Walrus Audio Pedals

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Tap Tempo Sync

Any Walrus pedal with a tap tempo switch can sync up with another tap tempo pedal. This means rather than setting an accurate tempo for each individual pedal, you can use a Walrus pedal’s switch to set it for both, saving yourself a few extra very precise taps.

You’ll find this nifty feature in the ARP-87 digital delay, Monument tremolo, Julianna chorus and Mako MkII delay. This function normally works with any tap tempo stompbox. Simply connect the two with a patch cable and you’ll be right on beat.

Eons Five-State Fuzz Adjustable Noise Gate

Walrus first introduced the noise gate with the gritty, thick-sounding fuzz Jupter V2 pedal and they’ve carried that functionality over to the super flexible Eons. A lot of pedals aim for the  stuttering ‘dying battery’ effect but there aren’t many that cover all the fuzz flavours the Eons packs in.

The Eons has an internal trim pot gate control you could use either to dial down the fuzzy aggression or implement hard cut-offs. This way you don’t have to power the pedal from a noisy non-isolated source or use a virtual battery to achieve the same effect.

Fathom Reverb’s Huge Momentary Burst

Create a massive surge of decaying reverb with the Fathom reverb. This effect is great during a crescendo or intense finale to a song. Not only is the Fathom a super adaptable reverb, but it can also turn your tone into a chaotic, swampy, beautiful noise.

With your Fathom turned off, press both the bypass and sustain switches at the same time. This will turn the pedal on abruptly (yet still smooth in transition) and hit you with a trail of reverb longer than where you’ve set the decay knob.

Mako and Melee distortion/reverb ramp up

Ramp is a feature that’s normally exclusive to an effect like tremolo as is the case with the Mako MkII, but Walrus Audio have implemented it into their unique reverb/distortion generator pedal, the Melee.

Essentially, ramp means to increasingly speed up the rate of the tremolo, or intensify an effect like reverb. Hold down the bypass to progressively accelerate the effect to make for some extremely climatic moments in your playing. If applied to tremolo you can adjust the build time, so the ramp will take longer hit peak speed the lower your set the base tempo. Let go of the bypass for the rate or intensity to drop back down again to where you’ve set your controls.

Smart Momentary Bypass

Smart momentary bypass has been a consistent feature in Walrus Audio’s pedals since the Lillian phaser and ambient Slö reverb. Simply hold down on the bypass switch for as long as you’d like to activate the effect. It’s a feature that a lot of companies have adopted, as it simply makes it possible to inject a short burst of the effect without the need to press twice on a pedal.

Ambient, texture-like sounding pedals like the Lillian and Slö benefit greatly for momentary bypass. You’re able to create a bed of trailing phaser or reverb and then add layers of playing on top as it floats underneath a lead line.

Want to learn more?

I hope you get to use these fun effects to their fullest potential! Enjoyed this read? Make sure to have a browse of our Industry and Learn articles.

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The post Walrus Audio Pedals: 5 Amazing Hidden Features appeared first on Andertons Blog.

What is a Headless Guitar?

The difference between a headless guitar and what we’d consider a ‘standard’ guitar, is the distinct lack of a headstock. Instead, a headless design relocates all tuning hardware to the bridge area. This grants an even weight distribution across the guitar – you won’t experience any neck dive and you don’t have to worry about denting a headstock. To string a headless guitar, you simply slide the string through the bridge up to the stump end of the fretboard, screw into place at both ends and tune up. So easy anyone could do it.

Advantages of a headless guitar

• They’re light and well balanced. That means less weight to carry on your shoulder while playing standing up and a reduced chance of playing-related injuries or niggles.
• Ergonomics – the thoughtfully designed body carves and common appointment of fanned frets make for an effortless playing experience.
• Restringing is quicker and simpler thanks to the clamps at the zero fret end.
• Smaller body = less wood makes for a more environmentally friendly building process. It’s also way easier to take travelling.
• Effortless and quick pitch fine-tuning with the tuners being right next to your picking hand.
• Headstock dive isn’t a thing. You can chuck a headless guitar around and not have to worry about hitting the headstock if you’re sitting at a desk or in a small space.

Headless guitar aesthetics

Let’s address the elephant in the room. Headless guitars might not suit your stylistic tastes and they might not be for everyone. You might think they’re a little hard to love. But if you’re in the modern guitar scene and love the look and feel of a Jackson, ESP, Music Man, Ibanez or Aristedes guitar, then a headless design might suit you.

Ergonomic design

Almost every headless guitar manufacturer adopts a series of ergonomic construction techniques. They are almost always smaller than traditional guitars and utilise the chambering method to cut out unnecessary amounts of body wood to make the instrument even lighter. You’re basically saving the planet when you buy headless. That’s probably a good enough reason as any, but you’re likely after other advantages as well.

Headless guitars adopt unique shapes, meticulously designed feel like an extension of your body. They certainly won’t strain your back muscles like a heavy Les Paul. It’s compact and easy to pack in the back of a car or take on a flight. Both Ibanez and Strandberg also make use of fanned frets to shore up on intonation and fretting comfort, following the natural curvature of your hand.

Neck dive is a real problem when playing standing up with some guitars – SGs are a major perpetrator. A headless guitar stays exactly where you want it. You only have to focus on what you’re playing, rather than holding the neck up at the same time. If headless guitars were around when Angus Young started playing, I wouldn’t be surprised if he was their biggest fan with how he jumps around the stage.

Zero fret nut

Do you ever notice how a note sounds different when you play it on a fret compared to an open string? Every type of headless guitar completely solves this problem. The strings on a standard headstock guitar are tightened across what is usually a bone or plastic nut, as opposed to the rest of the notes pushed down to a nickel or steel fret. Headless guitars use a zero fret metal nut just like a normal fret for open notes, providing a more consistent sound.

