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

Browse Pedal Tuners

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!

Shop All Guitar Tuners

Want to Learn More?

If you enjoyed this article, check out some of our other “Learn” articles by clicking here!

The post How to Tune a Guitar appeared first on Andertons Blog.

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.

Featured Products

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

Shop All Boss Katana

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

Shop All Modelling Amps

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

Shop All Overdrive & Distortion Pedals

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.

Shop at Andertons

The post Amp Distortion Vs Distortion Pedals – Which is better? appeared first on Andertons Blog.

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 & 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 Led Paul Special & 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 & 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 & 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 & 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

Gibson SG Guitars

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

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

Playing Style

When you listen to Marcus Miller play, what you’re hearing is an amalgamation of different musical styles and techniques, from an array of different genres. His playing almost transcends the traditional limitations of an electric bass. Marcus primarily uses the “double-thumb” technique, with which he is able to produce percussive slap-style lines. It was this technique that earned him the nickname “The Thumbslinger”! He also utilises staccato notes and even silence to make his parts pop!

Marcus has always attempted to tell a story with his playing, ensuring that it is appropriate for the song and sits in the right space sonically. He is renowned for combining traditional R&B and soul bass lines with solo lines you would expect to hear in jazz and fusion. It’s no surprise then that he is always in such high demand!

Marcus Miller Sire Basses

Marcus Miller was a long time user of Fender basses, with his famous ‘77 Jazz Bass in Transparent Blonde being his go to guitar for session work. Fender recognised Marcus’ contribution to music with a signature Jazz Bass model in the late ‘90s.

Ever evolving though, Marcus began endorsing Sire basses in 2015, a company with whom he has an expansive line of signature models. Here at Andertons, we absolutely LOVE Sire basses and believe that they are among the best basses you can buy for the money.

During his first meeting with Sire, Marcus was presented with a number of prototype basses which he immediately fell in love with. So much so in fact, that he and Sire came to an agreement there and then. If Sire could produce a range of high-quality instruments whilst keeping costs low, he would put his name on them as a stamp of approval! True to his word, he did just that! In his own words, these were “really good quality basses for not a lot of money!”

Sire V7 Series Basses

Marcus’ favourite basses from the Sire line up are the V7 Series models. Drawing inspiration from the classic Jazz Bass with which he is so familiar, V7 basses are packed with modern features. Featuring premium tonewoods, rolled fingerboard edges, powerful EQs and signature pickups, Sire V7 Series basses far exceed their price tag. Think of them as custom shop quality without the custom shop price tag!

As we mentioned, the Sire Marcus Miller range of basses is vast, featuring both traditional and modern instruments to suit any playing style. You’ll find four-string, five-string, fretted and fretless models so be sure to check out the whole range!

Shop the Sire Marcus Miller Range

Marcus was kind enough to talk to us about his V10 range of basses on his visit to the studio in 2019.

Marcus Miller also endorses Mark Bass amplifiers and Jim Dunlop strings to help him create his unique sound! He is also a regular user of effects from Jim Dunlop, MXR, Xotic and Electro Harmonix.

Conclusion

Whether you’re a fan of his music or not, it’s hard to ignore Marcus Miller’s impact on contemporary music. Few players can match the sheer number of recordings and accolades to his name. His collaboration with Sire has brought affordable, quality basses to the masses and for that, we can all be thankful! Do yourself a favour and get down to Andertons and try out a Sire Marcus Miller bass for yourself. You won’t be disappointed!

If you enjoyed this article, check out more Industry articles here.

The post Marcus Miller – The Coolest “Thumbslinger” in Town! appeared first on Andertons Blog.

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!

Shop all Compressor Pedals

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!

Shop all Chorus Pedals

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.

Shop all Digital Delay Pedals

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.

Shop all EQ Pedals

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!

Shop all Reverb Pedals

’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!

Shop all Overdrive & Distortion Pedals

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!

Our Ultimate '80s Pedalboard!

Shop all Guitar Pedals

Want to Learn More?

If you enjoyed this article, check out some of our other “Learn” articles by clicking here!

The post Building the Ultimate ’80s Guitar Pedalboard appeared first on Andertons Blog.

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.

Our Top Picks!

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.

Shop all Baritone Guitars

Want to Learn More?

If you enjoyed this article, check out some of our other “Learn” articles by clicking here!

The post The Rise of Baritone Guitars! appeared first on Andertons Blog.

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!

Featured Products

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!

Shop all Alvarez Guitars

Want to Learn More?

If you enjoyed this article, check out some of our other “Learn” articles by clicking here!

