The Fender Precision Bass was a real game-changer when it arrived in 1951. Following the launch of the Telecaster electric guitar the previous year, acoustic double bassists were struggling to be heard. The fretted P-Bass gave those players a way to keep up. Not only could it be amplified, but its compact, less cumbersome design also made it easier to transport between gigs.

Fender’s Jazz Bass followed in 1960. Originally dubbed the Deluxe, it took design cues from the curvy Jazzmaster offset guitar and offered a more refined sound and feel aimed at jazz musicians (hence the name). For many players, the J-Bass raised the bar for contemporary bass design, providing a versatile platform that encouraged new playing styles and musical experimentation.

In short, both of these Fender bass guitars have played a huge role in shaping modern popular music. They’ve appeared on countless records and been wielded by some of the world’s most influential musicians. But which model is the best match for you? We’ve compared their key features, sounds and specs to help you decide.

Precision Bass vs. Jazz Bass: body designs

The most obvious visual difference between a Fender Precision Bass and Jazz Bass is the body shape. While the P-Bass was designed to complement the Telecaster when it was first introduced, its double-cutaway body was quite different and would later inspire the legendary Stratocaster silhouette we’re all familiar with today.

The Jazz Bass has a similar double-cut design, but its offset body shape sets it apart from the P-Bass’s more symmetrical profile. For many players, this gives the J-Bass a sleeker, more elegant look.

In terms of performance, though, there’s not much to separate them. They’re similarly sized and weigh roughly the same, with both models commonly featuring Alder bodies. Both bass guitars also boast ergonomic forearm contours and belly cuts that make them really comfortable to play.

Fender P-Bass and Jazz Bass necks compared

The necks are where the Precision Bass and Jazz Bass really start to differ. While most current P-Bass and Jazz Bass models have Maple necks carved to a comfy modern “C” profile, they actually feel pretty different in the hand. But how so?

A Fender Precision Bass neck is wider at the nut, usually measuring around 41.3 mm. This gives it a chunkier feel in the lower positions and a little more space between the strings. A Jazz Bass neck, however, is typically narrower at 38 mm at the nut. With the strings sitting slightly closer together, many bassists find that its more tapered neck design feels faster and easier to play.

Most Precision and Jazz Bass models feature 20-fret Maple or Rosewood fingerboards and a standard 34-inch scale length (the distance between the bridge and the nut). Depending on the model, you’ll get either a modern 9.5-inch fretboard radius (not too flat, not too curved) or a rounder vintage-style 7.25-inch radius.

Jazz Bass vs. Precision Bass: sounds and electronics

Both the Fender Precision Bass and Jazz Bass have their own signature sound, and that could be the deciding factor when choosing between them. Here’s a closer look at how their electronics differ and the kinds of tones they’re known for producing…

What does a Fender Precision Bass sound like?

When first introduced in the early ‘50s, the Fender Precision Bass sported a chrome-plated single-coil pickup. In 1957, Fender switched to the hum-cancelling split-coil design that most players now recognise as the definitive P-Bass pickup. On most models, it’s paired with a master volume and master tone control for a simple and intuitive setup.

This famous split-coil pickup serves up the thick, punchy and warm sound that’s become synonymous with the Precision Bass. Its unmistakable low-end “thump” sits great in almost any mix, making it a staple across loads of genres. Whether you’re playing pop, rock, punk or country, a P-Bass rarely feels out of place. Add some overdrive, and it takes on a fat mid-range growl that’s ideal for heavier styles.

Many Precision Bass players also favour flatwound strings for their mellow, vintage-inspired sound. Compared to brighter roundwound bass guitar strings, flatwounds smooth out the top end and enhance the woody, rounded character that makes the P-Bass such a great choice for jazz, soul and R&B.

Fender Jazz Bass tone explained

The Fender Jazz Bass is considered more versatile than a Precision Bass. That’s largely thanks to its dual single-coil pickup configuration and independent volume controls, which allow you to blend the pickups to taste and access a wider range of sounds. The bridge single-coil adds bite and definition, while the neck pickup delivers a fuller voice, giving the J-Bass plenty of mid-range attack and top-end presence.

These characteristics make the Jazz Bass well suited to styles that demand clarity, dynamics and note definition, such as jazz, funk, fusion, progressive rock and metal. It’s no surprise that legendary bassists like Jaco Pastorius, Marcus Miller, Flea (Red Hot Chili Peppers) and Geddy Lee (Rush) have all relied on Jazz Basses throughout their careers.

The J-Bass is also a top choice for more aggressive playing styles, particularly slap bass. And many players pair Jazz Basses with roundwound strings to maximise their brightness and punch. Some even use a strip of foam near the bridge to dampen unwanted overtones and achieve a tighter, more controlled sound.

What is a Fender PJ Bass?

In some of its ranges, Fender offers Precision and Jazz Bass hybrids that give you the best of both worlds. These are known as ‘PJ Basses’, which are typically Precision Bass guitars featuring a traditional split-coil pickup in the middle position alongside a single-coil Jazz Bass bridge pickup. This combo pairs the deep, punchy low-end thump of a P-Bass with the added definition of a J-Bass bridge pickup.

PJ Basses also tend to feature a Jazz Bass-style control layout, with separate volume controls for each pickup and a master tone control. Many models are fitted with a Jazz Bass neck too, giving them a slimmer feel thanks to the narrower 38 mm nut width.

Who makes Precision and Jazz basses?

Fender pioneered the mass-market electric bass guitar with its original Precision Bass and Jazz Bass designs (thanks, Leo Fender). Today, both models are available across various Fender ranges, from the entry-level Standard Series and mid-range Player II Series to the high-end, performance-focused American Ultra II Series. Plus, Fender offers signature instruments developed with some of the world’s most prominent bassists as part of its Artist Series.

Fender’s budget-friendly sister brand, Squier, also crafts several takes on the Precision Bass and Jazz Bass. The Classic Vibe Series is especially popular, combining old-school finishes with authentic retro specs at an affordable price point. They’ve got loads of mojo!

And don’t forget that plenty of other brands build basses inspired by the legendary P-Bass and J-Bass designs. That includes Sire with its acclaimed Marcus Miller Series, as well as EastCoast, which produces some of the best bass guitars for beginners.

P-Bass vs. J-Bass: key specs compared

Want a quick summary? Here’s a handy side-by-side comparison of the main differences between a Precision Bass and a Jazz Bass:

Which bass guitar should I buy?

Both the Jazz Bass and Precision Bass have decades of history behind them, and there’s a good reason they’re still among the world’s most popular bass guitars.

The Jazz Bass benefits from its slimmer neck and wider tonal range. It’s a highly flexible instrument that can cover jazz, funk and rock with ease, whether you prefer fingerstyle, a pick or slap bass techniques. So, if you love hopping between different playing styles and genres, the Jazz Bass is likely the better fit.

The Precision Bass, on the other hand, is all about timeless tone. It might offer a simpler playing experience, but its signature sound has been heard on countless classic recordings for a reason. Thick, punchy, authoritative — there’s nothing quite like the rumble of a P-Bass!

Still can’t decide? A PJ Bass could be the perfect middle ground, combining the girth and power of a Precision Bass with the added bite and versatility of a Jazz Bass bridge pickup, plus a skinnier neck to boot.

FAQs

What’s better, a P-Bass or Jazz Bass?

Neither is objectively better. A Fender Precision Bass is known for its thick sound and straightforward controls, while a Jazz Bass offers a slimmer neck and greater tonal flexibility with its dual-pickup design. If you value simplicity and powerful low-end, choose a P-Bass. If versatility is your priority, go for a Jazz Bass.

Are Jazz Basses heavier than P-Basses?

Most Fender Jazz Basses and Precision Basses are very similar in size and weight, often sharing the same body woods. The exact weight will vary depending on the model, materials and hardware, but there’s generally little difference between the two when it comes to comfort and portability.

Is a Jazz Bass easier to play than a Precision Bass?

Many bassists find a Jazz Bass easier to play thanks to its narrower 38 mm nut width and slimmer neck profile. The strings sit slightly closer together, which can make fast runs, intricate fingerstyle playing and slap techniques feel more comfortable. That said, plenty of bassists love the fuller feel and wider string spacing of a P-Bass neck.

Who plays Precision Basses?

The Fender Precision Bass has been used by loads of legendary players across almost every genre. Famous P-Bass users include Motown icon James Jamerson, Beach Boys co-founder Brian Wilson and funk pioneer George Porter Jr., while punk and rock players such as Dee Dee Ramone, Paul Simonon, Mike Dirnt, Steve Harris, Duff McKagan and Nate Mendel have all helped cement its reputation as one of the most recorded bass guitars of all time.

Which artists use a Jazz Bass?

Notable Fender Jazz Bass users include Noel Redding, Jack Casady, Verdine White, Larry Graham, Greg Lake, Jaco Pastorius, Marcus Miller, Geddy Lee, John Paul Jones, Adam Clayton and Flea, all of whom have used the expressive Jazz Bass to shape some of the most influential recordings in rock, funk, jazz and beyond.

Learn more of the bass-ics

If the P-Bass has won you over, check out our our Fender Precision Bass buyer’s guide, where we break down all the different models in Fender’s current lineup. Prefer the Jazz Bass? Head over to our Fender Jazz Bass buyer’s guide to discover which J-Bass is the best fit for your playing style.

If you’re after some juicy product gossip, our gear news page is well worth a look. Or for proper nerdy deep dives and how-to guides, our learn section is the place to be.

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The post Fender Precision Bass vs. Jazz Bass: what’s the difference? appeared first on Andertons Blog.

Whether you’ve just picked up your first pedal or you’ve already got a few that you’d like to get off the floor and set up properly, this guide will help you put together your very first pedalboard.

From overdrive and reverb to delay, chorus and everything in between, guitar pedals are one of the best ways to unlock cool new sounds and keep your playing fresh. A pedalboard gives those stompboxes a dedicated home, keeping them organised, easy to access and ready to use at the tap of a foot. Guitar pedalboards are also the most practical way to transport your effects, keeping everything secure and ready for gigs.

Getting one up and running is pretty straightforward, but there are a few key things to consider if you want the best performance, a clean signal path and enough room to expand your collection. Don’t worry though, we’ll keep things simple and cover everything you need to create a killer pedal rig.

How to build a pedalboard: step-by-step

We’ll dive into each of these areas in more detail later. But follow these easy steps, and you’ll have a pedalboard you’ll be proud to stomp all over:

1. Choose your pedals: Start with a selection of essential effects. A tuner, overdrive, delay and reverb are all popular choices and form the backbone of countless pedalboards, regardless of genre.
2. Invest in a quality power supply: Dedicated pedal power supplies deliver clean, reliable power to your pedals and can help eliminate unwanted noise. Choose one with enough outputs to power your entire setup.
3. Pick the right-sized pedalboard: Make sure your board has enough room for your current pedals and power supply, with a little extra space left over. Trust us, pedal collections have a habit of growing!
4. Plan your layout and signal chain: Before sticking anything down, experiment with pedal placement and order. A well-thought-out signal chain will help you get the very best performance from each effect and make your board easier to use.
5. Connect everything up: Once you’re happy with the layout, link your pedals together using patch cables, connect them to your power supply and double-check that everything is working as intended.
6. Mount your pedals securely: Apply Velcro to your pedals and pedalboard, then fix everything in place. Make sure you’ve left enough room between your stompboxes to comfortably access each footswitch.
7. Install your power supply: Most pedal PSUs can be mounted either on top of the board with Velcro or underneath it using dedicated brackets. Attaching one underneath creates a cleaner look, frees up space for more pedals and helps keep cables neatly tucked away.

Fancy an all-in-one pedalboard kit that has everything you need to get started? Check out our genre-specific guitar pedalboard bundles. No guesswork involved, just a handpicked selection of great-sounding mini pedals, a sturdy compact board with a travel case, plus all the power and cables you need to plug in and play.

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How do you know when it’s time to start buying guitar pedals?

Your guitar amp plays a big role in shaping your sound, and many modern amps come packed with handy built-in effects. Reverb is common, some vintage-style amps include a tremolo circuit, while popular modelling amps like the Boss Katana and Positive Grid Reactor offer a huge range of different effects.

But sooner or later, you might reach a point where you want something more. Maybe you’ve heard a guitarist using a soaring delay tone, a rich chorus effect or a gritty fuzz sound that your current setup can’t quite recreate. Or you might just want more control over your sound without having to dive through menus and presets.

If you’ve relied on software plugins up until now, pedals also offer a more hands-on experience. There’s something really satisfying about reaching down, twisting a dial and hearing your sound change instantly. What’s more, guitar pedals are super practical for playing live, putting your favourite sounds just a footswitch press away.

From key effects like overdrive and reverb to more adventurous options such as pitch-shifting and ring modulation, guitar pedals open up a world of creative possibilities. They reflect your musical tastes too, making a pedalboard one of the most personal parts of your rig.

The first guitar pedals you should buy

It’s easy to get distracted by quirky boutique pedals and experimental effects, but every good pedalboard starts with the basics. Here are the essential pedals you’ll find on most guitarist’s boards, from pub giggers to seasoned touring pros:

Tuner pedal

Let’s get the boring one out of the way first. We know pedal tuners might not be the most exciting addition to a pedalboard, but they’re easily one of the most important. Not only do they provide clear visual feedback to help you get back in tune, but they also mute your signal while tuning. That saves everyone within earshot from the dreaded “tuning song”.

Boss tuners have been the industry standard for years thanks to their accuracy and tank-like durability. TC Electronic PolyTune pedals are also a great shout, featuring clever polyphonic tuning tech that can tell you which strings are out of tune with a single strum.

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Overdrive and distortion pedals

You’ll never get by with just a clean tone (unless you’re a jazz cat). That’s why overdrive and distortion pedals are absolute pedalboard staples, capable of adding everything from a subtle edge-of-breakup crunch to a fire-breathing metal tone that’ll melt faces.

They’re so versatile that many guitarists use more than one drive pedal on their board. One might cover low-to-medium gain sounds, while another handles the heavier stuff. Stacking these pedals together can unlock some seriously sweet tones too.

