During the 1960s, Marshall switched to louder KT88 power valves as his amplifiers grew more powerful. Whilst at about 45 watts, the JTM45 was loud, in 1967 he introduced the 50 Watt and 100 Watt Superlead. It’s these 100W Superleads that gave The Who and Jimi Hendrix their sound.

By this point, Marshall was using EL34 power valves – these are the ones most commonly associated with Marshall amps. They could produce more volume and gave the amps a stronger mid-range character.

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Hot-Rodded Plexis

As rock music got heavier in the ’70s, guitarists started modifying (commonly known as hot-rodding) their Plexis for more gain (essentially, volume) – and this is a large part of the reason why the “Plexi sound” means different things to different people. This brings us back to Eddie Van Halen and his hot-rodded Marshall on Van Halen I. Moving on to the 1980s, one name stands out – José Arredondo – whose amp modifications for Steve Vai, James Hetfield, and Eddie Van Halen, made him a legend in the guitar world.

This progression eventually paved the way for the high-gain modern Marshall amps like the JCM800, but the lineage is all routed to those plexiglass front panel amps that Jim Marshall was making in the back of his music store in North West London in the early 1960s. Whether you’re a fan of the classic ‘60s Plexi sound, or the juiced up ‘70s hot-rodded Plexi sound, the aura around the Plexi has etched Marshall into Rock ‘n’ Roll legend.

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Modern Alternatives

Several contemporary companies offer their own take on the hot-rodded Plexi-style guitar amp, giving you a wide choice when it comes to achieving that classic sound. You should certainly check out EVH – a range designed by Eddie Van Halen himself. Other models to look out for include the hand-built Victory amps, and the excellent Friedman products.

Plexi Sound in a Box!

But what if you’re not playing at giant sold out arenas, and you have no use for a 100-watt Plexi? Or you simply don’t have the funds to shell out for a new amp? Well, you’re in luck. In recent years, pedal builders have looked to capture that distinctive tone in a compact stompbox format, so you can take that sound with you anywhere, at any volume.

From Tone City to Strymon, there’s a Plexi pedal for you. For classic low-to-mid gain Plexi sounds, try the JHS Charlie Brown. Or if you’re looking for the higher gain, hot-rodded Plexi sound, or for a more versatile Plexi pedal, check out the Tone City Golden Plexi, the Universal Audio UAFX Lion 68 Super Lead Amp Simulator Pedal or the Wampler Plexi Mini.

Hear the sounds of the Tone City Golden Plexi 2, or the NUX Plexi Crunch for yourself!

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F.A.Q

• What is a Plexi amplifier? The terms ‘Plexi’ or ‘Plexi style’ refer to amplifiers which deliver a classic ‘rock’ sound with high volume and distortion.
• What is ‘Plexi’ short for? Plexi is short for ‘plexiglass’ – a reference to the 1960s Marshall amps which had a plexiglass front.
• What is a hot-rodded amp? An amp which has been custom modified for higher volume and distortion.
• What is a stompbox? Small, portable units designed to modify your guitar’s sound. A stompbox differs from a guitar pedal in that it has a simple on/off switch.

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Overdrive Pedals

Overdrive pedals come in all different shapes and sizes, and there are probably more different types of drive than any other types of gain pedals out there. A quality, versatile overdrive is a necessity on any pedalboard. Overdrives generally produce a moderate amount of gain and are therefore used for low to mid-gain sounds, like blues, rock and its many subgenres.

Usually (but not always), this effect is achieved by using a soft-clipping circuit, mimicking the characteristics of a slightly over-driven amp. The quintessential electric guitar sound was built on this effect. Although there are countless different types of overdrive pedals, I will cover three of the most popular styles: the Tube Screamer, Bluesbreaker, and Klon.

Tube Screamer Style Overdrive

The Tube Screamer is the most famous of overdrive pedals and is characterised by its distinctive EQ curve. Most stompboxes based on this style of overdrive will be soft-clipping, cut the bass and add lots of mid-range, which can add thickness to a clean sound, or tighten up a high-gain metal sound. It boosts the perfect frequencies right around 700-1K Hz to cut through any mix. So whether you play in a metalcore band and you’re looking to create fast staccato attack, or you’re pining for that famous Stevie Ray Vaughan blues sound, look no further than the Tube Screamer.

The Tube Screamer was made by Ibanez in 1979 but was first sold under the Maxon label. You’ll find most Tube Screamers referred to either as an OD-808 or a TS9 – the difference being the JRC 4558D integrated circuit (IC) chip in the former and TA75558 IC chip in the latter. In layman’s terms, the 808 sounds smoother and the TS9 a little brighter and harsher. There have been dozens of iterations of the design over the years, including the TS9DX Turbo which adds “Hot”, “+” and “Turbo” modes.

As one of the most famous drive pedals ever created, other companies have had their go at putting their twist on the iconic sound. That includes the ideal budget choice, the Tone City Kaffir Lime, the gorgeously unique Earthquaker Devices Plumes and the all-encompassing JHS Pedals Bonsai, packing nine different types of Screamer circuits into one pedal.

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Bluesbreaker Style Overdrive

Like the Tube Screamer style circuit, Bluesbreaker style overdrives also use soft-clipping to create a smooth, compressed style of overdrive. They are ideal for adding a little bit of extra dirt or stacking with other pedals. But unlike a Tube Screamer, it won’t imprint its own character onto your tone. It is designed to be “transparent”, meaning that it has a balanced frequency range, so you can keep the core tone of your guitar and amp and just layer on some sizzle.

The Bluesbreaker type pedal is a great option for blues rock tones as it is a low-to-medium gain overdrive that adds smooth sustain as you increase the gain. Favoured by John Mayer, this type of pedal is perfect for someone who loves their current guitar tone, but is looking to push it with a bit more gain.

Marshall created the original Bluesbreaker and nothing beats it based on simplicity and effect. The Mooer Blues Crab achieves transparent gain at a small expense, while the Snouse Blackbox is a more refined high-end take on the sound, adding boost and presence controls with top quality components.

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Klon Style Overdrive

Arguably the single most revered pedal of all time and one of the most expensive on the used market. When the Klon Centaur was invented in 1994, its design was unlike any previous overdrive as it utilised a hard-clipping circuit. However, it doesn’t sound harsh like a distortion because it is blended with a clean boost circuit which has no clipping. The result is a harmonically rich, stacked tone that retains an echo of the natural sound of your guitar and amp.

