A guitar setup is a process you can liken to a car service: you take your car to a garage at least once a year to make sure it’s running smoothly – so why not give the same top treatment to your beloved guitars?

Sometimes a routine check is all that’s needed to keep your acoustic or electric guitar in great working shape, feeling amazing to play and sounding the best it possibly can.

A guitar setup most often involves setting the correct intonation (which are the two same notes – an open string and the 12^th fret – separated by an octave), eliminating fret buzz most usually by lowering raising the string action, and cleaning the ensuring the hardware like the bridge and tuners are stable and performing as they should. A setup can can also extend to certain forms of basic repairs like removing sharp fret edges and levelling frets.

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What you’ll learn about setting up a guitar

• The most common cause why a guitar would need a setup
• How to check if your guitar needs a setup
• How often you should set up your guitar
• The differences a setup can make to how a guitar sounds and plays

The most common reason why a guitar needs a setup

The most likely reason why a guitar would be in need of a service is the fact that it’s made primarily of wood. And wood tends to react quite drastically to the environment even if it’s mostly kept indoors, as the seasons are will still cause temperature changes wherever you’re located. Heat and cold cause the neck to twist and/or warp, while humidity can lead to the wood bloating or drying out. This is particularly prevalent in acoustic guitars.

For this reason alone, you need to ensure that your guitar is regularly kept in check so that it doesn’t lead to bigger issues further down the line.

The second reason why a guitar would need a setup is if you’ve equipped it with a different gauge of strings to the previous set you were using. Whether they are heavier or lighter strings, a particular string gauge will put a certain amount of tension on the neck. Either way, you may experience fret buzz, higher action or tuning and intonation instabilities if you switch to a new set, which calls for a setup.

When should I get my guitar setup?

Here are a few guidelines to follow with regards to when you should get a guitar setup:

• If you’ve gone a year without a setup
• If you’ve just purchased a brand new or second-hand guitar
• You’ve changed the string gauge
• The action (distance between the strings and the frets) is too high, making it difficult to play
• Some notes buzz or sound muted when fretted
• The intonation is out. You can check this by tuning the guitars open string and fretted at the 12th fret. If they don’t match up, the intonation is incorrect.
• There’s visible damage.
• The nut or frets have sharp edges that make the guitar uncomfortable to play.
• The guitar doesn’t stay in tune
• You consistently break strings in the same place. For example: the string often breaks nearest the bridge or the nut

Why does my guitar need a setup?

Whether you play your guitar often or not a lot, your guitar will still require a setup because the guitar’s wood remains temperamental regardless of how much the instrument is touched. Think of it like a wristwatch: leaving it in the case without regularly moving it can actually still cause the internal mechanisms to slow down.

Professional players tend to face different problems because they’re playing their guitars so often. As a gigging guitarist, you might take your instrument from a comfortable lounge temperature to a cold venue or out into the hot festival sun. The frets also tend to take more of a battering because you’re playing it that much more often. These are just a few factors that prove you need to make sure the guitar has a regular setup to keep it playable.

Ultimately, a well set up guitar plays better and therefore sounds better because you are more comfortable playing it. It also means you can rely on the guitar on-stage and not have to worry about any embarrassing gig possibilities. Scientifically, the guitar will sound better because the perfect setup will optimise sustain and intonation – meaning your notes ring for longer and hit the exact pitch that you’re after.

Isn’t once a year overkill?

Simply put, no! If you love your guitar, you’ll want to take care of it – even if you don’t play it as often as you’d like.

There are players that go years without getting a setup, but that could be down to pure laziness, or they might have the knowledge to do it themselves, or they might be accustomed to its quirks. But remember: you might have an issue with your frets or with neck warping and not even realise that it’s happening!

‘If it ain’t broke, don’t fix it’… But it’s sure to break if you don’t check it.

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Whether you’ve heard Tom Morello’s frantic pickup-switching rhythms in Rage Against The Machine, or the lightning-fast arcade button chops of Buckethead, chances are you’ve already come across the killswitch sound without even realising it. It’s a simple enough concept, but one that’s shaped some of the most distinctive riffs in modern rock and metal. But just what is the killswitch effect?

In this article, we’re going to answer that very question. We’ll break down what a guitar killswitch is, how it works, and how you can achieve the effect yourself. From DIY pickup selector tricks to pedal-based alternatives, you’ll learn everything you need to know about how this clever little feature can add some serious flair and texture to your playing.

What is a Guitar Killswitch Effect?