The tricky part is knowing where to start. There are countless drive pedals out there, all inspired by different circuits and eras of guitar tone. So, to make things easier, we’ve broken down some of the most popular styles below:

Types of overdrive pedals

• Tube Screamer-style overdrive pedals: Known for their mid-range boost and smooth character, these are great at pushing a clean amp into classic rock territory. They’re a secret weapon for many metal guitarists too, who use them to tighten up their high-gain amp tones.
• Klon-style overdrive pedals: Famous for their transparent sound, Klon-inspired pedals enhance your existing tone rather than completely transform it. They work brilliantly as a clean boost, a low-gain overdrive or an always-on tone sweetener.
• BluesBreaker-style overdrive pedals: Known for their open, dynamic sound and touch-sensitive response. They add bite and breakup without masking the natural character of your guitar and amp.
• Dumble-style overdrive pedals: Inspired by the legendary Dumble amplifiers, these stompboxes deliver awesome sustain, rich harmonics and an amp-like feel that’s loved by blues, fusion and retro rock players.
• RAT-style distortion pedals: Sitting somewhere between an overdrive, distortion and fuzz, RAT-style pedals are known for their gritty, aggressive character. They can cover everything from punchy rock tones to fuzzy walls of gain.
• High-gain distortion pedals: Designed for modern rock and metal players who need plenty of saturation, sustain and attack. These pedals provide powerful tones primed for heavy riffing, palm-muted chugs and high-octane lead work.

Pro tip: Don’t overthink it. A Tube Screamer-style overdrive and a good high-gain distortion pedal are more than enough to get most players riffing. You can always add more flavours of drive as your pedalboard grows.

Pick up a drive pedal (or two…)

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Reverb pedal

If overdrive is all about adding more grit, reverb is all about adding more space. It’s one of the most popular guitar effects around, helping your sound feel bigger, richer and more atmospheric. From subtle ambience to vast, immersive soundscapes, a good reverb pedal can take a great guitar tone and make it feel truly epic.

Most reverb pedals offer a range of different sounds, including spring, plate, hall and shimmer reverb. Each has its own character, making reverb one of the easiest ways to add depth and colour to your tone.

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Delay pedal

Delay pedals record your guitar signal and play it back as a series of repeats. That might not sound very sexy, but as a creative tool, delay is pretty hard to beat and can totally change the way you play.

Just listen to The Edge’s work with U2. His signature use of delay helped create some of the most recognisable guitar parts ever put to tape. These pedals are brilliant for adding extra depth to clean passages, thickening up overdriven rhythms and giving lead lines more sustain and atmosphere.

Like overdrive pedals, delay is a broad category with plenty of different types to choose from. To keep things simple, most delay pedals fall into one of two camps:

• Digital delay pedals: Known for their clean, crystal-clear repeats. They’re great when you want every note to remain distinct, making them a popular choice for modern rock, ambient and worship players. Many also offer extra features like tap tempo, presets and multiple delay modes.
• Analogue delay pedals: Loved for their warm, organic and slightly darker sound. Each repeat naturally loses a little high-end detail, creating a characterful echo that sits beautifully behind your dry guitar signal. Blues, alternative and classic rock players swear by them.

In short, if you want pristine repeats, go digital. If you prefer a warmer, more vintage vibe, analogue delay is the way to go. Either way, you’ll soon wonder how you ever played without one.

Shop delays, delays, delays…

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Other guitar effects to consider for your pedalboard

We’ve covered the essentials, but you’re bound to want to bolster your board with some extra effects down the line. The pedals below are all solid additions, but whether you need them depends entirely on the sounds you’re chasing:

• Fuzz pedals: Popular with blues, alt-rock and doom players looking to make a lot of noise. Big Muff-style fuzz pedals are thick and woolly (think Smashing Pumpkins), while Tone Bender and Fuzz Face-inspired fuzzes are more direct and aggressive. This makes them great for cutting through a mix.
• Wah pedals: One of the most expressive effects you can add to a pedalboard. Controlled by a foot treadle, wah pedals alter your guitar’s frequencies to create that famous vocal-like “wah” sound heard everywhere from Hendrix classics to contemporary rock and metal solos.
• Chorus pedals: These sit alongside phasers and flangers in the modulation family, adding a shimmering, doubled effect that can make clean tones sound bigger and more spacious (almost like a 12-string guitar). They’re fantastic for adding character, texture and thickening up driven sounds too.
• Compressor pedals: Think of a compressor as a tone smoother. These pedals help even out your playing dynamics, making quieter notes easier to hear while adding sustain and punch. They’re loved by country and funk players, but almost any guitarist can benefit from one.
• Noise gate pedals: A must-have for hard rock and metal players. If you’re running lots of gain through your amp or distortion pedal, a noise gate can reduce unwanted hiss and hum — helping to keep your rig sounding tight and controlled.

Start with the basics, experiment with a few extras and before long you’ll have a pedalboard that’s completely your own. Just don’t blame us when you’re eyeing up pedal number ten… or twenty!

Choosing the right-sized pedalboard

You’ve got your stompboxes, now it’s time to give them a proper home. Pedalboards come in all shapes and sizes, but the first thing to think about is space. If you mainly play and record in your home office, there’s a good argument for choosing a larger board as you won’t have to move it around much. And even if you don’t have enough pedals to fill it right now, having a little room to grow means you won’t need to replace the whole thing when the inevitable pedal-buying bug strikes.

If you’re a gigging guitarist, portability should be your priority. A huge pedalboard may look impressive, but it’s less appealing when you’re carrying it up a flight of stairs after a two-hour set (speaking from experience here). That’s why many live players go for compact or medium-sized boards packed with versatile effects and mini guitar pedals.

It’s also worth thinking about how you’ll mount your power supply. Many modern pedalboards have a raised design or enough clearance underneath to accommodate a PSU, which helps keep cables hidden away and frees up valuable space on top. Don’t forget about protection too. If your board is regularly travelling to rehearsals and gigs, a quality gig bag or flight case can save a lot of wear and tear in the long run.

Popular pedalboard brands

There are plenty of reputable pedalboard manufacturers out there, but these are some of the biggest names in the biz:

• Pedaltrain: These guys have been building bulletproof boards for donkey’s years, and you’ll spot them on stages everywhere. Their rail-based designs make mounting pedals a doddle, while leaving plenty of room underneath for cable management and power supplies. Many larger models also feature an angled design, so pedals on the back row are easier to reach. For help choosing the right size, read our guide to Pedaltrain pedalboards.
• RockBoard: Warwick‘s RockBoard range offers a huge variety of shapes and sizes, making it easy to find something that suits your setup. They’re lightweight and packed with clever cable-management options, ideal if you’re obsessive about keeping your rig neat and tidy.
• Temple Audio: These boards stand out thanks to their unique modular design. They’re super-customisable and offer a range of pedalboard accessories that make it easy to integrate power supplies, patch bays and other gear. If you’re the sort of guitarist who loves optimising every detail, they’re definitely worth a look.

Pro tip: If you’re stuck between two sizes, go for the larger one. Few guitarists ever complain that their pedalboard has too much space.

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Picking a pedal power supply

While it can be tempting to daisy-chain a bunch of pedals from a single adaptor as it’s easier and cheaper, using a fully isolated power supply is the best way to power your board. That’s because each output on an isolated PSU powers a pedal independently, helping to reduce unwanted noise, hum and ground loop issues. The result? A quieter, more reliable pedalboard that’ll behave itself when it matters most.

Before buying a PSU, check how many pedals you need to power, along with the voltage and current requirements of each one. Analogue pedals such as overdrives, fuzzes and compressors usually need very little current. But digital pedals like some delays, reverbs and multi-FX units can be pretty power-hungry. It’s always worth leaving a couple of spare outputs free for future additions too.

Many brands make excellent pedal power supplies, including Strymon, Voodoo Lab, Truetone, Cioks and T-Rex. They also come in a variety of sizes, so whether you’re building a compact grab-and-go board or a sprawling pedal playground, there’s a PSU to suit.

Pedal power supplies: jargon buster

Here’s a quick breakdown of some common terms that’ll crop up when shopping for a pedal power supply:

• Voltage: Most pedals run on 9V DC (direct current), but some require 12V or 18V. So, always double-check the manufacturer’s specs before connecting them to your PSU. A handful of pedals use AC (alternating current) instead, although these often come with their own dedicated power supply. Using the wrong voltage can damage a pedal, so be careful!
• Current: This refers to the amount of electrical charge a pedal needs and is usually measured in milliamps (mA). You’ll often see values such as 100 mA, 250 mA or 500 mA listed on both pedals and power supplies. If a pedal doesn’t receive enough current, it won’t work right. On the other hand, supplying more current than a pedal requires is perfectly safe, provided the voltage is correct.
• Isolated outputs: An isolated output is electrically separated from the other outputs on a power supply. This helps prevent annoying buzzing and hum from sneaking into your guitar signal, making isolated PSUs the preferred choice for most pedalboards.
• Daisy chain: A cable that allows multiple pedals to share a single power output. These can be a cost-effective solution for smaller setups, but they’re more likely to introduce unwanted noise and can struggle with demanding digital pedals.
• Sag: Some pedal power supplies feature a sag control that lowers the voltage of an output to simulate a dying battery. This can create a softer, more compressed feel and is particularly popular with certain fuzz pedals — helping to produce cool sputtery tones.
• Switchable outputs: Some power supplies boast outputs that can be switched between different voltages (typically 9V, 12V and 18V), allowing them to power a wider range of pedals and making them more future proof.

How to install a pedal power supply

Most guitarists mount a power supply underneath their pedalboard to free up valuable space on top and keep everything looking neat and tidy. While Velcro can sometimes do the job, pedalboard PSUs tend to be one of the heaviest components on a board. That’s why dedicated pedalboard power supply brackets are often the better option, as they hold everything more securely and reduce the risk of it coming loose on the way to a gig.

Before fitting anything, check the installation instructions that came with your power supply. Many pedalboards are designed with PSU mounting in mind, featuring raised frames, pre-drilled mounting points or optional brackets that make installation quick and easy.

If you’re using a low-profile pedalboard, don’t fret. Plenty of power supplies are specifically designed to squeeze into tighter spaces beneath smaller boards. That means you can keep your setup clean without sacrificing precious pedal real estate.

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What order should you place your guitar pedals on a pedalboard?

When it comes to setting up your signal chain, there’s no definitive right or wrong answer. Plenty of guitarists enjoy playing around with pedal order to discover unusual sounds and happy accidents.

That said, if you’re building your first pedalboard and want a setup that’s versatile, easy to use and sounds wicked, the signal chain below is a tried-and-tested starting point:

Understanding a guitar pedal signal chain

Your signal chain begins at your guitar, travels through each pedal on your pedalboard, and then ends at your amplifier. As a general rule, pedals placed near the beginning of the chain have a bigger influence on your core guitar tone. While pedals later in the chain process everything that comes before them.

For example, placing a wah pedal before a distortion pedal will usually deliver a more defined, natural and wider sweep. Put the same wah after the distortion, and the effect becomes gnarlier but with a narrower sweep that’s sometimes downright weird. Neither approach is wrong, but it’s a great example of how pedal order can dramatically change your sound.

For most players, a signal chain like this provides a good balance of flexibility and rockin’ tone:

1. Tuner
2. Pitch-shifter
3. Wah
4. Compressor
5. Overdrive
6. Distortion
7. Fuzz
8. Noise gate
9. Modulation (chorus, phaser, flanger, etc.)
10. Delay
11. Reverb

Pro tip: Treat this order as a guideline rather than a rulebook. Some players love running fuzz before wah, while others like placing modulation after reverb for huge ambient textures.

How to use your guitar amp’s effects loop

Lots of electric guitar amps feature Send and Return jacks on their back panel, which indicate that it has an effects loop. If your amp doesn’t have them, no probs. Just connect your pedals in the order we outlined above and continue. If it does, read on…

An effects loop lets you insert certain pedals between your amp’s preamp and power amp. While that might sound a bit technical, the practical benefit is simple: effects such as chorus, phaser, flanger, delay and reverb often sound clearer and more natural when connected this way, especially if you’re getting your overdrive or distortion from your amplifier.

For example, if you’re using a high-gain amp, putting delay and reverb in front of it can sometimes make those effects sound muddy or overly compressed. Running them through the FX loop helps keep repeats and ambient effects nice and clear.

Connecting your pedals this way is often referred to as the ‘4 cable method’. Here’s how to get everything hooked up:

1. Plug a guitar cable from your amp’s Send jack into the input of the first pedal you want in the effects loop (typically a modulation pedal such as chorus or phaser).
2. Connect any other modulation, delay or reverb pedals using patch cables as normal.
3. Take another guitar cable from the output of the last pedal in that chain (usually your delay or reverb pedal).
4. Plug the other end of that cable to your amp’s Return jack.

The rest of your pedals, such as your tuner, compressor and overdrives, should remain connected between your guitar and the amp’s main input.

Connecting your guitar pedals

Got your signal chain sorted? Great. Now it’s time to figure out exactly where each stompbox will live on your pedalboard. Before reaching for the Velcro, place your pedals on the board and experiment with different layouts. You can do this by physically moving them around, sketching out a rough diagram or using a website like Pedal Playground to plan everything digitally.

As a general rule, it’s best to keep the pedals you’ll be stomping on most often at the front of the board, with less frequently used effects towards the back. If you’re working with a compact board, practicality and available space may ultimately dictate where everything ends up. Pedalboard building is a bit like a game of Tetris, really!

Once you’re happy with the layout, it’s time to connect everything together…

Patch cables

Patch cables are short instrument cables designed specifically for linking pedals together. Many feature low-profile or flat jack connectors, letting you position pedals closer together and make the most of your pedalboard’s space.

Brands like EBS, Ernie Ball and Boss all offer excellent patch cables in a range of lengths. It’s worth measuring the gaps between pedals before buying, as shorter cables can help keep your board looking cleaner and more organised.

Mix and patch!

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Pedalboard cable kits

If you want the neatest possible setup, solderless pedalboard cable kits are well worth considering. These kits typically include a long length of cable that can be cut to size, along with a selection of connectors that you assemble yourself.

The biggest advantage is being able to create cables that are the exact length you need, helping to reduce clutter and keep your wiring tidy. Some kits even feature configurable connectors that can be used as either straight or angled jacks. These give you even more flexibility when squeezing pedals into tight spaces.

Wire your rig

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Pro tip: Once everything is connected and working properly, use cable ties or adhesive cable clips to keep patch and power cables neatly routed underneath the board. Not only will your pedalboard look tidier, but it’ll also make troubleshooting much easier if something stops working before a gig.

Assembling your pedalboard

Right, the finish line is in sight — all that’s left is sticking your pedals down. Most pedalboards come with two rolls of Velcro: a hook side and a loop side. But before you start applying it, give both the pedalboard and the undersides of your pedals a quick wipe with a clean cloth to remove any dust or manufacturing residue. Then, apply the softer loop side to the pedalboard and the hook side to your pedals, making sure you cover as much surface area as possible for a secure fit.