Although Klon style pedals are often described as transparent, they do impart a subtle upper-mid-boost to the EQ yet avoid cutting the bass as a Tube Screamer would. Because of the hard-clipping style, a Klon style overdrive is a great option for a getting a crunchy rock rhythm sound, but it is more commonly used with the gain turned down as a clean boost to add a bit of sparkle and clarity to your sound. This type of pedal is very versatile and great for players who value quality above all else in their playing.

Check out our deeper dive on the Klon and its Centaur clones. More briefly, have a listen to the TC Electronic Zeus Drive if you’re shopping for a Klon style pedal on a budget as it delivers on the highly sought-after tones without busting the bank. The Wampler Tumnus mini pedal is one of our favourites if you want the straight-up Klon sound without any tone dialling. Seeing as though the original Klon Centaur is all-but out of reach for most of us, the Vemuram Spiritone should be next on the list as your premium pedal choice, made in collaboration with Japanese guitarist Char and packed with two custom circuits.

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Distortion Pedals

If overdrive pedals are meant to sound like valve amps turned up to 9 or 10, then distortion pedals are meant to sound like an amp searing at 11. While some overdrive pedals are transparent in keeping your original tone intact, distortion pedals fundamentally alter your sound to get that harmonic, gritty sustain that you’ve heard on countless rock and metal songs. If you’re looking to master your Metallica riffs or Satriani solos, then distortion is for you. Because distortion adds more level (volume) to the signal and generally uses hard-clipping, it compresses your signal to an even level, ensuring that whether you’re chugging or tapping, you’ll always be heard.

Distortion comes in all forms, but some of the industry standard staples include: the MXR Distortion +, a gritty vintage to colour your tone; the Boss DS-1 unleashing a guitar hero-esque harmonic sustain; and the versatile ProCo RAT, which ranges from dial a light, crunchy overdrive, to thick and heavy distortion and all the way to fuzzy obliteration. All of these are classic designs that have been used widely in rock music since the late 1970s.

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Fuzz Pedals

In the words of the great Jimmy Page of Led Zeppelin fame, the job of a fuzz pedal is “overdrive the sound, and make it sound pretty rude”. Fuzz has been an integral part of many great guitarists’ sound, from Jimi Hendrix and Eric Johnson with the Fuzz Face, to Billy Corgan (Smashing Pumpkins) with the Big Muff to Jimmy Page with the Tone Bender.

Fuzz can be pushed to the most extreme style of gain pedal, but when tamed, it is musically rich and an inspirational tool that has been integral to lots of trendsetters’ sounds. Much like the other types of pedals mentioned today, there are many variations of fuzz pedals, but the three pillars of fuzz are the Tone Bender, the Fuzz Face and the Big Muff.

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Tone Bender Style Pedals

Tone Bender style pedals have a really aggressive distortion characteristic, but remain clear even at high gain because the bass is cut in the EQ so the sound doesn’t get muddy or sloppy. This type of fuzz pedal is perfect for chunky power chords and driving hard rock riffs. It also pairs especially well with humbucker-equipped guitars as they will fatten the bass-end without getting bloated. The most famous user of the Tone Bender is Jimmy Page, and without it, Led Zeppelin would never have had their legendary sound! A classic style Tone Bender is very easy to use with just 2 controls: ‘level/volume’, and ‘attack/fuzz’. Some versions will also have a tone control to tweak your sound to your exact liking.

Original Sola Sound Tone Benders are only available to buy second-hand now, but lots of current brands make their own versions of the original with their own take on it. The Behringer Fuzz Bender has a fun elongated shape like the classic pedal, and sounds like it too, with modern and original settings. The Catalinbread Katzenkonig is a more premium and unusual choice, combining singing fuzz tones with the best elements of a RAT distortion.

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Fuzz Face Style Pedals

Most famously used by Jimi Hendrix, the Dunlop Fuzz Face is one of the seminal sounds of early psychedelic rock, but it does so much more. Fuzz Face style pedals are unique in how they react with the volume pot on your guitar. At full volume, it can produce a thick hair-raising rumble for mighty lead playing, but roll the volume back to 6 or 7 for a smooth, warm overdrive that’s perfect for chords. Take the volume back again to 3 or 4 for sparkly crystal cleans.

The fuzz face was not only responsible for Hendrix’s monstrous lead tones on the likes of the Purple Haze intro and All Along the Watchtower, but it was also at the core of his beautiful chimey clean tones on Wind Cries Mary. Because of the thick bass and soft attack of the fuzz face, it pairs especially well with Strat style single coil guitars, which remain more percussive and dynamic than higher-powered humbucker guitars. So, whether you’re looking for that Hendrix sound or just something new, there are few pedals out there more fun than the Fuzz Face!

The original, legendary Jim Dunlop Fuzz Face is a fun circular shape – maybe not ideal for your pedalboard but quirky enough to get your attention. Take your pick of germanium or silicone transistors, the former being warmer in sound and the latter a touch harsher. The Boss FZ-5 gets you a similar tone for less and in a more conventional rectangular package.

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Big Muff Style Pedals

Perhaps the most controllable of the three fuzzes but the most distortion-like in sound, the Big Muff acts as if you could keep turning up the gain on a distortion pedal. It’s great for creating a massively thick and heavy rock rhythm sound. Because of the huge amount of bass and mid-scooped characteristic it will happily sit in a band mix. Try stacking a Tube Screamer after it to bring forward a more prominent midrange. It also pairs well with other gain pedals, more so than the Tone Bender and Fuzz Face. Most Big Muff style pedals include a tone control and unlike its fuzzy counterparts allows for additional tone tweaking with attitude.

The Electro Harmonix Big Muff is the OG – a hugely popular pedal that has defined rock guitar, used lots of bands from Pink Floyd to The Smashing Pumpkins and My Bloody Valentine to The White Stripes. They offer several iterations on the classic circuit, such as the super bassy Russian Big Muff and the feature-packed, versatile Deluxe Big Muff.

Tone City’s Matcha Cream does a great job bringing the Big Muff spirit on a fraction of the price, while the Browne Amplification T4‘s flattened EQ curve pushes a stronger oomph in the midrange frequencies.

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Side Note: As a general rule, if you’re using multiple pedals, always put your fuzz first because a lot of fuzzes don’t play well with others. Read more about this here.

Which Drive Pedal Should You Buy?

Now that you have a better understanding of how gain pedals work, hopefully you can narrow down your drive choice to find the perfect one for you and your style.