Shop Alvarez Guitars

The post Alvarez Guitars – 5 Things You Should Know! appeared first on Andertons Blog.

https://blog.andertons.co.uk/learn/what-are-locking-guitar-tuners https://blog.andertons.co.uk/learn/what-are-locking-guitar-tuners#respond Wed, 02 Mar 2022 15:53:00 +0000 https://blog.andertons.co.uk/?p=9689

The humble tuning machines may not be the most exciting part of your guitar, but they play a crucial role in its performance and sound. Locking guitar tuners have become a popular upgrade option for guitarists everywhere as they offer improved tuning stability with minimal fuss. But what are locking tuners and how do they […]

The post Locking Guitar Tuners – What Are They and Why Do You Need Them? appeared first on Andertons Blog.

]]>

The humble tuning machines may not be the most exciting part of your guitar, but they play a crucial role in its performance and sound. Locking guitar tuners have become a popular upgrade option for guitarists everywhere as they offer improved tuning stability with minimal fuss. But what are locking tuners and how do they work?

What are Locking Tuners?

Locking tuners work just like regular tuning machines but they are designed to improve tuning stability and make string changes much faster. They typically feature a pin or retaining mechanism that clamps the strings in place, preventing them from slipping when you’re playing. By “locking” the strings in place, locking tuners actually remove the need to wrap the strings around the tuner posts. This simple feature makes string changes much quicker, which is particularly useful if you need to replace a string at a gig!

The benefits of locking tuners are perhaps most noticeable on tremolo-equipped guitars, such as a Fender Stratocaster or PRS Custom 24. When you use a tremolo arm, the winding on the string posts loosens as the tension in the strings fluctuates. The same issue occurs when you bend the strings with your fingers. In an ideal world, when the strings return to their “zero” position, the winds around the string posts will also return to their original position. Unfortunately though, this is not always the case, and it means the guitar will be slightly out of tune. By not having to wrap the strings around the posts, locking tuners offer superior and a more consistent tuning stability.

Fender locking tuners

The Pros of Locking Tuners

• Superior tuning stability – You’ll notice your guitar stays in tune better when you use a tremolo arm or perform extreme string bends.
• Faster string changes – By not having to wrap the strings around the string posts, you’ll save time when it comes to replacing your strings.
• Affordable upgrade option – Locking tuners are a great way of upgrading your guitar’s performance with prices starting at around £70 for a decent set.
• Minimal headstock modification – In most cases, locking tuners will slot seamlessly into the existing holes on your guitar’s headstock, so you won’t have to drill lots of extra holes!

The Cons of Locking Tuners

• Not 100% Accurate – Whilst locking tuners will improve the tuning stability of your guitar, they are not perfect.
• Extra weight – Some locking tuners can add some weight to the headstock end of your guitar which can lead to neck dive.
• Are they entirely necessary? – Many pro guitarists and guitar techs will argue that if a guitar has been strung “properly”, tuning won’t be an issue. We’ll leave it up to you to decide on this one!
• Alters your guitar’s appearance – There’s no getting around this; when you start replacing things on your guitar, it’s going to look different! For many players, the benefits of locking tuners will outweigh the changes in appearance, but it’s something to think about.

 Who makes Locking Tuners?

Nowadays, there are many companies who make locking tuners, but we recommend sticking to reputable brands for the best results. You can’t really go wrong with anything from Gotoh, Grover, Sperzel, Schaller or Fender. All of these brands have long standing reputations for producing reliable, quality products. In most cases, they will offer something that looks very similar to your existing tuners for a like-for-like switch.

Our Top Picks!

Conclusion

To many guitarists, locking tuners are an absolute necessity and they won’t use anything else. To other players, they simply aren’t that important and that’s completely fine! As with anything guitar related, it’s a matter of personal preference and a certain amount of trial and error. There is no right or wrong approach when it comes to guitar playing. However, if your guitar suffers from tuning issues, a decent set of locking tuners may just be the solution!

If you enjoyed this read found it helpful, check out more of our Learn and Industry articles.

Shop at Andertons

The post Locking Guitar Tuners – What Are They and Why Do You Need Them? appeared first on Andertons Blog.

https://blog.andertons.co.uk/industry/takamine-humble-beginnings-to-world-stage https://blog.andertons.co.uk/industry/takamine-humble-beginnings-to-world-stage#respond Wed, 16 Feb 2022 12:30:48 +0000 https://blog.andertons.co.uk/?p=9450

When you think of Japanese manufacturing, images of ultra high-tech production lines and autonomous robots working in perfect harmony immediately spring to mind. Whilst this may indeed be the case for some Japanese companies, it couldn’t be further from the truth for Takamine. Skilled artisans and hand-made craftsmanship have been staples of Japanese culture for […]

The post Takamine – From Humble Beginnings to the World Stage appeared first on Andertons Blog.