A handy trick is to plug in your patch cables before sticking the pedals down. This lets you check spacing and make sure everything fits comfortably without putting strain on the cable connectors. Once you’re happy, firmly secure your pedals in place and connect each one to the appropriate output on your power supply.

Next, plug your guitar into the first pedal in the signal chain and run another cable from the last pedal to your amp’s input. If you’re using your amp’s effects loop, you’ll need two additional guitar cables to connect that part of the signal chain too.

With everything connected, power on your pedalboard and test each pedal one at a time. Check that every stompbox working and that audio is passing through the chain without unwanted noise. If something isn’t working, don’t panic. Double-check your patch cables, power connections and pedal order before assuming the gear is at fault.

And that’s it! You’ve officially built your first pedalboard. Now comes the fun part: stomping on switches, chasing great tones and inevitably finding room for just one more pedal.

Ready for the next step?

Want to control your effects like the pros? We’ve rounded up the best pedal switchers to help you organise your signal chain and switch between effects with minimal tap dancing. Or check out our guitar pedal buyer’s guides to learn more about the weird and wonderful world of guitar effects.

The post How to set up your first pedalboard appeared first on Andertons Blog.

Guitar amps are awesome. But let’s be honest, they can sometimes be a bit of a pain. They take up space, they’re heavy to lug around and getting a consistently great sound out of ‘em isn’t always easy. If you’re running a valve amp, it’ll also need the odd tube replacement. Plus, you’ll often have to crank it up to really hear it at its best. So, what if we told you that you don’t necessarily need a traditional guitar amp anymore? Enter the ampless rig…

More players than ever are turning to modern, streamlined solutions that deliver big amp tones in portable packages — many of which can sit neatly on your pedalboard. They come in a few different forms (which we’ll break down and compare later), but they all share one thing in common: convenience. Not only can an ampless rig free up space and simplify your setup, but it might save you a few trips to the chiropractor too!

Ampless guitar rigs explained

As the name suggests, an ampless guitar rig is a setup that replaces a conventional amplifier and speaker cabinet using digital or analogue tech, typically housed in a compact pedal-sized box. The goal is simple: to give you great guitar tones in a smaller unit that’s easier to transport, maintain and dial in.

While ampless rigs are great for saving space at home, they’re particularly popular with gigging musicians. Instead of hauling a heavy 2×12″ combo to every show and having it mic’d up, you can send your guitar signal directly from your pedalboard to the venue’s mixing desk and through their PA system. Many modern amp alternatives can also be connected to lightweight FRFR (Full Range, Flat Response) cabs, or even traditional guitar cabs if you still want that familiar on-stage feel and punch.

As much as we love classic electric guitar amps, they’re just not really that practical these days. They can be cumbersome to move, too loud for home playing, and valve amps in particular can be fragile and hard to maintain. That’s where an ampless rig comes into its own, offering many of the same inspiring tones in a format that’s far more flexible.

Types of ampless guitar rigs

Here are some of the most common ampless options available today and how they compare:

• Amp pedals: Standalone preamp pedals, compact power amps and cab simulator pedals designed to live on your pedalboard and recreate the sound and feel of a traditional amp setup.
• Pedalboard amps: All-in-one solutions that are essentially shrunken-down electric guitar amp heads. They often combine analogue preamp and power amp sections with onboard EQ controls, and many pedalboard amps can also drive a standard guitar speaker cabinet.
• Multi-FX processors: While primarily designed to provide a huge range of effects in a single unit, many modern multi-FX units now have advanced amp modelling and cab sim tech built in, so they cover all the bases.
• Floor-based amp modellers: These digitally mimic the sound, feel and response of sought-after guitar amplifiers with incredible accuracy. Lots of modelling amps now boast onboard effects too, making them super versatile.
• Amp modelling software and plugins: Believe it or not, your computer can become an ampless rig. Plugins from brands such as Neural DSP and Positive Grid are hugely popular, especially for recording as they integrate directly with DAWs.
• Headphone amps: Ultra-portable devices that plug straight into your guitar and let you play silently through headphones. Many headphone amps feature amp modelling, built-in effects and Bluetooth connectivity for jamming along to your favourite tracks from your phone, making them perfect for home practice.

How do you build an ampless rig for gigging?

A typical live guitar setup features three key components: your guitar, a few pedals and an amp. Remove the amp from the equation, and you’ll need another way to shape your tone and send your signal to a PA system or speaker cab. Fortunately, with more guitarists going ampless, there are now plenty of great ways to do exactly that.

Here are six common approaches to build an ampless guitar rig:

1. Combine preamp and cab sim pedals

Signal chain: guitar > preamp pedal > cab simulator pedal > PA system

This method gives you lots of control over your sound, but it requires two separate guitar pedals:

• A preamp pedal for your core amp-like tone and EQ shaping.
• A cab simulator pedal for a realistic mic’d speaker cabinet sound when connecting directly to live mixers or PA systems.

It’s worth noting that many modern preamp pedals feature balanced DI outputs and built-in cab simulation, so you can run them straight into a PA without the need for a separate cab sim pedal. The Tone King Imperial and Royalist preamp pedals are great examples.

2. Pair preamp and power amp pedals

Signal chain: guitar > preamp pedal > power amp pedal > guitar cab and/or PA system

A standard guitar amp has two main components: a preamp and a power amp. The preamp lets you shape your tone with gain and EQ controls, while the power amp provides the muscle needed to drive a speaker. This method essentially recreates that setup in a compact, pedalboard-friendly format.

Like many of today’s preamp pedals, some compact power amps also boast cab-emulated outputs. This lets you use a traditional guitar cab for on-stage monitoring while simultaneously sending a direct signal to the front-of-house engineer, making it easier for them to mix your sound.

3. Go for a pedalboard amp

Signal chain: guitar > pedalboard amp > guitar cab and/or PA system

This is one of the simplest pedal-focused ampless solutions. That’s because pedalboard amps typically combine preamp, power amp and cab sim technology into a single unit, covering all the essentials in one box. They’re compact, easy to use and, in many cases, can drive a guitar cab if you’d still like to push some air on-stage.

4. Get a multi-FX unit with amp modelling

Signal chain: guitar > multi-FX pedal > PA system and/or FRFR cab

The line between multi-FX processors and amp modellers is becoming increasingly blurred, with many of today’s units offering killer amp and cab emulations alongside extensive effects libraries. Like pedalboard amps, they’re flexible all-in-one solutions. But multi-FX units often offer even greater versatility thanks to their huge range of sounds, advanced routing options and preset capabilities. Plus, they can eliminate the need for multiple standalone effects pedals, making your rig more compact and easier to manage.

Many players connect these units straight to a PA system, using the venue’s floor monitors or in-ear monitors to hear themselves on-stage. If you’d prefer to use a regular guitar cab though, it’s worth knowing that most multi-FX units can’t power a traditional passive amp cabinet on their own. To do this, you’ll typically need to pair one with a separate power amp pedal. Alternatively, you can connect directly to an FRFR cab, which is usually lighter and more portable than a standard guitar speaker cab.

5. Run a floor-based digital modelling amp

Signal chain: guitar > amp modeller > PA system

This is becoming one of the most popular ampless solutions around, and it’s very similar to the multi-FX method above. Designed to recreate the tones of classic amplifiers digitally, floor-based modelling amps combine realism, flexibility and convenience, with key benefits including:

• Various amp emulations in a small unit.
• Built-in effects and versatile routing options.
• Consistent, reliable performance.
• Easy preset switching for different songs and gigs.

6. Use a laptop with amp modelling software

Signal chain: guitar > audio interface > computer (running amp modelling software) > USB-to-audio DI box > PA system

While it’s not the most compact solution, it can be one of the most powerful. Software plugins from companies such as Neural DSP and Positive Grid give you access to pro-quality amp models, effects and recording tools from a single device.

This approach is very practical for guitarists who want the same setup for recording, practising and live performance. Once your presets are dialled in, you’ll have access to the same sounds whether you’re tracking songs in your home studio, rehearsing or playing on stage.

Amp pedals vs. multi-FX units and modelling amps

The methods we covered above can really be simplified into two key approaches:

1. The pedalboard and “amp-in-a-box” approach: This method uses dedicated preamp, cab sim and/or power amp pedals to form a compact, gig-ready rig that lives on your pedalboard — like recreating a head and cab stack at your feet. Alternatively, you can opt for a pedalboard amp which combines many of these elements into a single unit. Lots of these can also be connected to a traditional guitar cab for a more familiar, “analogue” on-stage experience.
2. Multi-FX units and digital amp modellers: These solutions use digital processing to imitate a huge range of amplifier, cabinet and effects sounds in a single device. They’re designed to connect directly to a PA system, FRFR cab or both, making them a super flexible option for modern guitarists. Many also offer extensive preset management, allowing you to switch between multiple rigs and sounds at the touch of a footswitch.

Benefits of an ampless guitar rig

Before you go, here’s a quick summary of the main reasons why more and more guitarists are making the switch to ampless rigs:

• Portability and convenience: They’re significantly smaller and lighter than traditional amp setups. In many cases, you can turn up to a gig with nothing more than your guitar and pedalboard, then plug straight into the venue’s mixing desk.
• Consistent sound: Your tone remains largely the same from venue to venue, regardless of the backline available. In other words, you’re not at the mercy of unfamiliar amps, questionable mic placement or worn-out gear!
• Lower stage volume: If you’re not using a guitar cab, stage volume can be dramatically reduced because your signal is running directly through the PA system. This gives sound engineers more control over the overall mix and can help the whole band sound tighter and more balanced.
• Flexibility: Most modern ampless solutions are incredibly versatile, letting you switch between different amp models, cab sims, effects and presets with a tap of your foot.
• Silent practice and recording: Many ampless guitar rigs feature headphone outputs and direct recording capabilities, making them ideal for jamming at home, recording late at night or capturing studio-quality guitar tones without having to mic up a loud amp.

FAQs

What’s the difference between amp modelling and amp-in-a-box pedals?

Amp modelling uses digital technology to mimic the sound and behaviour of real guitar amplifiers, often offering hundreds of different emulations in one unit. Amp-in-a-box pedals typically focus on recreating the sound of one or a handful of specific amps using either analogue circuitry or digital processing.

Do I need different pedals for live performance vs. recording?

Not necessarily. Many modern ampless solutions work equally well for both gigs and studio work. The key is ensuring your setup has proper cabinet sim tech, so you can go direct to PA systems or audio interfaces/studio mixers with a convincing mic’d speaker sound.

Can I use my existing pedals with an ampless rig?

Absolutely! Most ampless rigs are designed to work with your existing stompboxes. Simply place your preamp pedal or amp modeller early in your signal chain, with your cabinet simulator or power amp pedal towards the end. Some all-in-one pedalboard amps even feature effects loops like traditional amps, perfect for your delay, reverb and modulation pedals.

How do I get monitor sound on-stage without a guitar amp?

Most venues provide stage monitors, and many ampless rigs can also send a signal to a dedicated wedge or in-ear monitoring system. Some guitarists use a small, powered monitor specifically for their guitar sound in the form of an FRFR cab. Or if they’re using a power amp or powered pedalboard amp, it can be used with a normal guitar cab.

Are ampless rigs suitable for all music genres?

Yes, modern ampless rigs can handle everything from warm, clean jazz sounds to extreme high-gain metal tones. What’s important is choosing the right combination of preamp/amp modelling and effects to suit your style.

What are the most popular ampless guitar rigs?

Some of today’s most popular ampless solutions include the Neural DSP Quad Cortex, Line 6 HX Stomp, IK Multimedia TONEX Pedal, Laney IRF-LoudPedal and Universal Audio UAFX amp pedals. These products have become favourites among gigging musicians in particular, thanks to their combination of realistic amp tones, direct-to-PA connectivity and compact, pedalboard-friendly formats.

Ready to go ampless?

Shop all pedalboard amps

Fancy learning more?

Whether you’re looking for buying advice, tutorials or a bit of gear inspo, our learn section has you covered. For all the latest product launches and industry updates, head over to our gear news section.

The post What is an ampless guitar rig? appeared first on Andertons Blog.

Learning guitar can be one of the most rewarding hobbies you’ll ever pick up. Whether you’re 17, 37 or 77, there’s no expiry date on making music. Thanks to affordable beginner instruments, great-sounding practice amps and an endless supply of online lessons and resources, there’s never been a better time to kickstart your guitar journey.

If you’re just starting out, no matter your age, here are our top tips for learning to play guitar as a newbie…

Manage your expectations and enjoy the process

The most important thing when learning guitar is to keep your expectations realistic. No one becomes a rock star overnight. Even teenagers jamming away in their bedrooms have had to put in the hours to develop their skills.

There’s no doubt that improving at guitar takes practice, but progress comes from consistency, not cramming. If you’re short on time, make the most of the time you do have. Practising for 20 to 30 minutes a day will take you much further than saving everything up for one long weekend sesh.

And whatever schedule works for you, don’t forget to actually enjoy the process. Playing guitar has loads of benefits beyond simply learning a new skill. There’s nothing quite like sitting down and playing a song you’ve learnt or finally mastering a piece you’ve been working on for a while. It’s a rewarding challenge that can be a lot of fun, and who knows, you might even end up writing songs of your own one day!

But above all else, don’t rush. The joy of playing guitar comes from the small victories: learning your first chord, playing along to your favourite song or coming up with a new riff. It’s a fantastic creative outlet that can fit into almost any lifestyle.

Shop affordable guitars and gear for beginners

One of the best things about learning guitar these days is how affordable and reliable entry-level gear has become. Brands like EastCoast, Squier, Ibanez and Jackson all produce excellent beginner electric guitars that sound and feel great without costing a small fortune. Many even come as part of handy electric guitar starter packs, complete with a practice amp and all the guitar accessories you need to start playing.

Here at Andertons, we stock a wide range of beginner-friendly guitars and instrument bundles, so it’s easy to find the perfect axe to inspire you without breaking the bank.

Best electric guitars for beginners

Some of our top starter electric guitars include:

• EastCoast electric guitars: Plenty of budget-friendly models based on legendary designs with impressive build quality for the price.
• Squier Sonic Series guitars: Iconic looks and flexible tones, making them a great fit for everything from rock and funk to indie and pop.
• Jackson JS Series guitars: Perfect for aspiring rock and metal players, with slim necks, aggressive styling and a powerful sound.
• Ibanez GIO Series guitars: Stylish, comfortable guitars with versatile electronics and a range of cool colour options.

Ready to start rocking?

Shop all beginner electric guitars

Best acoustic guitars for beginners

Here are some of our favourite starter acoustic guitars:

• EastCoast acoustic guitars: Affordable, comfy to play and available in a range of steel-string and classical options, making them an excellent choice for complete beginners.
• Alvarez Artist Series guitars: Well-built instruments with impressive projection, rich tone and great playability, offering exceptional value for money.
• Fender acoustic guitars: Stylish, dependable acoustics that are easy to play and available in a variety of body shapes to suit different players and musical styles.