As a quick summary: boost pedals will raise the volume of your amp, but put in front of a valve amplifier you may get a nice, juicy driven tone. Overdrive pedals’ soft-clipping makes them great for dynamic crunchy rock, blues, jazz, indie and alt tones. Famous iterations include the mid-range heavy Tube Screamer, the transparent Blues Breaker or the luxurious Klon Centaur style stompboxes.

Distortion pedal hard clip the soundwaves and create a menacing bite in your guitar tone – ideal for hard rock, metal and any chaotic or aggressive sound. The RAT pedal, Boss DS-1 and MXR Distortion + are all diverse picks.

Fuzzes can be both classic and extreme depending on how you dial them in. A Fuzz Face will bring the Hendrix bluesy rock goodness, while the Tone Bender is closer aligned to the Zeppelin sound. The Big Muff is more ferocious and beefier in the low-end.

But why only choose one drive pedal? Try experimenting with different combinations to find a sound that is truly unique to you!

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The post Boost, Overdrive, Distortion & Fuzz: A Beginner’s Guide to Gain Pedals appeared first on Andertons Blog.

Fender Jaguar

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In 1962, the Jaguar became Leo Fender’s fourth and final electric guitar design before selling the company to CBS in 1964. The Jaguar was marketed directly to that emerging West Coast pop scene.

Fender Advertising Poster from 1962

However, by the late ‘60s the surf scene had all but washed away. As the British invasion hit the radiowaves, Jaguars started collecting dust. And while the Strat and Tele continued to rise in popularity, Fender’s offset Jaguar and Jazzmaster faded into into the background.

Around the late ‘70s, people started picking up old Jaguars in bargain basements and pawn shops around London and New York, as they had become significantly cheaper than Strats and Teles. The Jag was reborn in the emergence of punk and post-punk. With its bright single-coil sound and peculiar ‘strangle switch’, the Jaguar had the perfect range of dynamic cleans building up to an aggressive bite for this new sound.

The two most famous Jag players were Johnny Marr of The Smiths and a few years later, Nirvana’s Kurt Cobain. Both bands typify anti-conformism. These legends have cemented the Jaguar’s status as the Alternative Rock guitar of choice. You’ll be sure to see Fender Jaguars on Festival stages up and down the country for years to come.

What’s the Difference?

Both the Jaguar and Jazzmaster have many similarities. When it comes to which one you’d choose, it can be quite tricky to decide. So let’s point out what sets them apart:

Scale Length

The Jazzmaster bears the typical Fender 25.5-inch scale length, which is the same as the Strat and Tele. This instrument will feel instantly familiar to anyone who has played a Fender, or any contemporary guitar for that matter. There is a particularly comforting feel to the Jazzmaster that makes it an incredibly quick to adjust to no matter the situation you find yourself playing in. It simply comes down to preference here: you’ll either be in camp Jazzmaster, or the shorter scale length camp with guitars such made by the likes of PRS and Gibson.

In contrast, the Jaguar’s 24” scale length is much shorter than most guitars, giving the strings a slinkier, looser feel, making bends and vibrato much easier. Tonally you may hear a rounder, more instantly gratifying sound and vibrations through the body of the guitar, compared to the focused and snappy 25.5” scale. The shorter scale lends itself well to riff rock sounds, with that bounce you can only find from the strings dipping out and returning to tune. That can extend to how you play, as it might encourage to play with more aggression or verve. In 1962, Fender marketed the Jaguar as “faster and more comfortable” for its shorter scale length. While we like to think most modern guitars are relatively easy to adjust to playing no matter the size or length, the Jaguar will undoubtedly be easier to handle for people with smaller hands who might struggle to bridge large intervals on the fretboard.

Number of Frets

Typically, the Jazzmaster has 21 frets, while the Jaguar has 22. The Jaguar’s extra fret only makes that feel of the shorter scale length more noticeable, as the distance between the frets is condensed to fit in one more fret. Nothing here is overwhelming or radically different to most other modern guitars in the way they handle or in how the neck feels. The Jazzmaster aligns closely to a typical Strat or Tele, while the Jaguar offers a touch more versatility.

Pickups

Perhaps the starkest difference between the Jaguar and Jazzmaster is the construction of the pickups.

A common misconception is that Jazzmasters contain P-90 pickups but that is not the case. Jazzmaster pickups are unique, in that they make use of single-coil pickups that are neither like a Strat, Tele or like the P-90s of a Jaguar. While in the design process for the Jazzmaster, Leo Fender was looking for a tone than the Strat and Tele which would be something that jazz guitarists would appreciate. Whilst retaining all the top end sparkle of a great strat pickup, this tweaked pickup has shorter poles and a wider magnet wind. It provides a more present midrange and fuller bass. Their low output means that they are still clean and twangy, perfect for shimmery chords, but with a mellower, rounder tone.

Jaguar pickups are more similar to that of a Strat, with a brighter tone. But in response to the emergence of higher volume levels in the early ‘60s, Jag pickups utilise a metal shielding claw around the pickups to reduce 60-cycle hum (or 50-cycle hum in the UK and Europe). This additional metal component has a similar effect to the brass baseplate on a Tele bridge pickup which gives it a brasher top-end resulting in a more aggressive sound than a Strat or Jazzmaster. Jaguar pickups are also mounted directly to the body of the guitar, which adds a little bit of extra oomph in the attack. This is great for playing with distortion for a really gnarly and cutting sound.

Both guitars broadly stick to their traditional sounds across the main Fender lines, like the Players II Series, American Professional II, Vintera II and Squier Classic Vibe. You may occasionally be able to get your hands on an alternatively configured model from the Made in Japan series and other limited edition runs.

Bridges

Jags and Jazzmasters have the same great tremolo system and bridge. The tremolo itself is brilliant – the notes glide out when you smoothly press and release the long arm, as the pivot and spring are mounted underneath the metal plate visible on the body. It feels satisfyingly luxurious and it’s an aspect that players love when looking to add unique texture to their sounds – think of the drifting melodies of My Bloody Valentine.

The traditional bridge does however cause some issues, as the strings are liable to slip out of their seats when you strum harder. Fender’s modern models are equipped with more reliable tune-o-matic style or Mustang bridges, but some players still love the old school setup.

Switching

The switching is where it all happens with the Jazzmaster and Jaguar and it’s what defines them in the guitar world, offering you a unique playing experience. Both offer independent lead and rhythm circuits, which allow for on-the-fly tone changes and give you the chance to detail your sound in a way other guitars simply cannot.

Jaguars and Jazzmasters function quite similarly. In the lead mode, the guitar functions as you’d expect, with a tone knob, volume and pickup selector, but only for the bridge pickup and for the bridge and neck pickups together.