In a nutshell, a guitar killswitch is a switch or button (or even technique) that cuts your signal in and out, producing a stuttery, percussive sound. Commonly found in rock and metal riffs, it delivers a sharp, rhythmic cut in sound that transforms a simple chord or note into something much more dramatic.

You can nail that distinctive chopped effect in a few different ways. The simplest is to rapidly flick your guitar’s pickup selector, with one pickup set to zero volume and the other turned up full. A more user-friendly method, albeit one that involves a spot of guitar tinkery, is to install a dedicated killswitch button or arcade-style switch that cleanly cuts the signal on demand.

If you’d prefer to avoid modding your guitar, you can also emulate the killswitch sound with pedals. Glitch and stutter pedals are perfect for the job, and tremolo pedals can also provide rhythmic chopping. Then there’s modern granular FX units, which can create even more experimental variations of the same effect.

Which Famous Guitarists Use a Killswitch?

Tonnes of iconic players have used the killswitch effect to add rhythm and character to their sound over the years:

• Eddie Van Halen: Aside from his truly virtuosic playing, EVH also famously pioneered a number of inventive guitar techniques. He wasn’t afraid to bust out the killswitch effect from time to time, using a Tesi-style arcade button kill switch on songs like You Really Got Me.
• Tom Morello (Rage Against The Machine): Known for his nothing short of genius use of effects, Morello often built riffs and lead parts around killswitch rhythms, making it a central part of his sound. While his signature Fender Stratocaster does come with a dedicated killswitch toggle, Morello himself typically flicks his guitar’s pickup selector switch to get the job done.
• Buckethead: Buckethead is truly synonymous with the killswitch effect, famously installing arcade-style buttons on his guitars. Aside from their obvious visual appeal, he uses these buttons to effortlessly deliver that rapid-fire stutter effect that’s become such an important part of his eccentric style and stage presence.
• Jimi Hendrix: Always an innovator, Hendrix was experimenting with cutting signals and manipulating electronics long before the killswitch became a recognised guitar mod.
• Jonny Greenwood (Radiohead): Greenwood brought the killswitch effect into alternative rock, using it to add experimental textures and rhythmic pulses to Radiohead’s groundbreaking recordings. Modding his trusty Tele with a killswitch button, Greenwood’s use of the effect is most obvious in his solo on the classic “Paranoid Android”.  
• John 5: Another truly eclectic player, John 5 is most well known for his work with Rob Zombie and Marilyn Manson. He’s previously blended killswitch chops into his unique blend of metal, shred, and rockabilly, using stutter effects as a dramatic part of his arsenal.

There’s an age-old debate that says the type of electric guitar neck construction you choose will greatly influence its tone, resonance, and sustain.

We’ll explore how these neck joint types differ in feel and sound, and whether it even matters to help you make the best choice.

What Is a Bolt-On Neck Guitar?

Generally speaking, bolt-on neck guitars are thought of as more affordable, easier to manufacture, and simpler to repair. On the other hand, set-neck guitars are believed to have much more sustain but take longer to build due to the glue curing time in the dovetail joint between neck and body.

Then you’ve got neck-through guitars (often spelled “neck-thru”), which are practically all neck. As in, the neck continues all the way through the body as a single piece of wood, with two wings attached to form the rest of the guitar. A Gibson Firebird is a famous example, with the pickups mounted directly onto the piece of wood that runs through the body. Neck-through construction has also been hailed as one of the best when it comes to maximising sustain.

Each camp has its devotees, and some players don’t care too much about the argument. Many are happy to play all types of guitars and enjoy them for what they are. Here, we’ll highlight the pros and cons of bolt-on, set-neck, and neck-through guitars to help you choose the one that fits your style, or convince you that you can have one of each!

Bolt-On Neck Guitars

As the name suggests, ‘bolt-on’ means that the neck of the guitar is attached to the body by bolts or screws, rather than being glued or otherwise integrated into the body’s construction.

Bolt-on neck guitars are known for producing a snappier, brighter, and twangier tone compared to other types. This tonal character comes from how resonance transfers between the neck and body. That slight mechanical gap from the screw joint can form a barrier, slightly reducing sustain versus glued-in or continuous necks.

Bolt-on construction is common in many Fender guitars, like Stratocasters and Telecasters, as well as similar S-type and T-type models from the likes of G&L, Ibanez and others. Many brands use bolt-on necks due to their ease of manufacturing, as well as their tonal qualities. It’s much simpler to build bodies and necks separately and then use a bolt-on construction to put them together.

Pros of Bolt-On Necks

• Cost-effective and easy to repair or replace if needed.
• The twangy, snappy tone – some people simply prefer the general feel and response.
• Bolt-on constructions often use Maple necks, a dense wood that offers strong neck stability and resists warping or twisting.