Superb starter strummers

Shop all beginner acoustic guitars

Make the most of practice amps and modern tech

Gone are the days when you needed a big, noisy amp to get a half-decent sound. Thanks to modern compact electric guitar amp combos and modelling amps, it’s simpler than ever to get amazing tones at low volumes, or even through headphones.

Options like the Boss Katana Series, Fender Mustang LT25 and Positive Grid Spark 2 are hugely popular with beginners with their built-in effects, Bluetooth connectivity and intuitive controls. With a small practice amp, you can jam quietly at home, play along to backing tracks and experiment with different sounds, all without needing a huge setup.

Pick up a practice amp

Shop all practice amps

Use guitar learning resources

Alongside modern guitar gear, the other area that’s come on leaps and bounds in recent years is resources for learning guitar. Whether you prefer one-to-one guidance or learning at your own pace online, there are more options than ever right at your fingertips. For example, you can:

• Take lessons with a teacher, either in person or over video call.
• Explore free content on YouTube, or follow structured courses from platforms like Fender Play, JustinGuitar and Yousician.
• Use smartphone apps for tuning, chord charts, metronomes and tracking your progress.

Pros and cons of different guitar learning options

As you can see, there are plenty of ways to learn guitar, and each comes with its own advantages and drawbacks:

• Traditional teacher (in-person): Offers personalised feedback, structured lessons and accountability, but can be more expensive and less flexible when it comes to scheduling.
• Remote teacher (video call): Provides many of the same benefits as in-person lessons, with the added convenience of learning from home. However, it still requires regular scheduling, plus a reliable internet connection!
• YouTube tutorials: Free and available on demand, making them a great option for beginners. The downside is that quality can vary, and there’s no one to spot mistakes or help you avoid bad habits.
• Online learning platforms: Structured courses with interactive features and the flexibility to learn at your own pace. On the flip side, they can lack the personalised guidance of a dedicated teacher.

Don’t get down (many famous guitarists started later)

Still think you’re too old to learn guitar? Think again. Here are just a few examples of guitar icons who didn’t even pick up a guitar until a little later in life:

• Tom Morello (Rage Against the Machine, Audioslave) only started taking guitar seriously when he was at college.
• Glenn Tipton (Judas Priest) didn’t pick up the guitar until his late teens.
• Wes Montgomery, one of the most influential jazz guitarists of all time, didn’t start playing until he was 20.

If they could all go on to shape entire genres, there’s every reason to believe you can learn to play your favourite songs, join a band or compose music of your own.

Essential tips for learning guitar as an adult

With so many tools and resources available today, learning guitar has never been more accessible. As we’ve discussed, there’s a plethora of learning material online, much of it completely free. And if you’d prefer to go the traditional route, there are still loads of experienced guitar teachers out there who can help take your playing to the next level, either in-person or remotely.

If we had to condense our advice into a few essential tips, these would be our key takeaways:

• Learn songs you love: Scale exercises are important, but don’t forget to learn a few of your favourite songs along the way. It’s a great way to stay motivated and keep practising fun.
• Be patient with your fingers: There’s no getting around it, your fingers will feel clumsy at first. You might even find they get sore and tired. But stick with it, and your strength and dexterity will improve over time.
• Balance practice with life: Life has a habit of getting in the way, so keep your practice schedule realistic. Even short, regular sessions can make a big difference.
• Don’t compare yourself to others: It’s easy to be impressed by players on YouTube and social media, but everyone progresses at their own pace. Try to focus on your own improvement rather than comparing yourself to somebody else’s highlight reel. Just keep pushing, and you’ll be amazed how far you can go!

Final thoughts

No matter your age, you’re never too old to start playing guitar. With affordable gear, powerful practice tech and more learning resources than ever before, all you need is the willingness to pick up a guitar and the motivation to keep going.

Take things one step at a time, enjoy the process and celebrate the small wins along the way. Before long, you’ll be playing your favourite songs and discovering just how rewarding making music can be.

Ready to get started? Check out our huge range of beginner instruments, including electric guitars, acoustic guitars, bass guitars and classical guitars.

FAQs

Am I too old to learn guitar at 40/50/60?

Not at all. Many people start in their 40s, 50s or even later. Consistency and enjoyment matter far more than age.

Will my fingers be too stiff to play guitar?

It will probably feel awkward at first, but with regular practice, your fingers will gain the strength and flexibility they need.

Should I start on acoustic or electric guitar?

Choose the one that suits the music you want to play. Acoustic guitars are great for strumming and songwriting, while electric guitars are more versatile and easier on the fingers.

Do I need a teacher, or can I learn online?

Both options are still valid. A teacher can provide tailored guidance and may be better at keeping you accountable, but plenty of people successfully learn using online courses and apps.

How long will it take to learn my first song?

With regular practice, many beginners can play a simple song within a few weeks. The key is to focus on consistency rather than trying to learn everything at once.

What’s the best affordable beginner guitar?

Models from EastCoast, Squier, Yamaha and Epiphone are popular choices for new players, thanks to their combination of quality, playability and value for money.

Can I practice guitar quietly in a flat or apartment?

Yes! A small practice amp or amp modeller with headphones makes it easy to play without disturbing your neighbours. You can also just keep the volume low when playing through a speaker.

Is it harder for adults to build calluses?

Not really. Calluses will form naturally as you practice, regardless of your age. Regular playing is more important than how old you are when you start.

How much should I spend on a beginner guitar and amp?

You can get a great starter setup for a few hundred pounds. For the best value, consider a starter pack that includes a guitar, practice amp and essential accessories such as a strap, picks and a tuner.

What if I only have 15 minutes a day to practice?

That’s totally fine. Short, consistent practice sessions are often more effective than occasional marathon sessions. Even 15 minutes a day can lead to steady progress over time.

Want to learn more?

Our Learn section is packed with helpful guides, buying advice and tutorials for musicians of all experience levels. Or browse our Gear News section to discover the latest product launches and industry updates.

The post Am I too old to start learning guitar? appeared first on Andertons Blog.

Founded in Los Angeles in 1989 — at a time when spandex-clad shredders were tearing up the Sunset Strip and rocking refrigerator-sized rackmount rigs — Fryette Amplification (formerly VHT) has earned a reputation as one of the industry’s most respected builders of premium valve amps, guitar cabs and attenuators.

The company first made its name with cutting-edge power amps that became staples in the setups of players like Steve Lukather (Toto), Dean DeLeo (Stone Temple Pilots) and Page Hamilton (Helmet). It later expanded into high-gain, multi-channel amplifiers with the Pittbull Series, a range still going strong more than 30 years on, alongside the Deliverance Series — clean-to-mean amps that distil the signature Fryette sound into a stripped-back, single-channel design with immense power and dynamic range.

We were lucky enough to catch up with Steven Fryette himself to talk about what inspired him to start making amps, the products he’s proudest of and why the Power Station line of load boxes has resonated with so many modern guitarists.

10 questions with Steven Fryette

1. What first inspired your fascination with guitar amps and what led you to start building your own designs?

I grew up in a home where music was a constant. My father loved classical guitar and my mother plays piano to this day. They bought all the latest records from artists as varied as Elvis, Nat King Cole and Edith Piaf. The radio was always on and from the time I was 10 years old, American Bandstand, The Mahalia Jackson Show and The Liberace Show were part of my daily musical diet.

One day when I was around seven or eight, my uncle brought me his old Erector Set, which I still have, and I learned to tinker on that. When I was around 12, my older brother Jim and I started playing music together. He adopted the guitar and I chose the drums because, you know, Ringo.

Jim’s first amp was a National 1210 with a cool big chrome volume knob. I had already started exploring basic electronics at the local library and I couldn’t wait to get the screws off that amp to see what made it tick. That’s what started it all. After that, I cracked open anything with the irresistible smell of hot tubes and “hazardous voltages inside”. That and music were my twin muses that still drive everything I do to this day.

2. When you founded VHT in the late ’80s, what did you want to do differently from other amp brands?

After transitioning from drums to guitar, I spent my time doing repair work and playing in bands. From that experience, I started getting a sense of what did and didn’t work for me and why. I also got a very keen sense of how the term “quality” was interpreted by the companies that produced the gear and the players that used that gear.

That led me to seek out what seemed to me to be the best gear for me develop my playing and the most compelling to understand electronically. Of course, having the opportunity to tear apart everything that came into my shop and get paid to do it was a gift from Heaven, really. And from that, I learned how things were generally done for better or worse.

So, to answer your question, I didn’t start out thinking about what to do differently so much as which of the designs or functional elements in products I’d already encountered could be blended into something that would allow me to tap into the sounds in my head, and the features that I needed instant access to in one box. So many of my peers at the time were consumed with modding Fender and Marshall amps, and that was of zero interest to me.

Initially, I wasn’t trying terribly hard to sell my work as much as I was trying to obtain what had thus far been unobtainable to me at any price. That morphed into a philosophy in which finding a solution for a problem I personally needed solved could become a real-world solution for my friends, and a growing list of clients who saw or heard something they hadn’t realized they were looking for. I suppose what I wanted to do differently was pretty much whatever anyone else was doing.

3. How did your approach to high-gain amp design differ from what others were doing at the time?

Simply put, I don’t hear “sounds”. I hear an orchestra of fundamentals, harmonics, dynamics and space. I wasn’t trying to get “the most gain” or a particular kind of gain. I was after whatever it was that kept that orchestra intact, and I came to understand that it was all about balance.

I listened to Pete Townsend and I heard all these gorgeous ringing, sparkling booming things simultaneously, and they always seemed to be in more or less perfect proportion. That’s why I love big amps. It’s not all about volume. It’s about balance. Everything about the instrument, amplifier and the space you’re in are ideally working together to create this immense experience.

For “gain” to be meaningful, it must be useful within whatever musical genre or context to which it’s applied. There can be a point of diminishing return in that, especially with respect to gain, so I’m genetically inclined to avoid pushing that envelope beyond the point of more simply for the sake of having more. When it gets to the point where you’re compromising whatever else you might do with this amp in service of more gain, then the whole design functionality is diminished.

4. What do you think made the Fryette Pittbull Series such an influential amp range?

Our sonic and cosmetic signature is recognisable and unique. You can pick it out a mile away. We were early enough in the specialist amp field to be able to create a distinctive voice, and to apply some discipline to achieve that and maintain it.

I always feel that I start the design, but eventually it will tell me where it wants to go. I never interfere with that impulse.

It’s so easy to just say “okay, here’s another flavour of brown”, and a lot of players will rush to get in line for that. We’ve been asked many times to produce an amp that represents “our take on Marshall”. And my reply is “that’s what we’ve been doing all along”. What Marshall, Fender or Mesa/Boogie represents is unique to them, and so it is for us as well.

I’ve made it my mission in life to navigate away from that crowded field simply because I hear things a certain way, and nobody is going to convince me that the “easy money” is worth discarding what my intuition tells me is our most important and valuable asset.

5. How did the rackmount revolution of the ’80s and ’90s shape your products and philosophy?

That was a classic case of pure dumb luck and being in the right place at the right time. My prior experience and many thousands of hours exploring how guitar power amps behave allowed us to offer not just a product, but a sonic approach that made a rack rig inspiring to play.

I made an assessment that loads of rack gear in a complex signal chain robbed tone and dynamics, so the right power amp could restore and enhance that lost magic rather than simply colouring the sound, which is what a typical guitar power section mounted in a rack chassis would be doing. By making something completely from scratch, I wasn’t constrained by any preconceived rules or outcomes.

All the best players and biggest bands were accessible to us, and they were always interested in the next hot development. I brought a rat’s nest of a power amp prototype to a couple of the most respected guitar shops in the area expecting a lot of advice and criticism to apply to the next attempt. What I left with was a handful of orders for a conglomeration of parts in a box that now needed to become a reality, and fast.

Our destiny was shaped by necessity, which is an enviable position, and especially so at that time. We could make our own rules. Randall Smith, whom I had already met while doing Mesa warranty service, told me he was blindsided by our power amps because all of his people were telling him not to put sound altering controls on the front panel, and now people are choosing VHT power amps doing the very thing he thought would be considered some kind of blasphemy.

6. You’ve worked with some huge artists over the years. Who had the biggest impact on your products and the way you think about tone?

While we do have a pretty deep roster of well-known and respected artists, they don’t necessarily have direct input or influence on product design in general, or my ideas about how things should work or sound. Sorry if that sounds a bit arrogant, but the artists that inspired and influenced me and my thinking about design and sound are the same as those who inspired and influenced how every musician plays and creates.

That not only covers any genre or time period, but applies to any instrument, not just guitar. Hendrix wanted to sound like a sax player. Jack Bruce’s overdriven bass melody lines sounded like a cello ensemble in a classical orchestra. Gregorian chants… The well that we all draw from to invent or reinvent music provides the stuff that goes into the design of a piece of equipment that’s intended to enable a creative musician to invent.

I certainly listen to what contemporary players play, but more often than not, I’m thinking about what they could do if they had access to X. I’ve had the opportunity to play in places where the likes of Jeff Beck, Jesse Ed Davis and Dick Dale either stopped and listened, smiled appreciatively, complimented me or started a conversation. The conversation can involve anyone great or small. But what’s important is that the conversation is what gets the wheels turning.

7. The Fryette Deliverance Series has become something of a cult classic. What was the original vision behind it?

Our general manager, Eriko Fryette, is a seasoned musician, educated graphic designer and long-time vinyl junkie with an incredible ear and an inquiring personality who asks lots of questions. She’s been very influential in the development of our design ethos. By the early 2000s, we were growing weary of constant requests for more features and functions on every new amplifier model, only to face criticism over the resulting complexity of the design.

Eriko asked me to demonstrate what I felt was our signature sound. She questioned whether or not it was possible for an amplifier with a limited feature set to achieve whatever that was. That seemed like a no-brainer to me, as long as players would accept the fact that one would have to work a little harder to make such an amplifier work for them and then be satisfied that it wouldn’t easily morph into something else at the flick of a switch.

I said players do it all the time with vintage amps, so there’s no inherent limitation in our designs for such a player using our gear. I demonstrated what I meant by dialling in a range of sounds and styles with different instruments creating a variety of clean, mid-gain and overdriven voicings using only the rhythm channel on the Pittbull CLX. When she asked me if we could build something like that, I said it was just a matter of stripping out a lot of bells and whistles first and then see if things still sounded familiar.