In this lead mode, the Jazzmaster has a conventional 3-way switch, while the Jag splits the circuit between three individual switches. The first two switches control the individual neck and bridge pickups, while the third switch, known as the “strangle switch” is a bass-cut control (a high pass filter) that produces the iconic jangly tone. Watch below as Oz explains how Jaguar switching works…

The rhythm circuit functions the same on both guitars. The rhythm circuit has a much darker tone, and selects the neck pickup only, bypassing the regular switches and controls. Volume and tone are controlled by the 2 thumbwheels on the upper horn of the guitar.

Body Shape

The two guitars do actually have different bodies, if ever so slightly, and it may not be noticeable unless you had them lined up next to each other. A Jazzmaster is the marginally larger of the two. It makes sense considering the more compact scale length that accompanies the Jaguar and the traditionally larger bodies of jazz guitars.

Which one should I choose?

Now that we know the differences, it’s time to answer the real question – which one to pick. For a familiar feel and rich clean to slightly driven tones, the Jazzmaster is perfect. It has a unique sound but is balanced enough that you can find an entire palette of tones.

If you’re looking for something that feels and sounds just a bit different, the Jaguar might be the guitar for you. With its shorter scale length and hotter, brighter sound you can get dirtier with the gain and make full use of the lead and rhythm circuits.

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Want to learn more?

Why not also check out our Ultimate Guide to Offset Guitars

The post Fender Jaguar vs. Jazzmaster: What’s the Difference? appeared first on Andertons Blog.

So, unless you have a spare three grand lying around, you might be wondering how you can get your hands on a Klon? Since the reveal of the schematics in 2008, every major pedal company has tried their hand at a Klon ‘klone’. For between £100 and £250, here are some of the best clones available today:

Wampler Tumnus/Tumnus Deluxe

Brian Wampler is one of the best pedal builders in the industry, and his Tumnus brings the magic of the Klon with an affordable price tag and a pedalboard-friendly miniature pedal. Or if you’re looking for ultimate tone shaping, the Tumnus Deluxe trades the traditional treble control for an independent 3-band EQ for limitless tonal possibilities.

Ceriatone Centura

If you want a clone that both sounds and looks the part, then the Ceriatone Centura is the one for you. As well as nailing that iconic Klon sound, it faithfully recreates the enclosure and knobs for the authentic Klon look. The pedal is available in classic gold, silver, or purple for an update on the classic style.

Mythos Mjolnir

Zach Broyles of Mythos is a relative newcomer to the pedal industry, but the Mjolnir fired him into the big leagues. His tweaked version of the Centaur replicated the unmistakable Klon tone while adding some clarity to the overdriven sound.

RYRA The Klone

RYRA’s Shane Logan is a one-man band, building every pedal by hand, much like Finnegan’s original Klon. Also, like the Klon, The Klone can be bought in gold or silver, along with black cherry or seafoam green. The design is very reminiscent of the Centaur, but in a smaller, more pedalboard-friendly enclosure.

JRAD Archer/Archer Ikon

The Archer, the original Klon clone, was the first 100%, part-for-part remake of the fabled Centaur and remains one of the best. The Ikon is a slight variant on the standard Archer, which has slightly more midrange compression and less presence for a smoother, less bright sound.

Way Huge Conspiracy Theory

Founded by George Tripps in 1992, Way Huge was one of the forefathers of the boutique boom. So naturally, he took on the most famous boutique pedal of all. The Conspiracy Theory is widely regarded as a near-perfect replica of the Klon.

Keeley Oxblood

Robert Keeley is one of the most respected names in the pedal industry, with a track record for making exceptional pedals. Unlike most Klon clones, the Oxblood isn’t an exact clone. Instead, Keeley has replicated the transparent boost/overdrive tone of the Klon with his own original circuit. In his design, he offers more versatility with two clipping options, for even more gain, verging on fuzz. It also contains a ‘phat’ switch to add a beefier bottom end to the tone.

Klon Centaur Alternatives Under £100

Want to experience the Klon Centaur for yourself but working on a tighter budget? Don’t worry – there are a number of impressive entry-level pedals out there that offer that classic Klon sound without breaking the bank. Here’s our pick of the best:

Electro-Harmonix Soul Food

Electro-Harmonix are one of the kings of mid-priced pedals, combining quality, durability and affordability, and the Soul Food is no exception. This Andertons best seller nails the Klon tone and can be yours for under £100.

Tone City Bad Horse

At under £40, the Bad Horse represents excellent value for money, making the legendary Klon sound accessible to anyone.

TC Electronic Zeus

The brand-new Zeus is the newest addition to the list of Klon clones. It features the classic gain, level and treble controls with an additional ‘fat’ switch for a fuller bass response. Much like the Klon KTR (the machine-built version of the Centaur), it can be switched between buffered and true bypass to optimise your signal chain. It also boasts germanium clipping diodes like the original Klon, a feature you won’t find anywhere else in this price range!

Behringer Centara

Behringer truly leave no stone unturned when it comes to offering legendary music gear for ultra-accessible prices. The Centara delivers the mythical golden crunch thanks to almost like-for-like internal circuitry, with soft-clipping Germanium diodes bolstered by stepped-up internal voltage, and a dual concentric gain knob for a wide range of crispy saturation.

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Klon Centaur FAQs

What is the Klon Centaur known for?

The Klon Centaur is famous for its ‘transparent overdrive’, a natural-sounding, dynamic boost that retains your guitar and amp’s character while adding warmth, grit, and presence.

Why is the Klon Centaur so expensive?

Original models were hand-built in limited numbers and are no longer in production. Combine that with its iconic sound and reputation, and it’s no surprise prices on the second-hand market have skyrocketed.

Is a Klon just a Tube Screamer?

No – while it’s true they’re both overdrive pedals, the Klon and the Tube Screamer are very different beasts. The Tube Screamer has a midrange-heavy EQ and soft clipping, which gives it a punchy, compressed tone that’s great for tightening up high-gain amps. The Klon, on the other hand, has a more transparent sound, blending clean and overdriven signals for a natural, amp-like response. It uses hard clipping, retains more bass, and operates at higher voltage for increased headroom. In short, the Klon was designed to fix what Finnegan didn’t like about the Tube Screamer.

What is a transparent overdrive?

A transparent overdrive adds gain and mild compression without dramatically changing your guitar’s tone. It’s often used to push amps into natural breakup while keeping the EQ intact.

Is the Soul Food a good Klon clone?