Guitarists who play headless guitars

Headless guitars are usually found in the hands of prog rock and metal players in need of optimal playing comfort and a wide array of tones. Notable headless guitar users include Plini, Yvette Young, Ichika Nito, Jacob Collier, Born of Osiris’ Lee McKinney and Charlie Griffiths & Richard Henshall of prog metal band Haken. It’s not just a millennial thing: legendary musicians Allan Holdsworth, Mark Knopfler, Eddie Van Halen and Sting have all dabbled with the radical design over the years.

Popular headless guitar brands

Just a few of the names championing the eye-catching shape include Swedish trendsetters Strandberg, Japanese behemoths Ibanez, Sire, and even originators Steinberger. Also joining these established guitar builders is the newcomer brand HILS.

HILS Guitars

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HILS Guitars – part of renowned Korean guitar maker HEX – use innovative manufacturing methods that enable them to build a diverse range of affordable, high-quality instruments without compromise. Their range of headless guitars combine carefully-calculated body curves with premium features like Roasted Maple necks and ceramic pickups with push-pull circuitry. This guarantees a versatile tonal range that’s perfect for everything from your go-to performance guitar to the ultimate practice companion.

Strandberg Guitars

Browse Strandberg Guitars

Strandberg stands for the fact that not just the sound of your guitar, or how it feels to play are important components, but also how it makes you feel. Strandberg design innovative headless guitars which push the boundaries of guitar creation, and due to their lightweight ergonomic design with modern features, they are highly regarded as one of best playing experiences out there, especially thanks to the signature Endurneck.

The Strandberg Essential is the more affordable range which covers all musical styles for the open-minded musician. Representing the core of Strandberg’s ranges is the Boden & Standard. The Boden & Standard push the boundaries of guitar innovation, while the Metal & Prog range is for players who need crushing impactful tone with a solid playing experience.

The Sälen is thoughtful synthesis of the retro-classic and cutting-edge design. Classic tonewoods and construction techniques with modern design and radical features meld cohesively together into a seamless whole.

Ibanez Quest Series

Browse Ibanez Quest Series

The Ibanez Quest Series boldly announced itself in the headless scene a few years ago and it’s proven to be a massive hit. They bring a playful new look, cool collection of woods like bubinga-made necks and roasted maple fretboards, and all your fun touches like Luminlay side dots, hard-wearing Jescar fretwire and the famous, super flat Wizard neck profile. The pickups are developed from the ground up, designed specifically for the Quest to sound clearly defined and balanced for all your extended chords and nuances. They’re extremely versatile too, thanks to the switching system giving you 10 pickup variations, including single-coil modes.

Sire Larry Carlton X6 Series

Browse Sire Larry Carlton X6 Series

Sire made a huge splash in the guitar world with their Larry Carlton guitars – a catalogue designed in collaboration with the renowned guitarist who has played for the likes of Steely Dan and Joni Mitchell. The X6 however is unlike any of their other guitar shapes, fitted with just about everything the modern guitarist would love to have, like their famed rolled fretboard edges, fanned, stainless steel frets, relatively flat 16 inch fingerboard radius and modern sounding humbuckers. It’s a sleek, attractive, and even quite understated design, which might appeal to the players who like the idea of a headless guitar, but can’t get on board with many other brands’ designs. The inlays are unique and the little smattering of gold in the hardware brings a touch of class.

Summary of headless guitars

The headless guitars design philosophy turns traditional guitar construction on its head. It’s about more than just the relocation of the tuners to the bridge – it is a refocus of what is helpful to a guitarist from an ergonomic perspective. How should a guitar fit against your body? Is it comfortable playing sitting down and standing up? Where should your hand rest on the neck? And how tonally diverse can a guitar get without compromising quality? These are issues that headless guitar makers concern themselves with.

Floating bridge systems, 6, 7 or 8, strings, various pickup configurations, hollow and solid body construction – you name it, a headless guitar can do it. The final thing it comes down to is whether you love how they look.

Want to Learn More?

If you enjoyed this read, check out more of our Learn blogs.

The post Headless Guitars: Why are they so popular? appeared first on Andertons Blog.

How to use guitar pedals with a synth

Guitar pedals take a plain, dry signal and twist it in ways you never thought possible. Because both stompboxes and synths use 1/4” jacks, the process is simple to assemble and achievable for anyone with a bit of space at home. If you’re a gigging musician, you can incorporate pedals into your live set-up for that extra wow factor. For Modular & Eurorack Synth users, think of a pedal as another module to add to your sound.

Synth keyboards usually have basic in-built effects such as reverb, delay and chorus. In most cases, they simply don’t sound as good or aren’t as diverse as guitar pedals. Stompboxes come in a an amazing variety, from containing very specific modulated voicings to housing an array of parameter controls – both if you pay ‘boutique’ prices. There are so many brands and combinations of effects out there, it’s incredible what you can discover.

Guitar pedal brands to look out for

Eventide Audio

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The Eventide H9 has everything you need in one small box. It combines the whole Eventide stompbox range into one compact pedal. A huge amount of effects and parameters are at your disposal including delay, pitch shifting, reverb and a whole host of modulations. The only downside is the relatively simplistic interface, so if you’re after a specific effect check out Eventide’s other pedals such as the Timefactor or Space.

Strymon

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Strymon are Eventide’s biggest rivals in multi-setting FX with the likes of the BigSky, Mobius and Timeline. These are the ultimate guitar pedals and cannot be praised enough. All are designed from the ground up to work with synths too, and offer a sheer, transparent sound.