That initiated the project. Just a simple “what if” that became this stripped-down beast that somehow didn’t lose anything in translation. Later during a staff meeting, we were kicking potential model names around and, you know, it was every bit as boring and painful as a group of guys trying to name a band. After a while, I just dropped the first thing that came to mind. The word Deliverance came out, and everybody stopped talking all at once. One guy just said “oooh”, and that was it — which is often how things work here.

Sting once said that when you’re looking for inspiration, you simply need to “keep your antenna switched to input”. I loved that. These things take on a life of their own and you have to be willing to let that process play out. I always feel that I start the design, but eventually it will tell me where it wants to go. I never interfere with that impulse.

We all expected that there will be fans and haters anyway, and to drive the point home, there would be no footswitch or FX loop. You were going to live or die by whatever it is as a creative musician that drives you, and that’s all there is, isn’t there? We even made a Deliverance T-Shirt that said “Are you afraid?” on one side and “Play or die” on the other. The reaction ran the gamut, of course, and we greeted it all with acceptance. We did what we believed in and that amp was proof of our commitment to everything we care about. The rest is up to you, the player.

8. How did the idea for the Power Station come about, and why do you think it’s resonated with so many players?

The Power Station was a project where we went off script. What I mean is, we try to avoid getting caught up in the latest trends, but when I saw how much frustration there was out there for an attenuation device that really worked, I followed the advice of my longtime friend Pat Quilter, who says “sometimes you do a thing because it just needed to be done”.

I still pinch myself 10 years on now knowing that every day players are just discovering the Power Station.

We had just released the LX II power amp when a new attenuator appeared to be close to hitting the market, for which a lot of well-known players were throwing down significant deposit money. Then the product and the creator disappeared and I thought “what a wasted opportunity”, and I didn’t see anyone stepping into the breach.

Just for fun, I built a reactive load and started thinking about how it would behave under a variety of load conditions. That got boring really fast because there were way too many compromises, and I immediately saw how complicated and expensive it would be to build. But I still wanted to evaluate the load behaviour, so I fed an amp output into the load, added a pad to drop the signal down to line level and fed that into the LX II power amp and a cab. I played one open E chord and the hair on the back of my neck stood straight up.

I then brought in some of the crew to listen to make sure I wasn’t imagining things, and they all had the same reaction. Just wide-eyed excitement. That’s when I knew this was going to be something special, and that’s why I think it resonates. You don’t have to think about it or explain it. You just plug in and you’re immediately having fun, and who cares why. It’s agnostic about which amp you’re using, so everyone has the same experience: “where have you been all my life?”. I still pinch myself 10 years on now knowing that every day players are just discovering the Power Station.

9. Which amplifier design are you personally most proud of, and why?

The Deliverance, hands down. It makes me happy and it always sounds good no matter my mood or motivation for turning it on. If I want to try something new or different than what I usually play, it’s right there and ready to go. I never have the feeling that it needs something more. There are diehard Deliverance players out there and honestly nothing is better than that.

10. What’s next for Fryette Amplification?

Besides having released the Valvulator Mini just this month, there are six new products in development as we speak. Please accept my apologies for not being able to share details at the moment. It’s very hard to hold back my desire to leak tidbits, but if I shoot my mouth off, anxious players will want to know what’s up and they’ll want to know right now.

We’re busy little bees operating on several tracks simultaneously, so it’s never boring or a chore. We’re really enjoying our little sandbox doing all kinds of fun things that will surprise and please a lot of players.

Follow Fryette Amplification online

If you’re now a big fan of Fryette, stay in the loop with their latest news, product launches and more:

• Subscribe to Fryette Amps on YouTube
• Follow @fryetteamps on Instagram
• Follow @FryetteAmps on Facebook

And while you’re here, don’t forget to bookmark the Andertons Blog. Whether you’re looking to sharpen your guitar knowledge, explore iconic gear stories or keep up with the latest gear news, we’ve got plenty more to dive into.

Find your Fryette!

Shop all Fryette amps

The post Fryette Amps: interview with founder Steven Fryette appeared first on Andertons Blog.

With many UK schools facing budget cuts, music is unfortunately one of the subjects feeling the impact. Here at Andertons, we’re passionate about helping people of all ages discover the joy of playing, and we strongly believe every child should have the opportunity to experience the benefits of music education. After all, we’ve been Making Musicians Since 1964.

In this blog, we’ve rounded up 10 ways learning a musical instrument can help children grow, from boosting creativity and confidence to supporting academic development and social skills. Whether your child’s picking up a guitar, a pair of drumsticks or taking their first piano lesson, they’ll gain skills that can stay with them for years to come.

1. Creates a productive hobby

You might think it’s too early to talk about the long-term benefits of learning an instrument, but speaking from experience, the impact can last well into adulthood. I’ve played electric guitar for more than 20 years, having started out on a children’s guitar when I was 11. And looking back, learning an instrument gave me far more than just a hobby. It taught me the value of practice and dedication, and helped shape many of my interests as I grew older.

Having a hobby from a young age can also help children discover their passions and talents. Whether that influences the subjects they choose at school, the friends they make or even the career path they follow later in life, music can play an important role in their personal development. Plus, it’s a great way to get them away from their screens for a while!

2. Keeps boredom at bay

Before I took an interest in music, I often found myself glued to my Game Boy playing Pokémon. And don’t get me wrong, video games are great fun and can be a brilliant way to unwind or stay connected with friends. But when I discovered the guitar, I found something that kept me engaged in a totally different way.

Learning an instrument as a child gave me a creative and productive outlet that I could always come back to. Practising songs, learning cool new techniques, setting myself fresh challenges — there was always something to work towards.

That’s one of the great things about music: there’s no finish line. No matter how much you improve, there’s always something new to discover.

3. Develops discipline

One of the most valuable lessons that comes with learning an instrument is discipline. Improving your skills takes time, consistency and commitment, whether that’s practising chords on a guitar, learning scales on a piano or nailing a beat on the drums.

For children, developing discipline early can have lasting benefits. Setting aside regular practice time helps build good habits, encouraging them to stay focused and work towards long-term goals. These are skills that can prove useful at school and later in life.

And with discipline comes patience. Progress doesn’t happen overnight, and some techniques can take weeks or even months to master. Learning to embrace that process teaches kids the value of perseverance and helps them understand that getting better at something takes dedication and effort. After all, every great musician starts somewhere.

4. Serves as relaxing downtime

For me, playing guitar has always been a great way to switch off. When I was at school, I couldn’t wait to get home and jam along to my favourite bands. After a day spent focusing on lessons, it gave me a chance to be creative and do something that genuinely made me happy.

That’s one of the many great things about learning an instrument — it can provide a healthy way to unwind. When you’re practising a song or perfecting a new technique, it’s easy to forget about everything else for a while. And as a child, having an activity that helps you relax and recharge can be incredibly valuable. Even as an adult, picking up one of my electric guitars after a busy day remains my favourite way to clear my mind.

5. Forms physical benefits

Many instruments require both hands to work together in harmony. And playing riffs on a guitar or moving up and down the keys on pianos are movements can help develop coordination and fine motor skills.

At first, getting both hands to work independently can feel almost impossible. But with regular practice, those movements gradually become second nature. Drummers take things a step further, often learning to coordinate all four limbs at once, which can help improve timing, reflexes and overall body coordination.

These physical skills can prove useful in all sorts of everyday activities, from sports and exercise to practical tasks later in life — even learning to drive!

6. Supports academic development

Many of the skills developed through learning an instrument can also support a child’s education. It’s not just about discipline and perseverance either, as music naturally overlaps with several school subjects, particularly maths and science.

Understanding note values, time signatures and rhythms involves counting, patterns and problem-solving. Learning to read music requires concentration and the ability to process information quickly too, helping children develop skills that can be handy in the classroom as well as the practice room.

For guitarists, even reading tablature involves recognising numbers and patterns across the fretboard. And as their playing develops, they’ll also build a greater understanding of musical relationships such as pitch, intervals and harmony.

Music shares strong links with science as well. Topics such as sound, vibration and acoustics are all rooted in physics. Whether it’s understanding how sound travels through a room or how different materials affect an instrument’s tone, music can help bring scientific concepts to life in an engaging and memorable way.

7. Enhances listening skills

Learning a new song or piece of music requires careful listening. As children grasp how to pick out melodies, recognise rhythms and play riffs by ear, they develop their ability to listen closely and pay attention to detail.

Over time, they’ll also start to recognise the unique characteristics of different instruments and how they work together within a piece of music. This not only helps them become better musicians but also boosts focus and active listening that can be useful in everyday life. These abilities will be especially valuable when playing with other musicians, helping them develop timing, awareness and confidence in group settings.

8. Trains their memory

Learning a song is, in many ways, a memory exercise. Remembering chords, scales, sheet music and lyrics encourages children to store and recall information on a regular basis.

While this can be hard at first, it’s all part of the learning process. As children practice and build their repertoire, they’ll naturally strengthen their ability to remember patterns, sequences and techniques. These memory skills can be useful in other areas too, like revising for exams.

For some musicians, sheet music or notation acts as a helpful guide. Pop and rock players, on the other hand, will often memorise entire songs and performances. Either way, developing a strong musical memory is an important part of becoming a proficient musician.

9. Improves social skills

Playing a musical instrument can open the door to all kinds of social opportunities. Joining a school band, performing in concerts or simply jamming with friends gives children the chance to connect with like-minded people who share their interests.

Learning to play alongside others also encourages teamwork, communication and cooperation. From listening and adapting to different playing styles to working towards a joint goal, these experiences can help children build social skills that will benefit them throughout their lives.

10. Boosts their confidence

Standing on a stage with a guitar or smashing away on a drum kit just looks cool, and every musical milestone helps a child grow in self-belief. While performing in front of others can be nerve-racking at first, confidence often builds with experience. And the more opportunities children have to share their playing, the more comfortable and self-assured they tend to become.

Music also teaches children how to respond to feedback and use it positively. Learning how to overcome mistakes, accept constructive criticism and keep improving helps build resilience and drive. Over time, that mindset can benefit them in many other areas too.

FAQs

What is the best guitar for beginners?

Choosing the right beginner guitar can make all the difference when starting your musical journey. EastCoast guitars are a fantastic option, having been designed by the team here at Andertons specifically with new players in mind. They’re affordable, easy to play and available in a range of acoustic and electric styles. For an even easier start, check out our EastCoast guitar starter packs. These include everything you need to get rocking, such as an amplifier, strap, gig bag and more.

Better still, renowned online guitar tutor JustinGuitar has spent some time exploring the EastCoast range, and gives it his full approval for beginners looking to start playing. Here’s what he has to say:

“Having played a lot of budget instruments, I can confidently say that EastCoast guitars are by far the best bang for buck I’ve tried. They all had a ‘low action’ (the strings are easy to press down) which is perfect for beginners, meaning less finger pain and a lot more fun!”

What’s the easiest instrument to learn?

There’s no single “easiest” instrument to learn, as it often depends on your interests and goals. That said, instruments like ukuleles, keyboards and acoustic guitars are popular choices for beginners thanks to their accessibility and the wealth of learning resources available online. The best instrument to learn is ultimately the one that excites you the most, as you’ll be far more motivated to practice and improve!

Which keyboard is best for beginners?

For beginners, the Yamaha PSR-E283 is an excellent place to start. It offers a wide range of sounds, built-in learning features and an intuitive layout that’s easy to get to grips with. If portability is a priority, the Carry-on folding piano range is also worth considering. These innovative keyboards fold down small enough to fit into a backpack, making them perfect for practising at home or taking to school.

What’s the best beginner drum kit?

The best beginner drum kit depends on your environment and budget. If you’re looking for a traditional acoustic setup, the Mapex Comet is a great-sounding starter kit that’s built to last. Prefer something quieter? Electronic drums such as the Alesis Turbo X and Roland TD-02K allow beginners to practice with headphones, making them ideal for homes with neighbours or anyone wanting to keep noise levels down while learning.

Which instrument is best for school?

Instruments that are portable, versatile and commonly used in school music programmes tend to be great choices. Keyboard, classical guitar, ukulele and violin are all popular options, as they’re easy to transport and can be used in a variety of musical settings.

Want to learn more?

Our Learn section is packed with helpful advice and tutorials for musicians of all experience levels. Looking for the best first guitar or piano? Start with our Best Instruments for Beginners page, then explore our full range of Instrument Buyer’s Guides.

The post 10 reasons why your child should learn a musical instrument appeared first on Andertons Blog.

As a guitarist who plays live a lot, I absolutely swear by pedal switching systems. Before I bought mine a few years ago, I was doing a whole lotta tap dancing on stage. And trust me — it’s one of the best gear investments I’ve ever made. Pedal switchers even earned a spot on our ultimate gigging guitarist gear checklist.

These clever gadgets let you organise, control and switch between your effects with minimal effort. Simply route your guitar pedals into their dedicated “loops” and toggle them on and off using footswitches placed neatly at the front of your board. Some of the best switching systems even let you create presets, so you can store your favourite combinations and engage or disengage multiple effects at once with a single press. Pretty awesome, right?

If you’re looking to upgrade your rig, we’ve picked out six of the best pedal switchers available today that’ll help you manage your effects like a pro (and stop you looking like a Gene Kelly impersonator). From affordable options to posh MIDI-equipped models, there’s something here for every kind of pedal fanatic. But first, let’s quickly go over all the reasons why they’re so cool…

Benefits of pedal switching systems

Whether you’re gigging on the reg or building your dream pedalboard, here are some of the main advantages of a guitar pedal switcher:

• One tap, total control: Instead of doing the pedalboard dance between songs, a programmable switching system lets you turn multiple effects on or off with one footswitch press.
• Consistent tones every time: Dial in your go-to combinations once, save them as presets and recall them instantly. Perfect for making sure your clean, crunch and lead sounds are exactly how you left them.
• Cleaner signal path: Many guitar loop switchers keep unused pedals out of your signal chain, helping to preserve clarity, reduce unwanted noise and maintain your core tone.
• Make playing live easier: If your set requires lots of sound changes, a guitar pedal switcher makes moving between tones quick and seamless, keeping you focused on the performance rather than your pedalboard.
• Reorganise your effects: Some of the best premium pedal switchers let you change the order of your signal chain for each preset without ever unplugging a cable. Ideal if you love experimenting with different sounds.
• Pro-level flexibility: From simple loop management and mute/tuner functions to MIDI control and amp channel switching, modern pedalboard switchers can become the command centre of your entire rig.

Ultimately, a pedal switching system removes distractions, streamlines your setup and lets you focus on what really matters: playing your best and sounding great!