Yes, it’s one of the most affordable and popular Klon-style pedals, delivering the core tone of the original at a fraction of the price.

What’s the best Klon-style pedal under £100?

The Tone City Bad Horse and Electro-Harmonix Soul Food are both top contenders, delivering impressive tone for players on a budget.

Final Thoughts

Bill Finnegan sought to reinvent the overdrive pedal to achieve a transparent tone, and (as the eBay prices will attest) he achieved it. But whether your budget is £40 or £4000, there’s a Klon out there for you, so go pick one up and find out for yourself what makes the Klon Centaur the most expensive pedal in the World.

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The post A History of the Klon Centaur – and Our Guide to the Best Klon Centaur Clones appeared first on Andertons Blog.

Duff McKagan (Guns N’ Roses)

For many, 1987’s Appetite for Destruction is hailed as one of the best sounding rock albums of all-time. And laying the foundation for Slash and Izzy, was Duff McKagan with a Gallien-Krueger.

Dave Holland (Jazz Legend)

Proving that GK amps can run the gamut of genres, multi-Grammy award winning musician Dave Holland plays upright bass through his GK.

Justin Chancellor (Tool)

Justin Chancellor is known to have great tone, and a great variety of different sounds and effects. And at the foundation of that is his GK amp. His aggressive, heavy riffing is complemented by that “GK growl”, whilst also having the headroom to make it an excellent platform for 46 & 2 other effects!

Want to Learn More?

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

The post Gallien-Krueger: The Forefather of Modern Bass Amps appeared first on Andertons Blog.

Compressors are great tools for guitarists, but they’re not right for everyone. So if you’re wondering whether you should add a compressor to your rig, we’ve got you covered.

I Only Play at Home

If you’ve ever had the luxury of being able to play through a loud valve amp that’s really cooking, there’s a unique feel you get from the amp. As a valve amp is pushed close to its limit it will naturally compress, making the guitar feel easier under the fingers. It’s not necessarily a huge audible effect, but it’s like the amp is encouraging you to play — as you dig in, the amp squashes and rounds off the top-end, and each note sustains longer.

If you’re just playing at home, you’ll never get your amp loud enough to experience this, but with a compressor you can simulate that exact same feeling. When you need to be conscious of your volume, you can get into the habit of being afraid to dig in. But with a compressor on, you won’t get a huge volume spike — you’ll just get a thicker, warmer attack. So, if you have to play at low volumes, you should definitely try out a compressor pedal!

I  Mostly Play Clean

If you predominantly play with a clean tone, then a compressor is a life-saver! When you play with overdrive, your signal is already compressing, which is how the distortion is created. But if you’re playing completely clean there is almost no compression at all, meaning that it’s very difficult to control the dynamic range.

Without any compression you also won’t get much sustain, so you will get a big transient peak that will die out very quickly. Adding a compressor will control those peaks, allowing you to still play dynamically, but helping fill your sound with more sustain between each note — allowing for tight rhythm playing and seamless solos.

I Mostly Play with Overdrive

If you generally play with overdrive then you will already be compressing your signal, but adding a compressor to your signal chain can add more texture to your sound. Certain famous guitar tones such as overdriven Fender or Dumble amps are sometimes described as “chewy” — this comes from a thick, compressed mid-range. This can be replicated with a compressor. They’re also great to use for solos to boost your signal and add sustain for big bends, or to even out your dynamics when playing fast legato passages.

There are multiple ways you can stack compression with overdrive. It is most common to place a compressor in front of your overdrive, which acts as an overall tone fattener, as the added sustain will also overdrive. It is also a practical solution because, by their nature, compressors raise the noise floor — so going after your overdrives could amplify the noise floor.

Another option is to place your compressor after your overdrive, that way you retain the dynamics and attack of your guitar going into the overdrive, but it just adds some sustain and level control. Having it this way round gives the compressor a subtler effect that retains more dynamic range.

I Play Slide

Compression is very common in slide playing, and it’s often not a subtle effect. Slide guitar can be challenging and unforgiving, but compression helps alleviate that. By softening your attack and adding sustain, it’s easier to slide smoothly up and down the fretboard without sharp dynamic spikes.

A common trick among slide players is to use 2 compressors, that way the effect is even more exaggerated as the second compressor will grab the transients that the first one misses. In fact, the Origin Effects Cali76 Stacked Compressor uses this exact trick — with a knob that allows you to blend in a second layer of compression to the first. An alternative for slide guitar is to use a fuzz, which does a similar job of limiting your attack and adding sustain. Why not try a combination of compressor and fuzz to see what suits you best?

I’m a Bassist

For a bass player, compression is your most important effect and is a must-have! A bassist’s main role in most musical contexts is to lay the foundation of the groove, and for that you need to keep a steady volume. A compressor will ensure that each note has a similar volume, so when you adjust your playing dynamics, you affect the timbre of your attack without completely jumping out of the mix. A compressor will also round out the attack of the notes, ensuring a thick and rich bass sound with that classic “thump” that stays present in the mix.

Can I use a Guitar Compressor for Bass?

In short, yes. In long — a guitar compressor will work, but a bass compressor will probably work better. Compression works the same on basses and guitars, but bass compressors focus on a different frequency spectrum. Bass and electric guitars fill different areas of the frequency spectrum, and that’s partly why they sound so damn good together. A bass compressor will focus more on compressing bass and lower mid-range, much like a dedicated bass amp. While a guitar compressor is optimised for a wider spectrum, with more upper mids and treble.

Studio-Style Compressor Pedals

Most compressor pedals will only have 2 or 3 controls, often for level, attack and amount of compression (or maybe even 4 controls if you’re lucky enough to have a blend control as well). But some pedal manufacturers such as DSM & Humboldt and Origin Effects are building a whole new breed of compressors. These are compressor pedals for guitarists that give you the control and precision of the big, expensive studio compressors — often based on legendary studio compressors like the 1176.

So if you’re looking for something super easy to work with, then a classic 2-knob compressor is perfect. But if you want to have total mastery of your tone and you’re not afraid to tweak, then check these out…

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If you liked this article, why not check out these:

• What is Reverb in Music?
• What is EQ?
• The Top 10 Best Guitar Pedals of 2022… So Far!
• 5 Things You Need to Know About DSM & Humboldt
• Electric Guitar String Gauge: What Should You Use?
• 6 Things You Need to Know About Universal Audio Volt Interfaces

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1. Who are DSM & Humboldt? Hailing from Santiago, Chile, DSM & Humboldt are a boutique guitar pedal manufacturer. Formed in 2019, DSM & Humboldt made instant waves in the guitar community for their Simplifier Zero Watt Amp and Cab Sim Pedal. Founders Jano Acevedo and Daniel Schwartz met around 15 years ago when Daniel […]

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1. Who are DSM & Humboldt?