Meris

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Meris are known for their Eurorack modules (see F.A.Q. below), so they know how to make pedals work well in conjunction. The Meris Ottobit Jr. in its simplest description is a bit crusher, offering those game console stutters and 8-bit noises. But, as it’s based on their Eurorack module, there’s so much more to it. Use it to control swells, pitch and sequencing. Meanwhile, the MercuryX is the perfect pedal for those ambient Blade Runner reverb expanses. As with everything else in this bracket, it’s costly, but it’s the only reverb you’ll ever need.

Electro-Harmonix

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The Electro-Harmonix Operation Overlord is an overdrive pedal designed to work with synths, which is a rare thing. It can add that little bit of dirt needed for more of an old-school sound. Stereo too, so if you want to run a stereo-only setup (see F.A.Q. below) it’ll bounce nicely with a ping-pong delay. Don’t forget to check out other units such as Nano Q-Tron, Bad Stone, and String9.

Bang for your buck

MXR Phase 90

The classic MXR Phase 90 is simple, yet effective. One knob controls the speed of the phaser, so it’s not for those who love to delve deep into the variety a pedal provides, but you’ll get a straight up cool modulation.

Boss CH-1 Super Chorus

The Boss CH-1 Super Chorus is the standard chorus for absolutely anything. It’s not particularly beautiful or articulated, but it does a good job in layering stunning chorus and is an excellent starting point for anyone getting into the experimentation process.

Crazy sounds

The Earthquaker Devices Rainbow Machine is a completely mad pitch shifter, chorus and echo in one. It also has a unique voicing thanks to the ‘magic’ button. Just think ’60s sci-fi TV shows – Earthquaker specialise in those crazy mishmash effects. It’s worth checking out the Afterneath reverb and Data Corruptor for more intriguing sounds.

Electro-Harmonix’s Super Ego

The Super Ego is designed to make your electric guitar sound like a synth. So putting this on top of a synth can only be a good thing, right? The possibilities with this thing are close to endless. It has 11 modes and an expansive EQ.

F.A.Q.

Is it complicated to add guitar pedals to a synth?

No. Because both guitar pedals and synths use 1/4” jacks, the process is simple to assemble and achievable for anyone with a bit of space at home.

Do I need pedals with stereo input/output?

The majority of guitar pedals have mono in/out, so, if you have a stereo synth and you want to keep that stereo sound, you’ll need to ensure that the pedals you use also have a stereo in/out.

What is a Eurorack?

Eurorack is a modular synth format, meaning that all Eurorack synth components are designed to work seamlessly with one another.

Do guitar pedals sound better than built-in effects?

Synth keyboards usually have basic in-built effects such as reverb, delay and chorus, but, in most cases, they simply don’t sound as good or aren’t as diverse as guitar pedals. Stompboxes come in an amazing variety, from containing very specific modulated voicings to housing an array of parameter. There are so many brands and combinations of effects out there, it’s incredible what you can discover.

How can I avoid background noise when using a guitar pedal with a synth?

Synths produce around 20dB more than electric guitars. When you run a loud synth into a guitar pedal the signal can become distorted or noisy. The easiest solution to turn down the volume on the synth, but you may find the noise-to-level ratio is still too great.

This is most common in fuzz pedals, which don’t react well to a low impedance. If you do have a pedal you think might cause problems, use an attenuator or reamp to adjust the signal. A DI box following on from the effects pedals could be a worthwhile addition.

Where can I put all the pedals!?

There are two appropriate options: create a conventional pedalboard like a guitarist, or keep them on top of the synth/on a dedicated stand. The former is great if you don’t need to change lots of settings as you can keep it on the floor, out the way. But the latter lets you twiddle and experiment on the fly.

Want to find out more?

Check out some of our other blogs on all things pedals, synths, you name it!

• The Best 5 Guitar Effects Pedals for Synths
• Guitar Multi-Effects vs. Single Pedals
• How to Use Modular Synthesizers
• 5 Ways To Make Your Guitar Sound Like A Synth

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Choose your favourite type of guitar

Picking out the perfect shape and style of guitar comes down to two things: which one appeals to you visually, and which one provides the sounds you need to make the music you like.

First off, you’ve got to get the guitar that’ll continually inspire you to pick it up and practice every week, possibly a few minutes every day if you want to make super quick progress! You’re not going to get that from a guitar you don’t love to see at home.

The second aspect is linked to the type of guitar you get, as each one produces a different sound, and is generally associated with a handful of musical genres:

S-style guitars

Probably the most popular type of guitar ever made, the s-style is a jack of all trades serving up a distinctive ‘glassy’ tone. It’ll suit almost any form of music from rock to pop, blues to funk, and even extend to classic metal.

T-style guitars

The original mass market solid body electric guitar, the t-style has a delicate, twangy tone perfect for country, pop, rock, jazz and indie and punk genres.

Single-cut guitars

This term covers a very wide group of guitars, but most players would consider the legendary Gibson Les Paul to be the most famous single-cut. Blues, rock and metal is its speciality.

Hollow body and semi-hollow guitars

Predating any of the aforementioned styles, the hollow body or semi-hollow evolved from jazz and big band players’ need for more volume to keep up with other instruments. This is a warm, rich sounding guitar great for jazz, soul, country, rock and blues.

Offset guitars

Similar to a t-style guitar, an offset guitar’s lower bout of the body and top ‘horn’ protrude outwards to create a sort of off-centre puddle shape. Used in alternative rock, indie and more experimental musical genres.

Alternative body shapes

The world of electric guitars extends far beyond the traditional shapes, and anything that doesn’t fit the bill falls into a more generalised alternative category. Here’s you’ll find the likes of the Flying V, SG, Firebird, Explorer, the double cut like the PRS Custom 24, and other more uncommon shapes like the headless guitar.