Best for under £100: Hotone Patch Kommander

Believe it or not, you can now buy an effects loop switcher for less than 100 quid. And the Hotone Patch Kommander is easily one of the best options at this price point. Not only does it offer four true bypass loops for routing your favourite effects, but it’s programmable too. That means you can jump from a clean tone with chorus and reverb to a lead sound with distortion and delay with a tap of your foot.

It features 12 presets organised into three banks of four, giving you plenty of scope to create different pedal combinations for songs or sets. And they’re a doddle to dial in, thanks to the intuitive control panel. But if you wanna keep things really simple, just switch to the unit’s Direct mode to turn your individual pedals on and off.

What’s more, the Hotone Patch Kommander comes with an SW A/B function for changing channels on your amp, a switchable input buffer to help prevent high-frequency loss, plus a mute/tuner footswitch output for connecting a tuner pedal. Not bad at all for £84.99 (at the time of writing).

Buy now

Best value: Mooer L6 MKII

If you’re happy to stretch your budget a little further, the Mooer L6 MKII might be worth the extra dosh. This programmable pedal switcher boasts (you guessed it) six loops, making it a great shout for bigger pedalboards.

Like the Hotone Patch Kommander, it offers two operating modes: Play and Live. In the Play configuration, you can save and recall up to 36 presets, allowing you to activate or deactivate multiple loops with a single footswitch press. Or use Live mode to manually control your pedal loops on the fly.

Another highlight of the Mooer L6 MKII is its large LED display, so you’ll always know which patch you’re using whether you’re on a dark stage or just jamming at home. The built-in tuner is a sweet bonus too, as it could free up some valuable space on your board. And the pre- and post-signal buffers are a nice touch, keeping your signal sounding clear and strong. It’s a lot of bang for your buck!

Buy now

Best for small pedalboards: One Control Xenagama Tail Loop MKIII

Running a dinky fly rig? The One Control Xenagama Tail Loop MKIII is a solid choice for controlling three of your go-to pedals (or a few effects within a single loop, like your delay and reverb). With a depth of just 41mm, it’s one of the world’s smallest pedal loop switchers, making it easy to squeeze onto even the most compact pedalboard. Just stick it right at the front and you’ll never have to awkwardly stretch over your stompboxes again.

And don’t let its size fool you — this little One Control pedalboard switcher packs in some genuinely useful features. While it’s not programmable, it does have a built-in power supply that can provide juice to up to four 9V DC pedals: the three in your loops plus a tuner. Speaking of which, there’s also a handy tuner out/mute function you can click on between songs or when swapping guitars. Plus, the switchable BJF input buffer helps minimise tone loss when you’re using longer guitar cables.

If three loops isn’t quite enough, consider the One Control Iguana Tail Loop MKIII instead. It’s exactly the same depth as the Xenagama Tail Loop MKIII but slightly wider, making room for two extra footswitches and a total of five pedal loops.

Buy now

Best for big pedalboards: Electro-Harmonix Super Switcher

If you’ve got loads of effects chained together on a pedalboard that looks more like a space station, you’ll need a switching system with plenty of loops and gizmos to get the most out of your setup. The Electro-Harmonix Super Switcher is a fantastic option that’ll ensure you’re never hollering, “Houston, we have a problem” to the sound guy at your next gig.

That’s because this bulletproof programmable switcher offers eight true bypass loops and can store up to 128 presets. Better yet, two of its loops are stereo, making it ideal for running powerful digital delay pedals and reverbs in stereo through a pair of amps. It’s also a stellar choice if you’re using the four-cable method, as it makes it easy to route certain effects in front of your amp while placing others in the effects loop.

But here’s where it gets seriously clever. With its MIDI in and out, the Super Switcher can change patches on compatible MIDI-enabled pedals as part of your presets. It can also send and receive MIDI clock data, transmit tap tempo signals and keep your time-based effects perfectly synced to a shared master clock. The dedicated Tap footswitch lets you set the BPM globally or on a per-preset basis, giving you loads of flexibility for different songs and sounds. Heck, it’s even got a built-in boost for giving your solos a lift!

Buy now

Best for gigging: Boss MS-3

I might be biased because I own one of these bad boys, but the Boss MS-3 is simply a brilliant bit of kit for gigging (although to be fair, most guitar effects switchers are). Why this one specifically? Because it’s compact, programmable and has three loops for controlling your fave stompboxes. But here’s why I really love it: it comes loaded with 112 world-class Boss effects, making it an incredibly versatile all-in-one hybrid pedal switcher.

With 200 presets onboard, you can save enough patches for your band’s entire repertoire and still have room to spare. It’s also crammed with clever deep rig control features, making it easy to tweak parameters on your fancy digital pedals in real time via MIDI, switch channels on your guitar amp and more. You can even hook up external footswitches and expression pedals, giving you control over extra functions and effects within the MS-3.

But perhaps best of all, it’s a breeze to dial in. Thanks to its backlit LCD screen, you can view and edit your entire signal chain when building presets, with the ability to run and re-order up to six internal effects alongside the three pedals you’ve got looped in. There’s a tuner baked in too, plus a tweakable noise suppressor for each patch that helps keep your heavier sounds free from hiss and feedback.

Buy now

Best overall: The GigRig G3S

If you’ve got the budget to buy the best pedal switcher out there, The GigRig G3S is pretty hard to beat. It’s packed with pro-grade features that’ll take complete control of even the most elaborate rigs. With 12 passive true bypass loops that can be run in mono, stereo or a combo of both, 99 banks with up to 28 presets each, plus the ability to send multiple MIDI messages to compatible pedals and rack gear, the G3S can handle just about anything — even if you’re rocking a pedalboard the size of a dining table.

What really sets it apart is that you get a dedicated OLED display for each footswitch, so you’ll always know exactly what every switch does at a glance (no more masking tape labels stuck all over your board). Programming patches is straightforward too, and with built-in Bluetooth, you can reorder effects, organise setlists, perform backups and update the unit wirelessly using The GigRig’s app and web editor.

Extra features like programmable pre- and post-gain controls, stereo delay and reverb spillover, parallel routing options and switchable outputs give you an incredible amount of flexibility. And despite all that power, The GigRig‘s main focus remains preserving your tone, with an ultra-transparent signal path designed to let your pedals and amps sound exactly as intended. In short, the G3S is a beast!

Buy now

Guitar pedal switchers FAQs

What’s the difference between a loop switcher and a pedal switching system?

With a standard loop switcher, you simply route your guitar pedals into separate loops and toggle them on and off using footswitches positioned neatly at the front of your pedalboard. A pedal switching system typically adds programmable presets, MIDI control, amp channel switching and more advanced routing options, giving you greater control over your entire rig.

Can a pedalboard switcher improve my guitar tone?

Yes, many pedal switching systems help maintain signal integrity by removing unused pedals from your chain, reducing unwanted noise and minimising tone loss. Many also feature true bypass loops, plus switchable input/output buffers to help keep your signal strong when using longer cable runs.

Are pedal switchers compatible with MIDI pedals?

Many modern pedal switching systems include MIDI functionality, allowing you to control MIDI-equipped pedals, modelling amps and rack effects alongside your analogue stompboxes from a single controller. This makes it easy to switch multiple devices simultaneously and recall complex presets with one footswitch press.

Which brands make the best pedal switching systems?

Popular brands include Boss, The GigRig, One Control, Electro-Harmonix, Mooer and Disaster Area, each offering solutions for everything from compact pedalboards to professional touring rigs.

Switch it up!

Hotone Patch Kommander Loop Switcher Pedal

£84.99

Mooer L6 MKII Pedal Controller & Switcher

£119.99

One Control Xenagama tail Loop3

£119.99

Electro Harmonix Super Switcher Switching Control Center

£399.00

BOSS MS-3 Multi Effects Switcher

£429.00

The GigRig G3S Advanced Switching System

£1,599.00

Shop all pedal switchers

Wanna learn more?

Still not sure which guitar switching system is right for your rig? Our ultimate guide to pedal switchers is the perfect next stop, covering everything you need to know before you buy. Or, if you’re in the mood for even more gear chat, head over to our learn section for in-depth buying guides, expert advice and helpful how-to articles.

The post 6 best pedal switchers in 2026: control your effects like a pro! appeared first on Andertons Blog.

]]> https://blog.andertons.co.uk/learn/best-pedal-switchers/feed 0 https://blog.andertons.co.uk/learn/infinia-guitars-daan-van-dijk-interview https://blog.andertons.co.uk/learn/infinia-guitars-daan-van-dijk-interview#respond Fri, 17 Jul 2026 16:00:00 +0000 https://blog.andertons.co.uk/?p=15336

Infinia guitars are primed for prog, fusion and any boundary-pushing style that demands precision and a tight, controlled sound. Built in Europe by a small team, each instrument is crafted using high-quality materials and sustainable practices, with a clear focus on modern design and playability. Founded in 2023 by Brian van Zwietering, Daan van Dijk […]

The post Infinia Guitars: interview with co-founder Daan van Dijk appeared first on Andertons Blog.

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Infinia guitars are primed for prog, fusion and any boundary-pushing style that demands precision and a tight, controlled sound. Built in Europe by a small team, each instrument is crafted using high-quality materials and sustainable practices, with a clear focus on modern design and playability.

Founded in 2023 by Brian van Zwietering, Daan van Dijk and Maikel van der Wel, the company has worked alongside some of the industry’s most innovative designers, including Sheldon Dingwall, who created an exclusive Infinia original called the Titan. But it’s Infinia’s Padalka connection that makes its story particularly interesting. Many of the brand’s current electric guitars breathe new life into discontinued Padalka models, preserving their legacy following a major shake-up in the company’s lineup.

We had a chat with Daan van Dijk about the story behind this unique tie-up, what makes Infinia guitars special and why it’s a name that guitarists should be keeping a close eye on.

10 questions with Daan van Dijk

1. What inspired you and your team to start Infinia Guitars?

It really was a case of the right opportunity coming along at exactly the right time. Maikel and I have spent our entire careers in the musical instrument industry and worked together for the same company for the last eight years. At the time, Maikel was leading the QC and repair department, while I was working as a product manager.

We both shared a passion for high-end metal guitars, and it wasn’t unusual for us to spend our breaks showing each other photos of incredible custom builds we’d found online. More often than not, those guitars were made by Padalka as he was easily our favourite builder.

As a trained luthier, Maikel would explain the construction techniques and point out the details that made those instruments so special. With my background in repairs and woodworking, I was equally fascinated by the craftsmanship. Naturally, my mind would then drift toward the commercial side of things, thinking about how a brand like that could fit into the market.

Having worked with high-end guitar brands for many years, we knew exactly what we were looking for and, just as importantly, what we wanted to avoid.

When the opportunity came along to continue the original Padalka catalogue, everything suddenly fell into place. Between us, we felt we had the experience, the network, and the knowledge to give those guitars the future they deserved. So, the inspiration for Infinia Guitars came from years of passion for exceptional instruments. The opportunity to continue the Padalka legacy was simply the spark that turned that passion into a company.

2. How did the Padalka partnership first come together?

As longtime fans of Simon’s work, we actually had two custom guitars on order with him. Then, one day, Simon contacted me with the unfortunate news that he had to cancel those orders. The war had broken out in Russia, where he was living at the time, and he had made the difficult decision to sell his workshop and move to Canada.

I asked if he wanted me to introduce him to our friend Sheldon Dingwall, thinking Sheldon might be able to help him find his place in the Canadian guitar industry. Simon laughed and told me that wouldn’t be necessary as he had already accepted a position at Dingwall as a Master Builder. While we were genuinely happy for him, he also explained that he would be retiring his existing guitar catalogue. With most of his time dedicated to building bass guitars at Dingwall, he simply wouldn’t be able to continue producing his own models.

That news stayed with us for a while. We kept thinking about those guitars and what would happen to the designs that we had admired for so many years. Eventually, we had a long conversation with Daria Padalka, and she gave us the opportunity to acquire the rights to Padalka’s original catalogue.

That was the moment everything changed. Suddenly, it wasn’t just an idea anymore as we had the responsibility to decide what the future of those instruments would look like, and to make sure their legacy would continue in the right way.

3. How did you convince Daria and Simon that Infinia was the right home for their designs?

From their side, the decision had already been made to retire the original Padalka lineup, so that was never really part of the discussion. The real conversation was about which models we wanted to continue and what that continuation should look like.

There was one particular model that Simon felt strongly about preserving, while Daria had a very clear vision of what the future of the brand should be. For her, it was essential that production remained in Europe and that the legacy they had spent so many years building would be respected rather than reinvented.

That actually aligned almost perfectly with our own vision. We never wanted to turn these guitars into mass-produced instruments or take production overseas. Our goal was to preserve everything that made them special while making them available to a wider audience. In the end, it wasn’t about convincing anyone. It was about making sure we all shared the same vision for the future and agreeing on the best way to carry that legacy forward.

4. Why was it important to keep production entirely in Europe?

That really came down to the level of quality we wanted to achieve. Having worked with high-end guitar brands for many years, we knew exactly what we were looking for and, just as importantly, what we wanted to avoid. The challenge wasn’t defining the standard, it was finding the right manufacturing partner who shared that vision and could consistently deliver both the quality and the production capacity we needed.

From the very beginning, we knew production had to stay in Europe. It wasn’t just about quality; we also wanted to build a close working relationship with the people making our guitars. Being able to visit the factory, discuss improvements face-to-face, and work together on new ideas is incredibly valuable to us.

A lot of people don’t realize how much work we still do ourselves before a guitar is ever assembled. We source, resaw, level and prepare every top in-house because we want complete control over the look and quality of each piece of wood. Depending on the model, we also make neck laminates, fretboard inlays and body blanks ourselves. We carefully source our hardware, and in some cases we even design custom guitar parts specifically for our models.

One detail that really reflects our philosophy is the wooden Certificate of Authenticity that comes with every guitar. Each one is handmade by us and crafted from the same piece of wood as the guitar’s top, making every certificate unique to that instrument.

It’s a very hands-on and labour-intensive way of working, but it’s also what allows us to maintain the level of consistency and attention to detail we’re aiming for. To make that possible, we needed a manufacturing partner we could trust completely as one that’s close enough for us to work together throughout the entire process.

5. What was the biggest challenge in bringing the Ceres and Neptune back?

Acquiring original guitars to reverse engineer was probably one of the biggest challenges of the entire project. We eventually managed to buy back the Padalka CS that Simon had originally built for Protest the Hero. We also tracked down a Neptune that belonged to a collector in Switzerland.

[What] really surprised me was how many people told us we had the best-playing guitar at NAMM.