Hailing from Santiago, Chile, DSM & Humboldt are a boutique guitar pedal manufacturer. Formed in 2019, DSM & Humboldt made instant waves in the guitar community for their Simplifier Zero Watt Amp and Cab Sim Pedal.

Founders Jano Acevedo and Daniel Schwartz met around 15 years ago when Daniel was working in electronics. 4 or 5 years ago, they decided to embark on a joint venture. This culminated following the 2019 NAMM Show when Jano returned, inspired by what he calls the “Preamp NAMM Show” when several of the big hitting brands unveiled preamp pedals such as JHS with The Clover. He also noticed a trend towards cab sim technology; Daniel’s “OmniCabSim” proved to be very popular.

Jano returned to Chile enthused by what he had seen and said “we have to take all this and put it inside a box. And we have to do this right now!” Daniel got to work on bringing this to life; combining a preamp, power amp simulation and his cab sim technology. This became The Simplifier, and as Jano says, “the rest is history…”

2. What makes DSM & Humboldt different?

DSM & Humboldt carved out a unique niche in a competitive market for amp & cab sim technology. Strymon had the Iridium and Walrus had the ACS1, which both use powerful digital processing, but The Simplifier pioneered an all-analogue amp and cab sim pedal – no IRs, no MIDI, no computers. They found the perfect formula to get every sound you want just from the pedal – for technophobes or analogue purists, it was the perfect solution!

3. Why analogue?

it is possible to make a good solid-state circuit that can sound really like a real amp if you make the right design choices.

For the last 25 years or so, amp modelling technology has been dominated by digital tech – think Neural DSP, Line 6 or Kemper. Daniel describes a “je ne sais quoi” with analogue amps – so what is it that guitarists love about analogue amps?

Daniel explains that his design originated from “the fascination I have with amplifiers – tube amps and even solid-state amps”. He continues “All my life I have analysed circuits and schematics, and simulated them, and tested them […] I’ve come to realise it is possible to make a good solid-state circuit that can sound really like a real amp if you make the right design choices.”

Daniel comments that the processing power of digital technology “to my ears sounds too processed. It sounds like a record, and I didn’t like that.” In contrast, he explains “I wanted it to sound like a recorded guitar, but also like an amp in the room. So you can tweak it to get both sounds […] it’s more natural.”

With The Simplifier, the clue is in the name; “tube amps are really simple” Daniel says. “I figured out a way with a couple of switches to get a hold of the soul … the core tones [of a tube amp].” The Simplifier features 3 amp types:

• American – For classic rounded Fender Black panel cleans.
• AC Brit – For chimey Vox-esque cleans through to dynamic mid-range crunch.
• MS Brit – For vintage Marshall Plexi tones capturing the essence of classic to hard rock.

Each amp type can be paired with a variety of cab styles and power tube emulations. The only digital element of the circuit is the onboard reverb which can do everything from natural room ambience to shimmery plate or an ethereal wash.

Ultimately, there is a certain 1 or 2 percent that digital technology still doesn’t capture, whether it’s the dynamic range, latency, or its interaction with analogue pedals – it just feels different when you play. The circuitry of The Simplifier captures that analogue magic … that je ne sais quoi!

4. Simplifier or Simplifier Deluxe?

Following the instant success of The Simplifier, DSM & Humboldt followed up with the Simplifier Deluxe, a dual-channel version.  This allows you to set each channel up in a traditional A/B configuration or run them on parallel for a totally unique blended stereo sound for almost limitless tonal flexibility!

Whilst The Simplifier is mono in and stereo out, allowing for stereo output and stereo effects loop (using the 5 cable method), The Simplifier Deluxe is stereo in and out – allowing for more options. You can make use of stereo effects into the input, run parallel channels and effects, or even plug separate instruments in through each channel for a straightforward jamming setup.

The Deluxe also comes with a footswitch for channel switching and reverb, making it a handy tool for live settings where you’re switching sounds on the fly. Don’t worry bassists, you’re not missing out on the fun either! The Simplifier Bass Station is designed just for you, with the same quality and tonal flexibility! DSM & Humboldt’s latest offering is The Silver Linings Overdrive & Preamp Pedal.

5. What makes the Silver Linings different to other Overdrives?

I just wanted to make the best overdrive … and distortion … and fuzz.

Long-time Andertons followers may know what “JAFOD” stands for, but in simple terms – with literally thousands of overdrive pedals on the market, what sets the Silver Linings apart?

Let’s let Daniel explain: “I just wanted to make the best overdrive … and distortion … and fuzz. I just wanted to make a pedal that I would use and love and use for every style that I like.” The Silver Linings is truly a culmination of all of Daniel’s experience and expertise. “It’s my baby” he summarises. “I really put all the knowledge I have acquired in 20 years of learning electronics and sound, and playing guitar.” He concludes “I think I got it!”

The Silver Linings is built with a specific intention in mind – “versatile and useful”, and that it certainly is. The Silver Linings is a Dual Overdrive / Preamp pedal with all the modes and switches you could ever want or need. Jano says “The challenge was to try to bring something really versatile but not become a jack-of-all-trades and master of none. We tried to do master of all.” It’s certainly a high bar, but every sound hits the mark, from natural amp-like overdrive to mid-boosted Tube Screamer style gain, to vintage Hendrix fuzz tones!

The Silver Linings features a unique combination of “pre boost” and “master boost” you won’t find in other overdrive circuits. Daniel explains “It’s not just a stand-alone overdrive. It’s combining inside an amp modeller. I wanted to achieve what happens when you push the input of a JCM800 with a Tube Screamer. And with the “gain” you control the gain of both at the same time”. This innovative design combines the dynamics of amp distortion with the smooth, creamy drive you get from pedals, and the unique interaction of tube preamp being pushed by a pedal. It features 3 gain styles:

• Soft – For a dynamic pushed-amp tone on the edge of breakup. Pick lightly for shimmery clean tones or dig in for a compressed crunch.
• Vintage – Run the gain low for a unique tone thickener that is touch responsive. Or push the gain to enter full-bore vintage fuzz territory for a Fuzz Face style sound.
• Hard – A modern high-gain sound with hard-clipping for a tight and articulate distortion.