Acoustic guitars

The original form of contemporary guitar, an acoustic is an extremely versatile, organic sounding instrument. You’ve got two choices: an acoustic with steel strings, with a comparable feel to an electric guitar, or as a more specialised classical instrument with nylon-strings.

An acoustic is ideal for songwriters and singers, and more broadly, country, rock, indie, jazz, Americana, and classical music, and for providing accompaniment in just about any musical genre.

Bass guitars

While an acoustic or electric guitar player generally gets creative control over rhythm, melody and helps add sonic textures, the bassist instead props up the rhythmic backbone and fills out the low-end frequencies of a song.

Basses can sound surprisingly different depending on the style of music but the most common are the p-bass and the j-bass. Find out more about bass guitars in our dedicated guide.

Kids’ guitars

Standard sized guitars can sometimes be too bulky or heavy for children to play. That’s why a lot of brands make kids guitars that are a half or three quarters of the size of a regular guitar. This simply makes it easier for little ones to hold and fret their instrument.

The guitar amp and accessories

If you’ve decided on buying an electric guitar, then you’ll need a guitar amplifier to go with it to make the most of the instrument’s pickups, which generate the sound from the strings you pluck.

You don’t need to think too hard about what guitar amp to get first. EastCoast take care of that with their electric guitar starter packs, which includes:

• The guitar
• A guitar amp
• A cable
• Protective gig bag
• Plectrums
• Guitar strap
• Clip-on tuner
• Guitar stand

… and any combination of these depending on the pack you select.

EastCoast Electric Guitar Starter Packs

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EastCoast Acoustic Guitar Starter Packs

Browse EastCoast Acoustic Guitar Starter Packs

EastCoast Bass Guitar Starter Packs

Browse EastCoast Bass Guitar Starter Packs

Handy tip: set your budget

It’s quite easy to overspend on a guitar as a complete newbie with all the bells and whistles more expensive instruments offer. Get used to playing and to practicing first, and you can always come back and upgrade or buy more gadgets like guitar pedals to customise your sound.

If you’d like to push the boat out a little further with what you get as a beginner guitarist, then a budget of £350 is a good upper limit to abide by. That will get you a premium EastCoast starter pack with a luxurious single-cut L1 guitar and a higher wattage (louder) guitar amp. That also gives you more scope to explore some alternative brands like Squier, Epiphone, and Ibanez, Divitone and Jackson for the budding metal guitarists.

Consider trying the guitar in person before you buy

If you’d like some more help or you’d just like to get a feel for some guitars in person, then why not head over to the Andertons shop in Guildford – a 45 minute train journey from central London – where our friendly team of experts will take you through all your options!

Find out more

Want to know more? Check out our guides on the best electric, acoustic and bass guitars for beginners. Some top affordable brands to look out for include Alvarez guitars and EastCoast guitars!

• Check out our other learn articles for more guitar and music tips.
• Read more about how to clean your guitar here.
• For the next step, check out our blog on upgrading from your first guitar here.

The post Beginner’s Guide To Buying Your First Guitar appeared first on Andertons Blog.

Don’t Buy: A Guitar Toilet Handle

Do Buy: A Mini Guitar Pedal

Yes, for the price of a tacky toilet handle, you could get the guitarist in your life a brand-new guitar pedal — something that’s actually fun and will help them make music.

There’s a surprising amount of choice too. If you’re a musician and you’d like to drop in a hint for said gift giver, then mini guitar pedals from the likes of Tone City and Landlord FX are a great shout (and come in at under £50 a pop). There’s loads of effects to choose from and plenty of experimentation to be had — all in a Christmas stocking filler size. We’re sure there’s a joke about hitting a bum note in here somewhere…

Mini Guitar Pedals

Don’t Buy: A Guitar Spatula

Do Buy: Patch Cables

Unless they’re a keen cook (and let’s face it, they probably wouldn’t use a guitar-shaped spatula anyway), a guitarist will be looking to spend more time in front of an amp and a pedalboard than in the kitchen.

So, flip off the spatula and get them some trusty patch cables for connecting their guitar pedals. Guitarists always need new cables, as old ones do wear down over time. And if they’re gigging on the reg, backups will always be appreciated. Most players are also likely to add a couple of new guitar pedals to their setup each year, so it doesn’t matter if they don’t put them to use straight away.

Patch Cables

Don’t Buy: A Guitar-Shaped Backpack

Do Buy: A Real Acoustic Guitar

On the one hand, you could buy them a leather bag in the shape of a guitar — which looks pretty darn stupid. On the other, you could buy ’em a brand-new acoustic guitar that lasts a lifetime of musical creativity. The choice is pretty obvious, right?

Now, acoustic guitars from Alvarez and EastCoast don’t quite fall under the stocking filler category. But they’re exceptional choices for the price — especially if you’re looking to spoil your budding guitarist this Christmas. You can even grab a beginner model for under £100, which emphasises just how ridiculous the bag is!

Acoustic Guitars

Don’t Buy: A Guitar Tie

Do Buy: A Guitar Strap

The novelty of a guitar tie wears off long before you’ve had a chance to parade it around your work’s Christmas do. And let’s be honest, it’s the only time you could get away with it.

Instead of this abomination of a present (that even a music teacher would feel embarrassed to clip on), get your loved one a much cooler looking and far more useful guitar strap. It’ll help them play comfortably standing up and might even get them off the couch this Christmas. We stock loads of guitar straps with different designs and colours, so we’re sure you’ll find their perfect match.

Guitar Straps

Don’t Buy: A Guitar-Shaped Lunchbox

Do Buy: A Gig Bag

If you’re lucky enough to have your other half make your lunches, you might not be so smug when you have to take your sarnies into the office in this bit of kit. It’s an awkward shape, you can’t fit it in the dishwasher, and most crucially — it looks ridiculous.