]]>

When you think of Japanese manufacturing, images of ultra high-tech production lines and autonomous robots working in perfect harmony immediately spring to mind. Whilst this may indeed be the case for some Japanese companies, it couldn’t be further from the truth for Takamine.

Skilled artisans and hand-made craftsmanship have been staples of Japanese culture for centuries and they remain firmly rooted in Takamine’s DNA to this day. From humble beginnings to the world stage, Takamine has earned its reputation as one of the finest and most respected acoustic guitar makers on the planet.

Humble Beginnings

Founded in 1959, Takamine began as a modest, family run instrument workshop nestled in the foothills of Mount Takamine in central Japan. Three years later, the company would be renamed Takamine Gakki Ltd, after the mountain on whose foothills it was built. It was perhaps a fitting metaphor as Takamine would have a steep, upward climb if they were to compete with the leading American manufacturers like Martin and Gibson.

The Takamine Gakki Ltd team

By the end of the 1960s, Takamine had grown to sixty employees and become a leading manufacturer of classical guitars and mandolins. In 1968, respected luthier (and Takamine’s future president) Mass Hirade was brought in, bringing with him a number of design and manufacturing improvements. Hirade’s name would later be added to a number of classical guitar models to honour his contribution.

On becoming the company president in 1975, Hirade set out to make Takamine guitars available to the masses, with dreadnought and OM models starting to appear worldwide. Hirade’s ambition and foresight would be the catalyst to Takamine’s success over the next decade and beyond. From a fledgling company to a major player in the acoustic world, Takamine was ready to not just climb the mountain, but conquer it!

Development and Innovation

In 1978, Takamine would start working on their new under-saddle Palathetic pickup system, a design that would revolutionise amplified acoustic guitar design. The concept of electro-acoustic guitars had been seen as early as the 1920s, but the primitive systems failed to accurately capture the subtle nuances of the guitar and subsequently fell by the wayside.

By utilising six oversized ceramic elements, Takamine’s Palathetic pickup would capture the signal of each string individually, as well as the harmonic content of the soundboard. The result was a pure, natural, feedback-free tone that sounded just as the guitar did when played acoustically, only louder. This ground-breaking development was literally music to the ears of musicians who has previously struggled with mic’ing guitars and the inherent feedback that came with it!

Takamine’s revolutionary Palathetic Pickup

Through the Years

In 1979, Takamine debuted their very first electro-acoustic model, the PT-007S, which became the foundation on which all subsequent models would be built.

1987 saw Takamine celebrate their twenty fifth anniversary with the release of their first limited edition model, the EF25. Featuring a Sitka Spruce top and Takamine’s game-changing Palathetic pickup with a three-band slider controlled parametric EQ, the EF25 was adorned in a classy glossy white finish, beautifully offset with golden rings around the sound hole.

Further developments would be seen a year later with the release of the parametric equalizer (later resigned as the AAP preamp) which allowed players to shape and tweak their tone to their liking. An innovative external battery box and replaceable preamp pack was developed the following year, which would allow players to replace the pickup system in their lesser guitars with a new, improved Takamine system!

Takamine celebrated another significant anniversary in 2012, this time their fiftieth. A limited edition T50TH model was released to commemorate this landmark achievement with only fifty units made worldwide. The T50TH featured a AAAA grade Spruce top, solid Cocobolo back and sides and an Ebony fingerboard with a stunning vine inlay running top to bottom. If ever there was a guitar that showcased Takamine’s craftmanship and attention to detail, this is it!

The beautifully crafted Takamine T50TH anniversary model

Takamine G-Series Guitars

Takamine’s popular G-Series delivers premium build quality and craftsmanship at an accessible price point. With a wide range of guitars to suit any genre of music, the G-Series represents incredible value for money whilst boasting the latest in preamp design for optimal performance. From the top level 90 Series, to the ultra-affordable 10 Series, the G-Series consists of some of the most popular guitar shapes in history.

The Takamine GD90CE-MD is a classic dreadnought featuring a Venetian cutaway, solid Sitka Spruce top and Madagascan Rosewood back and sides. Boasting powerful projection, a balanced tone, timeless looks and proprietary TP4TD electronics, the GD90CE-MD is the perfect guitar for belting out some big, open chords!