The Silver Linings also features 3 different modes:

• Normal – An open amp-like gain that is very “transparent” sounding, retaining the character of your guitar and amp. Turn up the gain for a grittier, harder distortion.
• Preamp – This mode uses the powerful 3-band EQ to full effect, simulating the preamp of an amp which you can plug straight into a power amp, or through your effects loop to use as a second channel for your amp.
• Mid Boost – Accentuates the 800hz range, where the guitar contains a lot of harmonic content for a rich tone that cuts through. Tonally it sits somewhere between the classic mid-hump of a Tube Screamer, and the accentuated upper-mids of a Klon. The more you push the gain, the creamier and more compressed it becomes.

In addition to the 3-band EQ, you can further sculpt using the “pre tone”, to “compensate different guitars […] but it’s actually a very powerful tool for the voicing of the distortion. The higher you go on the gain, you want to go higher with the pre tone – cutting the bass, keeping it tight” Daniel clarifies.

Conclusion

In an industry that is so competitive, DSM & Humboldt are one of the few pedal manufacturers that are truly original. They are right at the forefront of analogue innovation in amp simulation technology which is increasingly dominated by digital processing.

For more on DSM & Humboldt, check out our video where The Captain Meets the Makers.

Here are some more blogs you might like

• What is an Ampless Guitar Rig?
• What is a Guitar Amp Impulse Response?
• Is a Kemper Better for Home Recording than a Real Amp?
• Axe FX vs Helix vs Kemper vs Amplifire – Modelling Amps Shootout
• What is 4 Cable Method & How do you use it?

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Analogue Delay

Invented in the ‘70s as a more practical alternative to a tape unit, the first analogue delays used a circuit “bucket brigade” chip to create the repeats. The name refers to the firefighting technique, by which a water bucket would be passed down a line from person to person. Similarly, the bucket brigade chip features a series of capacitors that pass the signal down the chain at a delayed rate. And just as a bucket passed from firefighter to firefighter will spill water along the way, the repeats degrade, particularly the treble, leaving a warm, dark sounding delay.

For this reason, analogue delays are perfect for subtle applications as their dark sound will sit underneath your main sound, so you won’t be competing with your own delays as you play. Because of its specific tonal characteristic, analogue delay can also be a “character delay”.

Analogue Style Delay Pedals

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Digital Delay

By the ‘80s, every guitarist was after a crystal clean sounding digital delay. While tape and analogue delays degrade over time, digital delays will perfectly replicate your original signal indefinitely, leaving it sounding clearer and brighter, and allowing for longer delay times. This is perfect for someone who is not looking to add any tonal characteristic to their sound, or players who want to play to their delay for rhythmic sounds.

Digital Style Delay Pedals

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5 ways to use delay pedals

Now that we have established the main types of delay, here are 5 ways they can be used.

1. Slapback Echo

The slapback echo was the first effect that delay was used for. It’s one of the defining sounds of Rock ‘n’ Roll and Country. It is a subtle effect that creates a sense of space and adds a touch of extra thickness to your guitar sound. The quintessential slapback sound uses a tape delay, although an analogue or digital delay will work perfectly fine. Set the level (or “mix” depending on your controls) to a little below unity volume, and set a very short time, so that the repeat is almost indistinguishable from the original note, and set the repeats (or “decay”) all the way down so it only repeats once. Because of the extra boost in thickness, this can work well as a little something extra for solos.

2. Delay as a reverb

If you don’t have reverb in your rig, delay can be a versatile alternative. A digital delay sound will be ideal for a lush, clean reverb sound. For this you’ll want to set the level fairly low, so that it doesn’t overpower your original signal, set the delay time to minimum and run the repeats to taste for a longer or shorter reverb trail. This will give you a spring or hall reverb type of effect

3. Eighth note delay

Adding an eighth note delay is a great way to subtly fill out the space between notes when you play. This is especially effective when paired with reverb. Think of it like a cushion that sits underneath the mix, softening everything out. An analogue delay is perfect for this effect because its dark repeats won’t be competing with your original signal. A tape style will also work for similar reasons. Because of the clarity and fidelity of a digital delay, the repeats could clash with what you’re trying to play over the top of it, so be especially careful to keep the level low. To set this delay, try setting the level about a quarter of the way up or slightly more (but not too high otherwise your sound will become mushy). Set the time for eighth note repeats, which on many pedals will be somewhere around halfway up, but use your ear to find the right tempo – a delay with tap tempo will be very helpful here. The repeats is down to personal preference but I generally like to set it to about a quarter of the way up, to get 2 faint repeats.

4. Delay as a chorus

Many analogue delays such as the MXR Carbon Copy or Electro-Harmonix Memory Man, or digital multi delays such as the TC Electronic Flashback or Strymon Timeline will have modulation built into the pedal. Using the modulation with the delay, you can simulate a chorus effect. To do this, engage the modulation on the pedal, set the level a little below unity volume, the delay time neatly all the way down, and the repeats to taste to control the depth of the chorus – try starting at halfway and adjust from there.

5. Dotted eighth note delay

A dotted 8^th delay creates a lush, bouncing rhythmic effect, which is great for adding loads of texture to simple melodies, hooks and chords. The dotted 8^th delay is most famously used by U2’s The Edge, on tracks like “Where the Streets have no name”. Some delay pedals will be able to preset subdivisions, so you can simply set it to a dotted 8^th and tap in your tempo. However, if your delay does not have this function, you can set it manually. With tap tempo you can simply tap in 4 times over the space of 3 beats to set the correct tempo. If your delay doesn’t have tap tempo, try setting the time to line up with the beat and then slowly increase the speed of the delays until you hear that iconic galloping pattern. A crystal clean digital delay is perfect for this sound, to maximise the rhythmic effect. Keep the repeats moderate to keep some definition between the delays. Try setting the repeats at a third of the way up and adjust to taste from there.

Check out Rabea using a dotted 8th delay on Sound Like U2

Conclusion

Delay is such an inspirational tool for guitarist, that can be used to create anything from the subtlest of effects to ethereal soundscapes. But to first time users it can be a little overwhelming – hopefully the 5 examples we’ve given you here will inspire you to find new sounds to enhance your playing!

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

For more on effects pedals, read The Best Guitar Effects Pedals For Synths

Check out our list of the Best Guitar Pedals of 2021 here.