Instead, why not gift them a gig bag? That way, they can protect their beloved instrument from the elements when they’re on the go. Starting from under £20, all our gig bags help keeps guitars clean and safe. Plus, they’re super handy for storing picks and other guitar accessories.

Gig Bags

Looking for more inspiration?

Head over to our website and check out our dedicated Christmas page for even more shopping advice for musicians. Our Christmas gift guide for electric guitarists is packed with awesome ideas that’ll strike the right chord, from compact guitar headphone amps to guitar care products. Or if you’re on a strict budget, see our best affordable Christmas gifts for guitarists instead.

The post What NOT To Buy Guitarists For Christmas appeared first on Andertons Blog.

Thinline Guitars

Fender Limited Edition ’70s Vintera Thinline Telecaster

If there’s a story to be told about electric guitars, it’s bound to feature Fender at some point. In 1969, they introduced the Thinline Telecaster, a semi-hollow spin on the classic Tele. It combined the rugged Tele body with lightweight comfort and the more open, resonant sound of a semi-hollow.

Thinline Teles are often equipped with Wide Range Humbuckers, adding to the smooth warmth and sustain that the semi-hollow body provides, unlike the bright, twangy single-coils of a standard Telecaster.

Plus, because of its smaller body, it is even more resistant to feedback than a big-bodied semi-hollow, allowing it to flourish in any musical context, from warm, ambient cleans to gnarly rock and high-gain. They’ve now become a popular choice in indie rock, ambient, shoegaze and alt-country styles.

Popular Hollow Body Brands

Gibson is by far and away the largest semi-hollow guitar manufacturer, with ranks of ES Guitars in their current line-up and continually popular historic models. The ES-335 is the ultimate semi-hollow guitar, and the ES-339 is a smaller, more traditional take on the iconic design. But nowadays Gibson are rolling back on their hollow body instruments and leave lots up to offshoot company Epiphone with the affordable Casino and Sheraton, as well as their stunning signature models.

Gretsch is another long-standing leader in the hollow and semi-hollow world, famous for its distinctive retro styling and sound. Their models range from beginner-friendly models like the Streamliner series, which provide a budget-friendly entry point to their catalogue, all the way up to dazzling collectors’ pieces like the Falcon models. With Gold or Chrome hardware, oversized inlays, vintage knobs and iconic Bigsby tailpieces, Gretsch guitars have a truly unique look and sound that’s made their models instantly recognisable classics.

Elsewhere, you’ll find Ibanez making the AF and AFC hollow series, providing a slightly more modern take on classic designs.

At the premium end of the market, Heritage Guitars delivers bespoke, handmade instruments that are truly stunning. Heritage semi-hollow models such as the H-535 and H-575 combine gorgeously rich tone with impeccable build quality, making them dream collection pieces and a top choice among working musicians.

For players shopping on a tighter budget, EastCoast guitars offer impressive value with classic semi-hollow designs like the G35. These guitars provide a vintage look and warm, resonant tone at an affordable price point, making them ideal for beginners or those looking to explore the semi-hollow sound without a big investment.

Both Fender and their more affordable sister company, Squier, offer a range of Thinline Teles if that’s more your style, and PRS’ modern, performance-focused semi-hollows have become incredibly popular picks that blend semi-hollow resonance with sleek modern looks and renowned playability.

Want To Learn More?

If you enjoyed this read, check out more of our Learn articles!

The post Semi-Hollow vs Hollow Body Guitars: What’s The Difference? appeared first on Andertons Blog.

Double Cut Electric Guitars

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What About 21 Fret Guitars?

While 22 frets are standard on most modern electric guitars, many vintage-inspired models still feature 21 frets.

All Fender guitars featured 21 frets until the introduction of the American Standard range in 1987. Any guitar resembling ’50s, ’60s or ’70s specs (unless hotrodded) will most likely contain 21 frets – that goes for both Telecaster and Stratocaster models.

If you’re after true retro feel, 21-fret models are your top choice. You’ll find guitars with 21 frets populated in the Vintera series, which take their inspiration from the golden age of Leo Fender guitar designs.

What’s the benefit of 21 frets? The neck pickup sits even further from the bridge, resulting in an even deeper, rounder neck tone, and you’ll get that much-coveted vintage tone in the middle position too, if you’ve got one. The perfect sound for old-school blues, surf rock or early rock n’ roll, 21-fret guitars are the choice for vintage sound and style over fretboard range.

FAQs:

Are 24-fret guitars easier to play?

Not necessarily. 24 fret models provide better access to higher notes and extra space in the upper register, which can make soloing feel slightly more comfortable and less cramped at the top end. If you frequently play in the upper fret range, it may make a difference, but generally other factors like the guitar’s neck profile, body shape and weight will affect all-round playability more than those extra 2 frets.

Do 22 and 24-fret electric guitars sound different?

Yes, especially in the tone from the neck pickup. A 22-fret guitar positions the neck pickup further from the bridge, resulting in a warmer, fuller sound. On a 24-fret guitar, the neck pickup has to be closer to the bridge, losing some of the bass and tonal colour and resulting in a slightly brighter and more defined tone.

Can you play the same songs on 22 and 24-fret guitars?

For the most part yes. Most songs don’t require notes beyond the 22nd fret. However, some technical solos, generally only found in progressive metal or shreddy styles do make use of the 23rd and 24th frets.

Are 22-fret guitars better for vintage tones?

Yes. Many vintage-style electric guitars, like early Fender Stratocasters and Telecasters, feature 21 or 22 frets. These typically offer a warmer, rounder neck tone and a more traditional feel, ideal for blues, rock, and jazz. If you’re really after the best vintage feel, 21-fret models are the pick for you.