Once we had both guitars, the real work began. We completely disassembled them to understand every detail of how they were built and created accurate CAD models of every component. From there, we moved into the prototyping phase, which was incredibly exciting. It was the moment of truth to see if we could faithfully recreate what made those guitars so special.

6. How did the collaboration with Sheldon Dingwall on the Titan happen?

As I mentioned before, we already knew Sheldon Dingwall as he was a long-time business contact. The company I worked for was the European distributor for Dingwall, so we’d known each other for many years. A long time ago, I actually showed Sheldon a mock-up of a Dingwall-inspired guitar in the hope that it might inspire him to build one. He deliberately chose not to, because he wanted Dingwall to stay fully focused on basses.

Years later, while we were working on the Padalka models, I came across that old mock-up again. It felt like the perfect opportunity to revisit the idea, this time as an official collaboration. I spoke to Sheldon once more, and when we showed him our first CS and Neptune prototypes at Guitar Summit 2024, he immediately embraced the concept. He told us he wanted to build his own vision of what a Dingwall guitar should be.

About a month before we officially launched Infinia Guitars at Guitar Summit 2025, the prototype arrived. As you’d expect from Sheldon, the execution was exceptional. Rather than simply adapting one of our existing designs, he took a completely fresh approach. He designed a seven-string guitar with a 27″–25.2″ multi-scale layout, yet the overall length is actually shorter than a traditional S-style guitar. The result is an instrument with the string tension and sound of a long-scale multi-scale, but the comfort and compactness of a much smaller guitar.

From that point on, it became our job to refine the design, integrate it into the Infinia lineup, and prepare it for production. That’s really where the Titan story began.

7. Can you explain Controlled Mass Reduction (CMR) and why it matters to players?

One of the challenges we ran into during development was the weight of the guitars. We know that for a lot of players, a heavy instrument can be a real downside, so we wanted to find a way to keep the weight as consistent as possible.

The biggest variable is the wood itself. Both the body wood and the top can vary quite a bit in density and weight, even when they’re the same species. Because of that, we’ve developed a system where we take those differences into account during the build process and adjust certain elements accordingly. The goal is to keep the finished guitar within a predictable weight range instead of leaving it entirely to chance.

Time and again, people told us they were ready for a new high-end brand focused on modern metal guitars.

It’s still a system that’s evolving, and the more guitars we build, the more data we collect. That allows us to refine the process and gives us even more control over the final result.

8. What’s the difference between the Icarus/Nautilus and Avalon/Exelion pickup sets?

That’s an interesting question. During the development of our guitars, we spent a lot of time debating which pickups should become our standard set. To make the process as objective as possible, I built a guitar with a quick-change pickup system that allowed us to swap pickups in just seconds. That meant we could compare a large number of pickup sets under exactly the same conditions.

We each did our own blind tests, and we also invited a number of other players to do the same. Surprisingly, the results were remarkably consistent. The Icarus/Nautilus set came out on top almost every time, so that became our standard pickup configuration.

After we launched the guitars at the Guitar Summit 2025, we were getting some requests from players looking for something with a little more output. Fortunately, we had a guitar fitted with the Avalon/Exelion set with us and we asked people to compare the two back-to-back. The results were almost a perfect 50/50 split, which convinced us there wasn’t a single “best” choice. Instead, there were two different types of players with different preferences, so we decided to offer both options.

The easiest way to describe the difference is this: the Icarus/Nautilus is a more traditional, medium-output set that fits perfectly with the current trend of players moving back toward lower-output pickups with plenty of dynamics and clarity. The Avalon/Exelion set is designed for players who want a modern, tight, high-output sound, delivering plenty of aggression while still retaining the mids that help a guitar cut through a mix.

9. What has surprised you most since launching Infinia Guitars?

Without a doubt, that has been the response from the market. Time and again, people told us they were ready for a new high-end brand focused on modern metal guitars. We heard it from players, but just as importantly, from dealers.

The second thing that really surprised me was how many people told us we had the best-playing guitar at NAMM. We kept hearing it throughout the show, and after a while it became hard to ignore. Receiving that kind of feedback from so many different people was incredibly rewarding and gave us even more confidence that we’re on the right track.

10. What’s next for Infinia that guitarists should be excited about?

We’re almost ready to ship the first Titan models, and we know a lot of people have been looking forward to finally getting their hands on one. While all our focus is on getting these first Titans out the door, we’re already deep into projects planned for late 2026 and 2027. With Guitar Summit and NAMM on the horizon, we’re putting the finishing touches on some very exciting new developments.

Alongside left-handed models, single-pickup versions and multi-scale guitars, we’re also exploring completely new body shapes and collaborations with designers, artists and bands. There’s a lot happening behind the scenes, and we’re excited about where we’re taking the brand over the next few years.

Infinia guitars on Andertons TV

Want to hear them in action? Watch John “Digital John” Connearn put a couple of Infinia’s models through their paces in our NAMM video below, while head honcho Lee Anderton gets the lowdown from Daan:

Follow Infinia Guitars online

Love the look of these instruments? Stay in the loop with the latest news, models and more from Infinia:

• Follow @infiniaguitars on Instagram
• Follow @InfiniaGuitars on Facebook

Be sure to bookmark the Andertons Blog too. We’re always posting fresh content, from in-depth learn articles to the latest gear news.

To Infinia and beyond!

Shop all Infinia guitars

The post Infinia Guitars: interview with co-founder Daan van Dijk appeared first on Andertons Blog.

]]> https://blog.andertons.co.uk/learn/infinia-guitars-daan-van-dijk-interview/feed 0 https://blog.andertons.co.uk/learn/fender-flagship-tokyo-review https://blog.andertons.co.uk/learn/fender-flagship-tokyo-review#respond Wed, 08 Jul 2026 13:30:00 +0000 https://blog.andertons.co.uk/?p=15145

As one of the world’s largest cities, you’ll never run out of things to do in Tokyo. It’s crammed with attractions, from fancy department stores and centuries-old shrines to Michelin-starred restaurants and multi-storey arcades. And if you’re a guitarist heading to Japan’s capital soon, we’re willing to bet Fender Flagship Tokyo has already made your […]

The post Inside Fender Flagship Tokyo: a must-visit for guitar players? appeared first on Andertons Blog.

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As one of the world’s largest cities, you’ll never run out of things to do in Tokyo. It’s crammed with attractions, from fancy department stores and centuries-old shrines to Michelin-starred restaurants and multi-storey arcades. And if you’re a guitarist heading to Japan’s capital soon, we’re willing to bet Fender Flagship Tokyo has already made your list of potential places to visit.

It’s the only dedicated Fender store in the world, having opened in summer 2023 in one of the city’s most famous fashion hubs. I was lucky enough to set foot inside during a trip to Japan earlier this spring. Well, it was actually my second visit, as I also travelled to Japan on my honeymoon last year. The difference this time was that I wasn’t rushing through in 10 minutes — I had the chance to explore every floor and spend some proper time with a couple of rad Fender Japan guitars.

Before I get into the experience itself, it’s worth mentioning that this Fender Flagship Tokyo review comes from the perspective of a regular customer (albeit one who knows a thing or two about Fender!). I didn’t rock up in an Andertons tee asking for a VIP tour, because that’s not the experience most visitors will have.

First though, let’s run through a few quick FAQs covering where Fender Flagship Tokyo is located, how big it is and what gear you can expect to see.

Where is the Fender Flagship store in Tokyo?

It’s in the heart of Harajuku, one of Tokyo’s most popular shopping districts and a hotspot for Japan’s renowned ‘kawaii’ culture (that means cute, by the way). Situated among a cluster of designer fashion stores and tech retailers in the striking Ice Cubes building, Fender Flagship Tokyo is pretty hard to miss. Its glass exterior and huge video screen, which cycles through clips showcasing Fender’s latest products, make it one of the area’s most eye-catching storefronts.

The shop is just a two-minute walk from Meiji-Jingumae Station on the Chiyoda and Fukutoshin lines, or five minutes from Harajuku Station. That means it’s an absolute doddle to get to if you’re staying anywhere near central Tokyo. Trains in Japan are regular, fast and famously punctual too.

Location: 1-8-10 Jingumae, Shibuya-ku, Tokyo 150-0001, Japan

How big is the Fender Tokyo flagship store?

Shopping in Tokyo is awesome, but it can sometimes feel a little claustrophobic, especially in bustling areas packed with tourists. Luckily, Fender Flagship Tokyo is huge, with 1,068.4m² of floor space spread across four levels, from the basement right up to the third floor. It’s spacious enough that you can browse every area and explore every corner without feeling cramped or getting in anyone else’s way.

What’s inside the Fender Flagship Tokyo store?

Fender Flagship Tokyo stocks pretty much every type of Fender product you can think of, including electric guitars, basses, acoustic guitars, amps and guitar pedals. The latest artist signature models are prominently displayed throughout the store too, alongside a selection of Japan-exclusive instruments that you won’t normally find elsewhere.

It’s not all about guitars, either. You’ll also find Fender’s latest lifestyle accessories and its exclusive ‘F IS FOR FENDER’ streetwear clothing range. Oh, and if you’ve got particularly expensive taste, you can even place a Fender Custom Shop order up on the top floor.

First impressions

My wife and I arrived at Fender Flagship Tokyo a little before 7pm, which meant we had just over an hour to look around before closing. The first thing I noticed was just how much busier it was compared to my visit the previous year. And with more customers browsing and testing gear, there was a real buzz about the place that made it feel even more inviting.

Unlike many shops over here in England (of course, I’m not counting Andertons when I say this), there were loads of staff about. While most were already helping other customers when we first arrived, it was great to see them actively engaging with people rather than standing around waiting.

1st floor: 75th Anniversary guitars, signature models & merch

After taking a moment to let my eyes adjust (going from a dark Tokyo street to a super-bright showroom is quite jarring), I started having a good mosey around. What caught my attention right away was a large display showcasing Fender’s 75th Anniversary Collection, which had only launched a couple of months before my visit.

Sitting off to my right, the range’s Player II Telecaster and Precision Bass were also impossible to ignore with their glitzy Diamond Dust Sparkle finishes. It’s worth saying that these look way better in person than they do in the official product photos.

But of course, what I wanted to see most were some of the Japan-exclusive models we don’t get here in Europe. I’m a sucker for rare, unusual guitars. The first of these was tucked just to the right of the main till among a display of the latest Fender Artist Series guitars, including the Jack White Triplecaster and Mike McCready Strat.

The guitar in question was a quirky white Stratocaster built for alt-rock star Ken (dubbed ‘Experiment #1’), featuring a clear pickguard, gold hardware and a unique gold-painted forearm contour. Apparently, its looks are inspired by kintsugi — the Japanese art of repairing broken pottery by mending cracks with powdered gold. Funnily enough, I actually did a workshop on this during the same trip.

I asked a member of staff if I could try it out, and she kindly set me up on a Fender Mustang Micro Plus test station. This was so I could plug in with headphones and play some mediocre Dad-blues licks without annoying anyone. I flicked through a few patches on the Micro and, while it sounded great, the guitar didn’t quite feel as nice as it looked. The chunky neck and smaller frets just aren’t my usual vibe. It was gorgeous though…

Other highlights on the first floor included three Japan-exclusive Esquires decorated with Hokusai artwork, plus the ‘F IS FOR FENDER’ lifestyle and fashion section towards the back of the store, which had some really cool pieces. By this point in the trip though, I’d already spent far too much money on clothes (as my wife loved reminding me). So, I behaved myself and we made our way up to the second floor.

2nd floor: Fender Japan exclusive guitars

When I briefly stopped by Fender Flagship Tokyo last year, I didn’t have time to go upstairs and check out the other floors. And my word, was I surprised by how much more there was to see. Even the stairwell felt like an art installation, adorned with prints of both Japanese and international Fender artists.

On the way up, there were a couple of glass cases showing off some killer Custom Shop collabs — very much teasing what was to come on the top floor. We then walked into the main second-floor showroom, which was largely dedicated to Fender Japan-exclusive models. This was probably my fave part of the store, as it was filled with guitars boasting eccentric specs and finishes that I truly wish we could get more of over here.

The first thing that caught my eye was a sweet double-bound Surf Green Telecaster. Then a very rock ‘n’ roll-looking salesperson approached and encouraged me to try it out. Not in a pushy way either — she was super chill (Japanese customer service is famously top-notch). I said I was just browsing, then my wife asked her what her favourite guitar on the floor was. She took us over to a corner I’d completely missed, tucked away beside a few Fender bass guitars.

Bloody glad too, as this almost-hidden display featured two of the coolest Strats I’ve ever seen. They were Japanese artist Michiya Haruhata’s signature models, one in Caribbean Blue Trans and the other in Trans Pink. She has great taste, I must say.

And I’m not gonna lie, I’d seen the blue Strat pop up on my Instagram feed a few weeks before travelling to Japan. But I wasn’t expecting to find one in the flesh. And specs-wise, it’s everything I love: a quilted Maple top, DiMarzio HSH pickups, a Gotoh locking trem, abalone inlays and a reversed headstock. Just as I’d hoped, it played and sounded fantastic.

I was so ready to buy it, but one of the few drawbacks of Fender Flagship Tokyo is that they don’t offer international shipping. That means if you want to treat yourself to something special, you’ll need to figure out a way to get it home. The store can arrange to ship purchases securely to your hotel, but after that, you’re pretty much on your own.

3rd floor: Fender Custom Shop (AKA guitar heaven)

With that stunning Strat still at the front of my mind, and me already trying to figure out how I’d get it back to the UK in one piece, we headed up to the third floor. Seeing dozens of lavish Fender Custom Shop guitars certainly wasn’t the distraction I needed — I knew it would only make me want a new guitar even more (like I could afford any of ’em anyway).

It’s very apt for Fender to use the store’s top floor for its top-shelf guitars. And the slightly intimidating security guard standing at the entrance to the showroom quickly made me realise the level of luxury I was about to witness.

I don’t know exactly how many Masterbuilt models there were, but as soon as you walked in, you were practically surrounded by them. According to Fender’s website, the Tokyo store stocks more than 90 Custom Shop models — yeah, that felt about right. And the whole space was decked out with fancy furniture, mirrors and spotlights that made every instrument stand out and look its best.

It would’ve been awesome to try something out on this floor too, but I didn’t quite have the nerve to ask. Plus, the store was closing in about 20 minutes. So, I quickly ducked into a small side room showcasing a handful of Custom Shop signature models, including a John 5 Tele and Stevie Ray Vaughan Strat, took a few snaps, and then headed all the way back down to the ground floor.

Maybe in a few years’ time or after I’ve won the lottery, I’ll go back and book an appointment in the ‘Dream Factory Room’. This is where you can bring your ultimate Fender Custom Shop guitar to life with a specialist who’ll guide you through a wide variety of necks, pickups and hardware options for a truly bespoke instrument. One day… one day.