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Characteristics of a humbucker

• High Output – With two sets of coils, humbuckers tend to produce more output (typically 7k-10k+ Ohms), which will drive more signal to your amp, producing more overdrive. These are perfect for higher gain playing styles such as rock and metal for a thick crunchy sound, but also work well for a warm smooth tone that suits blues and jazz.
• Warm – humbuckers are known for their thick, warm tone, producing more midrange and bass than a single coil, making power chords and riffs sound huge, and adding additional sustain to solos. Humbuckers can transition seamlessly from a smooth clean sound to crunchy distortion.
• Hum Cancelling – because of their construction, single coil pickups will amplify electrical interference which can cause an annoying hum, especially in a live setting with lots of lighting and electronics. Humbuckers will cancel out this noise almost completely, making it a far more practical option in certain situations.

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You may want to change the type of pickups you have in your guitar to provide a new sound or improve versatility. One popular modification is to change the bridge pickup in an SSS (3 single coil) configured S-type guitar. You may find that with your single coil bridge pickup it sounds thinner or brighter than you’d want for those crunchy rock tones. Many pickup brands such as Seymour Duncan and DiMarzio make single coil sized humbuckers, so you can change your sound without having to route out your guitar and potentially damage it.

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Upgrading Electronics

There’s far more to a guitar’s electronics than pickups. Potentiometers can have a huge impact on your guitar’s sound and capabilities. Most entry level guitars will use cheaper “dime-sized” pots (potentiometers), which are usually not as accurate as the full-sized pots. They also may not taper as evenly – i.e. you may find that when you turn your volume or tone down, nothing much happens and then all of a sudden there’s a massive drop off. Most higher end guitars use CTS pots, because of their build quality and reliability. Not only will they taper more smoothly, but they may add more clarity to your sound, because their superior construction causes less treble loss. The most common values for potentiometers are 250k and 500k. All you need to know is that the higher the value, the brighter your instrument will sound. This is why single coil guitars use 250k pots and humbucker guitars use 500k. Changing pot values is a very inexpensive way to change your tone. Perhaps your humbucker guitar sounds a bit dark and muddy? Try 550k pots, or your single coil guitar is brighter than you want? How about 220k.

You may have come across the term “push-pull” or “coil-split”. You can but push-pull pots to which you can wire to give you the option to split and humbucker pickup. So when you pull your tone knob up, it kills the signal from one of the 2 humbucker coils, which turns it into a single coil. They you can push it back down to return it to a full humbucker, making your instrument far more versatile.

At Andertons we also sell wiring kits so you can upgrade all your electronics at once. These include specific kits such as the Stratocaster Mid Boost kit, used by Eric Clapton, to really customise your instrument and make it unique.

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Upgrading Hardware

Whilst changing pickups and electronics requires the additional cost of a guitar tech, or some basic wiring and soldering knowledge, changing hardware can be as simple as taking out a few screws, dropping the new part in and screwing it down. Upgrading the bridge on your guitar can be a very straightforward modification which can make a real difference. Not only are you getting upgraded materials which will alter the tone and improve the sustain of your guitar, upgraded string saddles which will improve your tuning stability and help prevent string breakages. You can also buy retrofit tremolo systems for Tune-O-Matic style bridges that don’t require and drilling or modifications to the guitar’s body.

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Strap locks are another straightforward and cheap modification you can make to your guitar, to ensure that your strap always stays put and your prized instrument stays safe while you play. The simplest upgrade you can make is to change the string trees. Simply unscrew the old one and screw the new one in. A good string tree will reduce friction on the string, allowing it to stay in tune, especially if you use the tremolo or bend strings a lot.

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Tuners can have a huge impact on the tuning stability of a guitar, so may be a very worthwhile upgrade for an entry level instrument, as the original tuners are often parts that manufacturers can save money on to bring down the price of the instrument. Locking tuners are a popular choice for upgrades as it makes restringing easier, faster and reduces the chance of strings slipping out of tune as you play. Tuners come in all different shapes and sizes, so be sure that you find a set that will fit your current guitar, so you don’t have to drill new screw holes into your headstock.

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Loaded Pickguards

If you’re not confident with wiring and soldering, but you’re looking to upgrade all of your pickups and electronics at once, a great option is to buy a loaded pickguard, with pickups and electronics pre-wired, so all you need to do is solder a couple of wires to your output jack. If you’re not confident enough to do that, you will still save money on hiring a guitar tech, since it is a quick job. Loaded pickguards are the best way to make the biggest difference to the quality of your guitar with one upgrade.

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Upgrading the Neck

A change you could make that can make your guitar feel like a premium instrument is replacing the neck. The neck dictates how the guitar feels. Your hand is always on the neck, so the shape, finish and fretwork make all the difference to the feel of the guitar! If you have a Squier guitar, you can retrofit a fender neck onto it.

Buying A New Guitar

If you’re not looking to modify your guitar, there are a lot of great guitars you can buy under £500 that will be a huge upgrade on your entry level guitar. Squier and Epiphone are the market leaders in this price bracket, with a huge range of quality-built instruments. But if you look beyond the obvious brands, you can find excellent value guitars that punch well above their weight for the price.

Sire

Sire have collaborated with legendary jazz fusion guitarist, Larry Carlton on a range of electric guitars ranging from S and T-style guitars to single cuts and hollowbodies. The guitars focus on using premium tonewoods and pickups to create rich, clear-sounding and resonant guitars. They feature premium specifications rarely seen on instruments in this price bracket, such as rolled fingerboard edges for extra comfort and locking tuners. The pickups are custom made to Carlton’s specs, engineered for clarity and warmth – reminiscent of his famous LA Studio guitar tones.

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G&L

G&L was founded by Leo Fender and his DNA runs through the classic guitar designs, with new innovations from his earlier designs. The Tribute range features a wide array of guitars including S-types, T-types and offset. Each style has a variety of pickup options from vintage style Alnico pickups to modern Leo Fender designed MDF pickups made in the USA. Very few guitars in this price bracket will include American parts.

Chapman

Chapman guitars specialise in offering premium guitars and high-end modern specs on affordable guitars. If you’re looking for a high performance guitar with striking designs and enticing prices, the Chapman ML1 or ML3 could be the answer. With colourful finishes and beautiful flamed maple tops, they look the part. With both Hybrid and Modern variants of both ranges, find the spec that’s right for you.

Conclusion

Upgrade or buy new? Both are valid options. Upgrading may be the better choice if you’re confident in modifying parts yourself, and you have a specific idea of what you want to do with your guitar. Buying a new guitar is a better option if you don’t have an exact vision and you’re just looking for something that plays and sounds better than what you’ve got now. We’re now living in a time where you can get incredible value and quality for under £500.

Check out Chappers and the Captain on Andertons TV where they shoot out an upgraded guitar vs a new guitar at an equivalent price.

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

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