For fans of a more modern design, the GN51CE features Takamine’s original NEX body shape which has a “scaled down jumbo” quality to it. The resulting tone is well balanced with a healthy amount of bottom end thump as well as a chimey top end. The NEX body is comfortable to play with a silky tone that complements vocals perfectly.

For players with a smaller frame or those who simply prefer a smaller bodied guitar, the Takamine GY11ME is a fantastic option. Featuring all Mahogany construction, this “New Yorker” (parlour) sized acoustic delivers a rich, articulate sound with an incredible definition in the mid-range.

Check out the full range of Takamine G-Series guitars available at Andertons today!

The World Stage – Key Players

The list of guitar heroes and multi-platinum recording artists playing Takamine guitars makes for some impressive reading. From Rock to Pop, Blues to Country, Takamine guitars have been seen and heard on countless stages and recordings over the years. Let’s take a look at some of the most recognisable players below!

Steve Wariner

1990 saw the release of the Takamine SW341-SC Steve Wariner model, which represented a major milestone for Takamine as it was to be the first in a long line of signature models.

Jon Bon Jovi

The Bon Jovi front man has relied on his trusted Takamine EF341SC (serial number 94100642) night after night, for nearly thirty years. Purchased from a New Jersey music store in 1994, the sleek black dreadnought has accompanied Jon on every tour since!

Bruce Springsteen

The legendary American singer-songwriter can regularly be seen wielding a Takamine P6N-BSB whilst on stage with the famous E-Street band.

John Schofield

The Grammy winning Jazz/Rock guru has played a Takamine NP65C since 1998 and it remains his go-to nylon string guitar to this day.

Simon Neil (Biffy Clyro)

When filming an episode of the legendary MTV Unplugged series in 2018, the Biffy Clyro font man turned to his beloved Takamine P7DC. Bassist James Johnston can also be seen using a Takamine PB5-SBL for the performance.

Conclusion

In a market largely dominated by the American made powerhouses, Takamine has done far more than simply play their part. Their commitment to innovation and quality has elevated them to the top of the pedestal where they are regarded just as highly as their American contemporaries. Blazing the trail for the electro-acoustic platform, Takamine’s journey from humble beginnings to the word stage is one to be admired.

Want to Learn More?

If you’re keen to stay up-to-date with other matters within the musical instrument industry, take a look at more of our ‘Industry’ content by clicking here.

The post Takamine – From Humble Beginnings to the World Stage appeared first on Andertons Blog.

]]> https://blog.andertons.co.uk/industry/takamine-humble-beginnings-to-world-stage/feed 0

https://blog.andertons.co.uk/industry/maestro-the-originators-of-rock-and-roll https://blog.andertons.co.uk/industry/maestro-the-originators-of-rock-and-roll#respond Tue, 18 Jan 2022 14:21:35 +0000 https://blog.andertons.co.uk/?p=9483

There are only a handful of companies who can truly say they helped define the sound of a generation. Maestro is certainly one of them. The iconic Maestro FZ-1 Fuzz Tone was the first widely marketed fuzz pedal and would become synonymous with the sound of Rock and Roll in the 1960s. Fast forward sixty years […]

The post Maestro Pedals – The Originators of Rock and Roll appeared first on Andertons Blog.

]]>

There are only a handful of companies who can truly say they helped define the sound of a generation. Maestro is certainly one of them. The iconic Maestro FZ-1 Fuzz Tone was the first widely marketed fuzz pedal and would become synonymous with the sound of Rock and Roll in the 1960s. Fast forward sixty years and the legendary pedal company is back with a bang, ready to inspire a new generation of guitarists!

FZ-1 Fuzz Tone

The Maestro FZ-1 Fuzz Tone was released in 1962 and was the first commercially available fuzz box to gain widespread use. Manufactured by Gibson and designed by engineers Glenn Snoddy and Revis V. Hobbs, the FZ-1 was a game changer for guitarists everywhere.

The original Maestro FZ-1 Fuzz Tone.

Featuring a three Germanium transistor circuit with RCA 2N270 devices, the FZ-1 was originally designed to produce a thick “brass-like” tone. Gibson even went as far as to implement the FZ-1 circuit into their EB-0F basses in 1964 to help push the design.

In the late ‘50s, guitarist Link Wray had been intentionally overdriving his amp to create noisy, distorted tones. He used the newly invented Gibson humbucker pickup to help push his amp harder and even made holes in his speaker cones to help distort the signal. An example of this sound can be heard on Wray’s 1958 song “Rumble”. On its release in 1962, the Maestro FZ-1 allowed guitarists to push their amp into sonically pleasing breakup but at lower volumes and without the need to destroy their speakers!