Why do some guitars have 27 frets?

Extended-range guitars with 27 frets cater to niche styles, like progressive metal, where full access to high notes is essential. These guitars are much less common and are usually custom models or part of limited production runs from modern metal-focused brands like Ibanez, Jackson and ESP.

Want To Learn More?

If you enjoyed this article, check out some of our other Labs blogs!

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Browse Gibson Les Paul Standard ’50s Guitars

Epiphone Les Paul Standard ’50s Key Features

• Maple cap
• ProBucker humbucker pickups
• Epiphone Vintage Deluxe tuners
• ’59 Rounded Medium C neck profile
• 2 Tone CTS Electronics ’50s-Style Wiring

’60s Les Pauls

Rock music came to the fore as a mainstream genre in the sixties. Gibson were the brand leading the charge alongside the likes of Marshall and Fender. Grittier, crunchy tones became commonplace and Gibson were focused on getting the most out of this new and exciting sound with a hum-cancelling humbucker design. They also improved the ease of which players could manoeuvre round the fretboard. Guitar playing itself became more technical in the form of quick legato and arpeggio, and Gibson were the ones making the changes to accommodate it.

That’s where the ’60s Standard came in. This fiery “new and improved” model had a much thinner neck, which would feel far more familiar to most modern guitarists even today. The other major change came in the form of alnico V magnet pickups, digging in with a sharper attack, punchier midrange and slightly more clarity. These changes are reflected in contemporary Les Paul Standards with a Slim Taper neck and Burstbucker 61 R and T humbuckers.

In the style department, the ’60s model added a fancy new flamed maple top. Although the previous ’50s guitars featured some slight maple figuration, the flame here is extra striking and what most players picture when imagining the definitive Les Paul. To match the hot-rod look, the production ’60s Standard comes equipped with silver Grover tuners and silver top control knobs.

Gibson ’60s Standard Les Paul Key Features

• Grover button machineheads
• Thinner 60s style neck carve
• Alnico V Burstbucker 61R and 61T pickups
• AA figured maple top
• Gold top hats with silver rector & pointers

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Epiphone Les Paul Standard Key Features

• Slim Taper 60s C neck
• Grover Rotomatic tuners
• Indian Laurel fretboard
• ProBucker-2 and 3 humbucker pickups
• AA flame maple top

Epiphone Les Paul Standard Guitars

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’50s vs ’60s Les Paul Guitars: The Key Differences

Both the ‘50s and ‘60s Les Paul guitars share that quintessential Les Paul DNA. But take a look under the hood (or even at the hood itself!) and you’ll find a few telling differences that really set them apart.

In this section, we’ll take a closer look at the biggest differences between the two models, but if you’re looking for a quick summary of the key points, here’s what you need to know:

• Neck Shape: ’50s models have thicker, rounder necks; ’60s models use the slim taper profile.
• Pickups: ’50s guitars typically feature either warmer PAF-style or P-90 single coil pickups; ’60s Les Pauls have humbuckers with the more aggressive Alnico V magnets.
• Styling: ’50s Les Pauls lean heavily into a classy vintage look, whereas the ’60s models tend to be flashier, often with vibrant flame tops.
• Hardware: ’60s models feature Grover tuners; ’50s models use Kluson machine heads.
• Feel: ’50s LPs are notably heavier with chunkier necks, giving them a more traditional vintage feel. On the other hand, ‘60s LPs are made to better suit the more intricate and agile playing style of later years.

’50s Les Paul Pickups vs ’60s Les Paul Pickups

As we discussed earlier, there’s some pretty noticeable differences between the sound of the ‘50s and ‘60s LPs, and a big part of that is down to the choice of pickups. Early ’50s Les Pauls were outfitted with P-90 single-coils – gritty, raw, and harmonically rich. By the late ’50s, Gibson introduced the now legendary PAF humbuckers. They had a lower output, but they more than made up for that with tonnes of extra clarity and note separation.

In contrast, ’60s models came out swinging with hotter pickups, courtesy of the new Alnico V magnets. These offered more midrange bite, increased sustain, and sharper articulation, making them a superb choice for rock lead work, cutting through mixes with ease. In today’s ‘60s Standards, you’ll find Burstbucker 61R and 61T pickups, which are voiced for a blend of vintage heat and modern clarity.

’50s vs ’60s Les Paul Tonewoods

Both Les Paul eras featured the same classic mahogany body and neck with a maple cap. But look a little closer and there are a few differences:

• ’50s guitars generally had thicker maple tops with much more subtle figuring.
• ’60s models heavily leaned into highly figured flame maple, often AA grade or better.
• Both versions typically use rosewood fingerboards, although modern ’60s guitars sometimes use Indian Laurel on lower budget models.
• The neck tenon and joint may also differ slightly between reissues, which could make a small difference in sustain and resonance.

’50s vs ’60s Les Paul Guitars: Style Differences

The ’50s LP screams understated class; gold tops, subtle bursts, and vintage details that harken back to a golden age of guitar craftsmanship. Hardware finishes like aged nickel and vintage-style Kluson tuners only add to the retro charm, rounding off an overall look that’s warm, classic, and drenched in heritage.

In almost stark contrast, the ’60s Les Pauls turned up the heat when it comes to visual flair. These guitars rocked an altogether bolder look, with finishes like vibrant cherry sunbursts and rich tobacco bursts paired with AA flame maple tops that really catch the eye under stage lights. Grover tuners and silver reflector knobs completed the ’60s LPs’ much more modern look, dragging the Les Paul kicking and screaming into the next decade.

Playability of ’50s Les Pauls vs ’60s Les Pauls

Given what we’ve already discussed, it should come as no surprise that the biggest difference in playability comes down to neck shape. Essentially:

• ’50s Les Paul necks are chunky, offering a substantial grip and a more traditional feel that’s great for blues and rhythm players.
• ’60s Les Paul necks are far slimmer and faster, naturally making them more favoured by shredders and lead guitarists.