Basement floor: Fender acoustics, guitar parts & café

With just a few minutes left before kicking-out time, we checked out the basement floor. I personally think Fender missed a trick by not putting their basses down there and calling it ‘The Bassment’, but seeing all their acoustic guitars in one place was still pretty neat. The floor was surprisingly busy too, despite closing time rapidly approaching.

It was mostly filled with California Series strummers and a few Acoustasonic guitars. This included a limited-edition Tele in a beautiful Burgundy Burst finish that’s far more flattering than some of the other Acoustasonic colours I’ve seen over the years (sorry Fender). It’s a shame it’s a Japan-exclusive model, but you never know — some might eventually find their way over to Europe.

The basement was also where you could find various guitar accessories, as well as Fender guitar parts like necks, pickguards and electronics for the modders out there. Sadly, it was too late to enjoy a brew at the café with my wife, which had already closed by the time we got downstairs. But I’ve heard it’s very good, so do yourself a favour and get to the store earlier than we did if you want the full Fender Flagship Tokyo experience.

Is it worth visiting Fender flagship Tokyo?

If you love Fender guitars, especially offbeat made-in-Japan (MIJ) models, it’s definitely worth making the pilgrimage. But if you’re not a big Fender fan, I’d probably skip it and take a train to Ochanomizu instead. It’s essentially the Denmark Street of Tokyo, where you’ll find all kinds of sick second-hand guitars alongside high-end Japanese-crafted instruments from the likes of ESP and Ibanez. I visited this part of the city on my trip last year and it’s well worth seeing — and way better than Denmark Street too!

Fender nuts could easily spend a good couple of hours in the Tokyo store, as there’s plenty to see across its four floors. That said, part of me feels they could squeeze in a few more guitars given the amount of space available. But then again, it’s more of an arty showroom experience, so cramming in extra gear could spoil the vibe.

Tokyo tone machines

Shop all Fender Japan guitars

Want to learn more?

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]]> https://blog.andertons.co.uk/learn/fender-flagship-tokyo-review/feed 0 https://blog.andertons.co.uk/labs/strymon-timeline-mx-comparison https://blog.andertons.co.uk/labs/strymon-timeline-mx-comparison#respond Tue, 07 Jul 2026 17:00:00 +0000 https://blog.andertons.co.uk/?p=15060

There are dozens upon dozens of brilliant delay pedals out there. But the Strymon TimeLine has remained one of the category’s benchmark models ever since it debuted at the 2011 NAMM Show. And 15 years later, the highly anticipated sequel is finally here — the Strymon TimeLine MX. Better late than never! This release comes […]

The post Strymon TimeLine MX vs. TimeLine: what’s the difference? appeared first on Andertons Blog.

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There are dozens upon dozens of brilliant delay pedals out there. But the Strymon TimeLine has remained one of the category’s benchmark models ever since it debuted at the 2011 NAMM Show. And 15 years later, the highly anticipated sequel is finally here — the Strymon TimeLine MX. Better late than never!

This release comes more than two years after Strymon unveiled its upgraded flagship reverb stompbox (the BigSky MX). So, we’ve been eagerly waiting for their trailblazing, top-of-the-range delay to get the same treatment.

But how do you make one of the best delay pedals ever even better? Well, you’re about to find out. We’ve put the new Strymon TimeLine MX up against the original TimeLine to help you decide whether it’s worth upgrading — or if you’re simply looking for an incredibly powerful echo workstation for your pedalboard.

Strymon TimeLine MX vs. TimeLine: comparison table

Before we take a closer look at the TimeLine MX’s mighty specs and features, here’s a quick overview of how it stacks up against the standard TimeLine pedal:

Feature	TimeLine MX	TimeLine
Processor	Tri-core 800 MHz ARM	Single 266 MHz SHARC DSP
Number of machines at once	2	1
New MultiTap delay engine	Yes (customise up to 8 unique taps to create complex rhythmic delays and textural reverbs)	No
New Spectral Granular delay engine	Yes (experience Strymon’s own unique, versatile and tempo-focused take on granular synthesis)	No
Oil Can delay engine	Yes (pair with any other delay type or double up Oil Cans for twice the vintage warble)	No
Drum delay engine	Yes (customise up to 4 unique drum heads for complex and rhythmic delays)	No
Dedicated Reverb engine	Yes (create everything from intimate rooms to long atmospheric ambiences)	No
Tremolo delay	Yes (now available within the updated and highly-customisable Filter delay engine)	Yes (using Trem delay engine only)
Swell functionality	Yes (now a unified parameter available to use in conjunction with all delay types)	Yes (using Swell delay engine only)
Ducking functionality	Yes (now a unified parameter available to use in conjunction with all delay types)	Yes (using Duck delay engine only)
Classic TimeLine delays	Yes (in addition to new types, classic TimeLine delays are available via the Voice parameter)	Yes
New 1-button Quick Looper mode	Yes (assign the Tap footswitch or a MiniSwitch to be a dedicated, always-on 1-button looper)	No
Dedicated Looper mode	Yes (with multiple routing options and a highly-visible UI for improved stage performance)	Yes
Maximum loop length	5 minutes	30 seconds
Internal audio routing options	Mono in / Mono out, Mono in / Stereo out; Stereo in / Stereo out + Series, Parallel, Split (in Dual mode)	Mono in / Mono out; Mono in / Stereo out; Stereo in / Stereo out
Audio pan control	Yes (freely shift your delayed signals across the stereo field)	No
Audio in / out	Stereo in / out, Stereo send / return	Stereo in / out
Discrete Class A JFET preamps	Yes	No
MIDI in / out	DIN, TRS and USB MIDI	DIN
USB	Yes (USB-C)	No
External hardware effects loop	Yes (complete with multiple routing and placement options)	Yes
External control	Yes (using MiniSwitch, MultiSwitch or MultiSwitch Plus)	Yes (using MultiSwitch or MultiSwitch Plus)
Display Type	OLED	LED
Dimensions (W x D)	7 x 5 inches / 177.8 x 127 mm	6.75 x 5.1 inches / 171.5 x 129.5 mm

Price and availability

The Strymon TimeLine delay pedal was released back in January 2011, if you can believe it (time flies, eh?). And despite being 15 years old, it’s still one of the most popular high-end delay pedals on the market. At the time of writing, you can pick one up for around £429. The Strymon TimeLine MX landed on 7 July 2026, bringing a host of new sounds and features. Those upgrades come at a premium though, with the MX priced at £699.

Design and size

At first glance, you’d struggle to tell the two apart. Both the Strymon TimeLine and TimeLine MX have the same cool gunmetal-grey finish and are almost identical in size, with the MX measuring just a few millimetres wider. That means if you do decide to upgrade, you’ll have no trouble swapping ‘em out on your board. The footswitch layout is unchanged too, so you won’t be making any missteps when changing presets or controlling the onboard looper (more on that later).

Look a little closer though, and you’ll see what Strymon has done to make things a tad more intuitive on the MX. Most obvious is the larger OLED display, which has been moved to the middle of the front panel. Not only is it brighter and easier to read under harsh stage lights, but with a little extra real estate, you can see more info on your patch’s parameters, audio routing and the looper functions.

The controls have also had a bit of a shift around. The delay Type selector remains on the left-hand side but now sits where the display used to be, while the Value dial has moved all the way to the right to keep it close to the screen. All the other controls are now neatly laid out in a single row beneath them. So, if you’re replacing your TimeLine, you might spend the first few minutes reaching for the wrong knob — but everything should still feel familiar enough.

Sounds

Now we’re onto the part you’re probably most curious about: the sounds. We’ll kick off with a quick summary of the original TimeLine’s delay algos, then dive into the new additions that make the TimeLine MX such an exciting upgrade.

TimeLine

The Strymon TimeLine is loaded with 12 studio-quality delay engines, covering everything from pristine digital repeats and vintage, vibey echoes to huge cinematic soundscapes:

• Digital: A crystal-clear digital delay with extensive tweakability.
• Dual: Two independent delay lines that can be configured in series or parallel for complex rhythmic textures.
• Pattern: A selection of multi-tap delay patterns ranging from rhythmic and percussive to spacious and ambient.
• Reverse: Play forwards and hear your repeats played back in reverse.
• Ice: Chops up your signal and replays it with selectable pitch-shifted intervals for shimmering, otherworldly effects.
• Duck: A dynamic ducking delay with adjustable sensitivity and release controls.
• Swell: Creates automatic volume swells that are perfect for ethereal ambient sounds.
• Trem: Combines delay and tremolo effects, with a choice of triangle, square, sine, ramp and saw waveforms to vary the delay amplitude.
• Filter: Adds a synchronised filter that can be positioned before or after the delay line.
• Lo-Fi: Delivers gritty, bit-crushed repeats inspired by old radios, telephones and other low-fidelity devices.
• dTape: Strymon’s detailed recreation of classic sliding-head tape echo machines.
• dBucket: A rich and nuanced take on vintage analogue delay pedals with bucket-brigade (BBD) circuitry.

TimeLine MX

Alongside enhanced versions of Strymon’s classic TimeLine algorithms, the MX introduces four all-new delay machines and even a dedicated reverb engine:

• Spectral: Strymon’s take on granular delay. Slice your signal into fragments and manipulate them with pitch-shifting, reverse playback, time-stretching and filtering to create a montage of glitchy patterns or cool panoramas.
• MultiTap: Ideal for building complex rhythmic delays, with per-tap control over panning, level, filtering and more. You can stick with the built-in patterns or make your own from scratch.
• Oil Can: A recreation of vintage oil-can echo circuits, serving up dark, murky repeats with syrupy modulation and constantly evolving textures.
• Drum: Inspired by classic drum echo units, complete with organic warble and soft-clipped repeats. Adjust the play head spacing, level, feedback and panning to create intricate patterns.
• Reverb: Covers everything from small room sounds to vast washes with long, atmospheric decays. Combined with the delay engines, it makes the TimeLine MX a complete ambience solution in a single pedal.

Wondering where some of the old delay machines around the TimeLine MX’s Type selector have disappeared to? Don’t worry — they’re still knocking about, just organised differently. Trem now lives within the Filter engine, while Duck and Swell have been reworked into global parameters that can be used in conjunction with all delay types.

Processing power

Strymon are the Ferrari of digital guitar pedals, so it’d have been strange if they hadn’t equipped their latest flagship delay with some serious horsepower. Thankfully, they’ve done exactly that by supercharging the TimeLine MX with a tri-core 800MHz ARM processor. That’s a hefty improvement over the original TimeLine’s single 266MHz SHARC DSP.

All that extra processing power has given Strymon’s engineers far more headroom to model the nuances of vintage delays and reverbs in even greater detail. From the subtle inconsistencies of electro-mechanical units to the quirks of classic analogue and early digital designs, the TimeLine MX captures every last detail.

But perhaps the biggest advantage is what that extra grunt lets you do. Unlike the OG TimeLine, the MX can run two effects engines simultaneously. This therefore opens the door to more ambitious sound design, intricate rhythmic textures and combined delay-and-reverb presets.

You can switch between delay machines with a single button press while editing, and the bigger screen makes it easy to see whether your engines are running in Series, Parallel or Split mode. You can even pan the output of each one if you wanna get super creative with your delayed signals across the stereo field.

Built-in loopers

The 30-second stereo looper in the original Strymon TimeLine is fun and useful, but by modern standards it’s fairly limited compared to dedicated looper pedals. Strymon clearly thought the same, because the TimeLine MX boosts the looping time up to a whopping five minutes, complete with reverse and half-speed playback options.

The MX also adds selectable Multi and one-button Quick Looper modes. The latter is especially handy for fast layering and spontaneous improv, as you can access it instantly via the Tap footswitch without having to switch into the dedicated Looper mode. Or hook up a Strymon MiniSwitch and you’ll have an always-on one-button looper at your feet.

What’s more, the looper can be placed either before or after the delay effects, so you can get really experimental. Combined with the expanded routing options and clear on-screen visual feedback in the full-fat looping mode, the TimeLine MX’s looper feels like much more than just a cool bonus feature.

Strymon TimeLine MX: extra features

As if the new delay engines and upgraded looper weren’t enough, the Strymon TimeLine MX also has a few other tricks up its sleeve:

• External hardware effects loop: Like the original TimeLine, the MX features an internal FX loop for integrating external mono or stereo pedals. However, the newer model offers more routing and placement options, making it easier to build elaborate signal chains.
• USB-C connectivity: This is a welcome addition to the MX, with the USB-C port handling firmware updates, MIDI communication and connection to Strymon’s Nixie 2 editor software for deeper patch editing.
• Expanded MIDI control: In addition to traditional 5-pin DIN MIDI, the MX also supports MIDI over USB-C and TRS, giving you more ways to integrate it into modern pedalboard and studio setups.
• Discrete Class A JFET preamps: High-quality analogue input stages help preserve the dynamics, responsiveness and feel of your playing.

Is the Strymon TimeLine MX better than the TimeLine?

In terms of features and flexibility, yes — the Strymon TimeLine MX is a big step forward from the original pedal. With a more powerful processor that lets you use two effects engines at once, the MX also introduces a bigger and brighter screen, refined routing options and four brand-new delay machines on top of enhanced versions of Strymon’s classic TimeLine algorithms.

While the standard TimeLine has a useful 30-second looper alongside its huge library of delay sounds, the new TimeLine MX takes thing further by adding a versatile reverb engine and an expanded 5-minute looper with loads more control. So, it’s essentially three pedals in one!

But that’s not to say that the old TimeLine is history. It’s still an incredible bit of kit, and there’s a reason it’s been a fixture on professional pedalboards for the best part of 15 years. If you don’t fancy dual-engine processing, onboard reverb or long looping times, the standard TimeLine remains a great option. And with the arrival of the Strymon TimeLine 2, you’ll probably start seeing prices fall (especially on the second-hand market). This makes it a perfect time to bag yourself a killer delay workstation for less.

Will the Strymon TimeLine MX catch on as quickly as its predecessor? At £699, it might be more of a slow burner. But given Strymon’s track record and everything the MX brings to the table, we’d be surprised if it doesn’t become a future pedalboard fave. Only time will tell…

Strymon TimeLine MX on Andertons TV

Watch Lee and Pete take a trip through the new Strymon TimeLine MX (fortunately, no flux capacitor required):

Time to upgrade your delay?

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Fancy learning more, more, more?

Our delay pedals guide is a great place to start if you’d like to go further down the delay rabbit hole. Or head over to our learn section for more in-depth gear guides, expert advice and helpful how-to articles.

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