That means it requires more precision when picking and fretting individual strings. Additionally, fretting chords and string bends require more force due to the higher string tension on the neck. Consequently, 12-string acoustic guitars are most commonly used for rhythm playing, although this is not a hard and fast rule. You are bound only by your own imagination!

The chord shapes are the same as they are on a 6-string guitar, but barre chords can be a little more tricky (and painful) as there are twice as many strings to fret. As a result, many players will use open position chord shapes, or even use a capo, for this very reason. After all, you want the guitar to work with you rather than fight back, right?

A great example of a 12-string acoustic used in a rhythmic context can be heard throughout, but most prominently, in the intro to Bon Jovi’s ‘Wanted Dead Or Alive’.

Why Should I Buy a 12-String Acoustic Guitar?

If you’re toying with the idea of getting your first 12-string acoustic guitar but don’t know where to start, it’s best to think about how you plan to use it for the sounds you want to create.

12-string acoustic guitars are perfect for adding depth and sparkle to your strumming patterns, particularly on big open chords. They also come alive when you experiment with open tunings. Due to the increased string tension, though, you won’t find yourself using any Zakk Wylde-style vibrato on a 12-string, but they can be really useful for making your chord progressions sound huge and your arpeggiated picking patterns pop out.

Who Plays a 12-String Acoustic Guitar?

12-string acoustic guitars have been widely used in rock, pop and country music throughout the decades, by some of the greatest guitarists ever to grace a stage. Here are just a few examples:

• Stairway To Heaven – Led Zeppelin – The iconic guitar song relies heavily on the shimmering sounds of Jimmy Page’s 12-string guitar to conjure up its atmosphere of spellbinding wonder. You can hear the 12-string guitar propelling the rhythm and supporting the melody throughout.
• Wish You Were Here – Pink Floyd – Guitarist David Gilmour used a 12-string guitar to weave the unforgettable melody which appears on this profoundly moving song. The 12-string guitar proves the perfect tool for creating mesmerizing, deep sounds which resonate and reverberate into your mind.
• Hurricane – Bob Dylan – Listen closely to Dylan’s lyrical masterpiece and you’ll hear the distinctive sound of the 12-string, the chiming appeal of which lends much to this enduring number.

Our ‘Guitar Paradiso’ presenter Ben can be seen playing his top five songs played on a 12-string acoustic guitar in the video below.

Which Brands Make 12 String Acoustic Guitars?

Most reputable acoustic manufacturers offer 12-string models, usually based on a few of their popular 6-string variations. Some great examples include the Martin X-Series Remastered D-X2E and the Taylor 264ce-12 String. If, however, you’re looking for something a little more affordable, with plenty of bang for your buck, the Faith Naked Series Venus 12 String or the D’Angelico Fulton Grand Auditorium are great options.

There are of course, plenty of other great brands who make quality 12-string acoustic guitars including Alvarez, Epiphone, Fender and Sigma, so be sure to click here to see the range of acoustic 12-string guitars available at Andertons.

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