The rounded profiles of those ’50s necks are sometimes referred to as baseball bats – but for many a guitarist, that’s a good thing! They feel great if you’re a player who likes to dig in, their tactile, vintage feel enabling a strong vibrato and expressive bends.

Meanwhile, the slim taper necks on ’60s Les Pauls are much more accommodating for both smaller hands and high-speed lead runs. As such, they’re a better fit for players who ply their trade in modern play styles, whether that’s tapping, sweeping, or blazing up and down the neck.

Other factors, like weight relief and balance, can also have an impact on playability. With their thicker maple tops and chunkier necks, ’50s models are usually heavier, and some players believe this contributes to a more stable and resonant feel when playing standing up. But the zippier ’60s models, on the other hand, often feel a touch more agile and gig ready.

’50s vs ’60s Les Paul Guitars: Which is Better?

When we’re talking about two of the most innovative and cherished guitars in the history of the instrument, it’s probably not a shock to learn that there’s no clear-cut winner here! If you’re trying to decide between the two, think about things like the style of music you play, the size of your hands, and even what your preference is for how a guitar looks. It all depends on what you’re looking for out of your axe:

Want warmth, understated vintage looks, and a rock-solid neck? Go for the ’50s Les Paul.

Prefer a guitar that looks a little bolder, plays faster, and produces brighter tones? Think about picking up a ’60s Les Paul.

Les Paul Alternatives

If you love either the ’50s or ’60s Les Paul style but need something. A bit more modern and perhaps a tad more affordable, there’s some cracking alternatives out there you might want to consider:

• Epiphone Les Paul Standard ’50s/’60s: These Epiphone models capture the look and feel of classic Gibsons without the hefty price tag. With ProBucker pickups and classic neck profiles, they’re perfect for players searching for authentic tones on a budget.
• Gibson Les Paul Studio: Offering a stripped-down version of the Les Paul Standard, Gibson Studio guitars are weight-relieved for comfort and come with powerful pickups – perfect for gigging musicians who want premium tone with all the benefits of modern playability.
• PRS SE Series: A great single-cut alternative with a slightly shorter scale and wide-fat neck. The SE Series guitars deliver thick Les Paul-esque tones with excellent tuning stability and exceptional build quality at a competitive price point.

’50s vs ’60s Les Paul Guitars: FAQS

Are ’50s Les Pauls heavier than ’60s models?

Generally speaking, yes. ’50s models don’t have weight relief and have a chunkier neck, so they tend to be noticeably heavier.

Do ’50s Les Pauls have better tone than ’60s Les Pauls?

Tone is subjective! That said, ’50s LPs are typically warmer and more rounded, whereas ’60s LPs are brighter and more focused. If you gravitate towards one of those sounds, then that’s the Les Paul for you!

Which Les Paul is better for blues?

Many blues players prefer the ’50s models for their warmth, sustain, and classic looks.

Which Les Paul is better for rock?

The faster neck and hotter pickups of the ’60s Les Paul model make it a more popular choice for classic and hard rock.

Is the neck size really that different?

In a word? Yes! The ’50s “baseball bat” neck is considerably chunkier than the slim taper neck that you’ll find on the ’60s Les Paul. If your hands are on the small side, you might find it a bit of a stretch at first, although it’s not insurmountable with practice!

Do modern Gibson Les Paul Standards replicate the originals?

Modern reproductions do a surprisingly good job of matching the OG models, especially in the USA Standard range and historic reissues from the Gibson Custom Shop.

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What types of pedals do you need?

Every guitarist’s pedalboard is different, but there are a few core effects that form the backbone of most setups: overdrive/distortion, delay and reverb, and some form of modulation like a phaser/chorus. These cover the fundamental sounds you’ll want for a wide variety of guitar music. If you have a specific style in mind, other secondary pedals like a boost, a looper or a multi-effects unit might be your next picks.

Outside of effects, having a tuner pedal on your board isn’t strictly necessary, but we’d highly recommend picking one up for your setup. Let’s take a closer look…

Tuner pedals

What’s the point in having all the best effects if you’re out of tune?

While clip-on tuners are fine for getting started, a dedicated tuner pedal is well worth the investment. They’re generally more accurate, incredibly reliable, and won’t clutter up your guitar’s headstock. Plus, a tuner pedal will mute your signal when you engage it, making them much more suitable for live performance.

TC Electronic’s Polytune pedals have become something of an industry standard and offer excellent value. For an even more budget-friendly pick, a mini tuner like Landlord FX’s Lock In Tuner still performs well and conveniently takes up half the space. If you want the very best, you won’t go wrong with BOSS’ TU-3, although it’s on the more expensive side for a budget setup.

Tuner Pedals

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Overdrive & distortion pedals

Everyone from the Beatles to Meshuggah use some form of overdrive or distortion. They really are essential in pretty much every pedalboard, even if you don’t play heavy music. Most overdrives or distortions follow one of five distinct styles: soft clipping Bluesbreaker, soft clipping Tubescreamer, hard clipping distortion RAT-style, hard clipping Klon Centaur and amp-in-a-box. Find more in-depth details on each in our ultimate overdrive pedal guide.

It’s common to have more than one OD/Distortion pedal on your board, and for you it might be worthwhile substituting out another effect to let you have that variety in a basic setup. For example, a low-to-medium gain crunch tone lets you play softer rock songs with some added saturation, while a high-gain distortion gives you the tone you need for heavier tracks. When plugged into a clean amp, you essentially have a versatile 3-tone rig meaning you can get a range of drive tones out of almost any amplifier.