The FZ-1 would go through a number of circuit changes in the coming years, resulting in the FZ-1A (1965), the Robert Moog designed FZ-1B (1968) and FZ-1S Super Fuzz in the early ‘70s. Such was the success of the FZ-1, a number of “copycat” designs soon hit the market from Arbiter, Mosrite and Electro Harmonix to name a few.

The Sound of the ‘60s

Maestro truly earned their legendary status and cemented their place in Rock and Roll history in 1965. The Rolling Stones’ hit song “(I Can’t Get No) Satisfaction” featured an FZ-1 on the opening riff, sending sales of the stompbox skyrocketing. It could have been so different though; guitarist Keith Richards had used the FZ-1 to record a “brassy” guide track and had not intended for it to make the final recording. Against “Keef’s” wishes though, the track remained, and the rest as they say, is history.

Echoplex Tape Delay

Designed by Mike Battle, the legendary Echoplex tape delay (later renamed the EP-1) was released in 1959 and set the standard for the effect in the 1960s. Today, the Echoplex is still regarded as the standard to which all other tape delays are measured. The Echoplex worked by recording the sound onto a magnetic tape, which was then played back. The tape speed or distance between the heads would determine the delay, while a feedback variable (where the delayed sound is delayed again) allowed for a repetitive effect.

The original Echoplex EP-1

During the 1950s, Maestro was a leader in vacuum tube technology. The original Echoplex units used these vacuum tubes to produce their signature warm, delay repeats. The Echoplex’s tubes meant it could also be used as a kind of preamp, similar to those found in amplifiers. By turning off the delay repeats, it added a rich, warm, full-bodied quality to the sound which guitarists quickly grew to love.

In the coming years, the Echoplex would go through a number of design changes. The Echoplex EP-2 saw the addition of an adjustable tape head, which allowed for variable delay, and a tape cartridge to protect the tape heads. The most significant change though came in the early ’70s when the vacuum tubes were replaced with solid state transistors. This revised unit would be known as the Echoplex EP-3. Original designer Mike Battle was not happy with this change though and subsequently sold his interest in the company.

The solid state Maestro Echoplex EP-3.

Eddie Van Halen was a notable user of the Echoplex EP-3 and it featured all over Van Halen’s iconic debut album. The opening riff of “Aint Talkin’ ‘Bout Love” demonstrates the EP-3 being used to add a quick “slap-back” delay, adding depth and texture to Eddie’s sound.

Back with a Bang

2022 sees Maestro make a much anticipated return with their Original Collection. Featuring updated, innovative versions of classic effects, the Original Collection speaks directly to its DNA offering players a uniquely vintage experience.

Maestro’s all new Original Collection.

The Original Collection features five classic effects. Each pedal boasts all analogue circuitry, a familiar wedge-shaped chassis and eye-catching, ‘70s inspired graphics.

• Fuzz-Tone FM-Z – A recreation of the iconic FZ-1 Fuzz Tone with two different fuzz modes and added functionality.
• Ranger Overdrive – A modern overdrive, inspired by the overdriven tones of some the world’s most revered tube amps.
• Invader Distortion – A high-gain distortion with an aggressive sonic character that is rich in harmonic content.
• Comet Chorus – A lush chorus that utilises Bucket Brigade technology to deliver warm, classic analogue chorus tones.
• Discoverer Delay – A modern, analogue delay with built in modulation for authentic tape-like “wow and “flutter” effects.

Watch The Captain and Danish Pete put the new Maestro Original Collection through its paces!

Conclusion

Today, it is not uncommon to find vintage FZ-1 and Echoplex units selling on eBay and Reverb.com for heavily inflated prices, as is often the case with vintage gear. The demand for vintage pedals is bigger than ever before and guitarists just can’t seem to get enough of them, it seems. To the average gigging musician though, vintage gear is often out of their price range and their reliability can be cause for concern. Maestro’s new Original Collection is sure to appeal to both vintage aficionados and gigging or studio musicians who want authentic tones with all the benefits of modern manufacturing.

A statement on the Maestro website reads: “While not everyone has heard of Maestro, everyone has heard Maestro.” These words alone are testament to Maestro’s legacy and influence on popular music over the years. It continues: “The world is about to hear it shape an entirely new generation of sound.” This will no doubt be exciting news for fans of Maestro or indeed anyone looking to expand their tone arsenal.

Want to Learn More?

If you’re keen to stay up-to-date with other matters within the musical instrument industry, take a look at more of our Industry articles.

The post Maestro Pedals – The Originators of Rock and Roll appeared first on Andertons Blog.