Tone City makes some excellent budget overdrive pedals that genuinely compete with much more expensive options. They offer pedals covering all the main overdrive flavours, so you can find something that fits your sound without spending a fortune.

Overdrive and Distortion Pedals

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Delay and reverb pedals

Time-based effects like delay and reverb are your go-to’s for adding depth and space to your sound. Delay can create everything from subtle slapback echoes to psychedelic rhythmic patterns, while reverb adds natural ambience that makes your guitar sound less dry and more resonant.

Digital delays tend to be cleaner and more precise, while analogue delays offer a distinct warmer tone with each repeat degrading over time which many players love. For reverb, you’ll find options ranging from simple spring reverb simulations to lush hall reverbs and everything in between.

You’ll probably want both eventually, and the good news is there are plenty of quality options under £100. TC Electronic and Mooer both make reliable, affordable delay and reverb pedals that sound great and won’t let you down.

Delay Pedals

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Reverb Pedals

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Modulation pedals

Modulation covers a huge range of effects – chorus, vibrato, flanger, phaser, ring modulation, and more. These effects actively alter your guitar signal to create movement and texture in your sound.

If you’re just starting out with modulation, chorus is probably your best bet. It’s versatile, musical, and gives you a good taste of what modulation can do. A chorus pedal can be especially useful for home practice and solo jamming, letting you create a much fuller sound and adding depth to your single signal. The Electro Harmonix Clone Theory is a classic choice that adds beautiful depth and movement to your playing. If you’re looking to keep cost down here, brands like TC Electronic, Mooer and Ibanez offer some highly capable mini modulator and chorus pedals at very budget-friendly prices.

Chorus Pedals

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Multi-FX and combination pedals

If you want to experiment with lots of different sounds quickly, multi-effects units can be a good option. They pack numerous effects into one box, often at a lower cost than buying individual pedals. Most also include effects loops, so you can still mix and match with other pedals.

Combination pedals that pair closely related effects (like reverb and delay, or chorus and vibrato) are another space-saving option. They typically cost more than single-effect pedals but less than buying two separate units.

If you want versatility in an affordable, space-saving unit, there are some great Multi-FX and combination pedals to pick up. Although if you know that you’ll regularly use a specific pedal type, it can be better to invest in a single-purpose pedal instead so that you don’t compromise on your most important effects.

Multi-FX Pedals

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What accessories do you need for a pedalboard?

The Pedalboard Itself

You’ve got two main options here: buy a ready-made pedalboard or build your own.

Ready-made pedalboards from companies like Pedaltrain and Rockboard start around £40-£50 and will fit about six standard-sized pedals. They’re raised off the ground, compatible with power supply mounting systems, and allow you to run patch cables underneath for a tidy setup. They’re also built to last and can handle the rigours of gigging.

The DIY route is your biggest money-saver. You can use anything from a plastic chopping board with velcro strips, to wooden slats nailed together in a Pedaltrain-style design. You won’t get all the convenient features of commercial boards, but you’ll save money that can go towards better pedals.

If you end up using your pedalboard regularly or want to take it gigging, purchasing a purpose-built pedalboard will be more than worth the investment. If you’re just wanting to try out some new effects and learn how to shape your sound at home, a DIY job can be a great budget-friendly choice.

Pedalboards

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Cables

You’ll need patch cables to connect your pedals to each other, plus instrument cables to connect your guitar to the board and the board to your amp.

For patch cables, brands like Tourtech, EBS, and Ernie Ball make reliable, affordable options. You can also go the DIY route with cable kits from Boss or D’Addario, which let you cut cables to exactly the length you need.

For longer instrument cables, stick with trusted names like Tourtech and Fender. For home use, 10ft/3m cables are usually plenty, while gigging musicians might want up to 20ft/6m for stage movement.

Patch Cables

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What power supply do you need?

A reliable power supply is crucial for a quiet, reliable pedalboard. While it’s tempting to skimp here, there are plenty of quality options from companies like Voodoo Lab, Tone City, T-Rex, or MXR that will be excellent choices without a major investment.

For a budget build, you don’t need a massive power supply – something that can handle five pedals across 9V, 12V, and 18V should be plenty to start with. It’s smart to buy a power supply with more outputs than you currently need, as it gives you room to expand without having to upgrade later.

You could use a daisy chain setup (one output powering multiple pedals) to save money, but this can introduce noise and other issues, especially as you add more pedals. A dedicated power supply is definitely worth the investment for the cleaner sound alone.

Pedal Power Supplies

Pedal Power Supplies

Building your pedalboard: putting it all together

Once you’ve got your pedals, board, cables, and power supply, it’s time to put everything together. A common signal chain goes: guitar → tuner → overdrive/distortion → modulation → delay → reverb → amp, but this is by no means set in stone (unlike what you might hear across the internet…).

Don’t be afraid to experiment. Some players prefer modulation before overdrive, others like delay before reverb. There’s no “wrong” way if it sounds good to you.

Take your time with the layout. Think about which pedals you’ll use most often and make sure they’re easy to reach. Consider the cable runs too – shorter patch cables generally introduce less noise and look tidier.

Final thoughts

Building a budget pedalboard is all about making smart choices and focusing on what you actually need. Start with the essentials, buy quality where it counts, and don’t be afraid to mix budget-friendly options with the occasional splurge on something special.

Remember, even professional touring musicians often use affordable pedals alongside premium units. A £30 pedal that sounds great and does what you need is infinitely better than a £300 pedal that doesn’t fit your music.

And have fun with it! Your pedalboard should inspire you to play and create, not stress you out about cost or the most minute specifications. Start small, build gradually, and enjoy the journey of discovering your sound.

If you enjoyed this read, check out more of our learn articles!

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