Cons of Bolt-On Necks

• Sometimes seen as “cheaper” due to the construction method.
• Very slight loss of resonance and sustain compared to set-neck and neck-through models, due to the gap between neck and body.

Set Neck Guitars

Set necks are glued into the guitar body via a dovetail joint. A luthier will typically take a slab of Mahogany, carve a dovetail into the body and then slot the neck together, joining it with strong wood glue. This means that there is both a strong mechanical join and an adhesive join, such that when the glue sets, a permanent seamless bond is formed.

This construction is a hallmark of Gibson Les Paul guitars and other Gibson Custom Shop models, as well as PRS guitars like the Custom 24. Both brands are famous for using this neck construction and are proud ambassadors of the design.

The tonal transfer between neck and body is better in a set-neck than a bolt-on, resulting in a warmer and fuller sound. Though whether this is an improvement is subjective as some people prefer the ‘snap’ of a bolt-on. Set necks transfer the energy from your guitar strings and blur it in a way that fattens the body of a note and results in greater resonance and sustain.

Pros of Set Neck Guitars

• Great resonance.
• Produces a fat, smooth tone ideal for rock, blues, and jazz.
• Improved sustain due to the seamless neck-to-body coupling.

Cons of Set Neck Guitars

• Difficult to repair or reset; neck replacement is practically impossible.
• Less flexible if you want to change the neck profile or scale length later.

Neck-Through Guitars

Neck-through (or neck-thru) guitars feature a continuous piece of wood that forms both the neck and the central core of the body. This section is then used to mount the bridge, saddles and pickups for the best possible sustain, as the vibrations from the strings resonate through one uninterrupted piece of wood.

The sides or ‘wings’ of the body are then glued onto the neck core, using a laminate construction process. This middle neck-through laminate gives guitar makers the opportunity to bind different wood types together. This has been used to great effect to offer stunning neck stability, by companies like Ibanez and Schecter. You can get 3-piece, 5-piece, 7-piece and more!

Because neck-thru guitars are often made up of different types of wood, the neck will be less susceptible to conditions that might cause warp and twist. It’s almost like the woods counteract each other for more stability. They’re often favoured by shredders for their strength in maintaining a low action without the wood moving much.

Pros of Neck-Through Guitars

• Best possible sustain and resonance due to a single, continuous wood core that transfers the string vibrations directly to your pickups.
• Highly stable neck that maintains low action and resists warping.

Cons of Neck-Through Guitars

• Some argue that laminated wood sections don’t resonate as purely as single-piece wood.
• Difficult (if not impossible) to repair the neck without affecting the entire guitar.
• The breaks in the wood grain between pieces in the wings may cause slight tone loss.

Final Thoughts: Which Neck Type Should You Choose?

As you may have guessed, the best choice really comes down to personal preference and the kind of tone and feel you want from your electric guitar. If you can, it’s worth having a few different guitars to cover a wider tonal spectrum.

My favourite guitar is a PRS Custom 24 with a set Mahogany neck, but I also love my small collection of Telecasters for their unbeatable twang and attack. At the end of the day, it really is just down to you and what you prefer, there is no ‘right’ answer!

Now hopefully you have a better idea of what each type of neck construction is, and which one(s) might be right for you.

If you enjoyed the article then click here to read more of our Labs articles!!

The post Bolt-on vs. Set Neck vs. Neck-Through Electric Guitars appeared first on Andertons Blog.

If you’ve ever owned a tube amp, you’ll have probably heard the term “amp bias” mentioned around the place. But what does it really mean? And is it important for your amp? Let’s take a look at what tube amp bias is, and explain why it’s crucial for getting the best tone and longevity out of your tubes…

What Are Power Amp Tubes?

Tube Amplifiers (AKA Valve Amps here in the UK) use glass vacuum tubes with internal electrodes to amplify your guitar’s signal to shape your tone and drive your cab speakers. When discussing tube amp bias, we’re specifically referring to the power amp valves, not preamp tubes. Common power amp tube types include: EL34, EL84, 6V6, 6L6GC, KT88, KT77.

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What Is Tube Amp Bias?

Tube amp bias is an electronic process that ensures the power amp tubes in your valve amp run at their optimum capacity so that you can get the best possible guitar tone out of them. It ensures the tubes are fed the correct voltage according to the valve’s resistance rating.

Simply put, biasing adjusts the electrical current flowing through your power tubes to achieve the perfect balance between tone quality and tube longevity.

Think of tube amp bias like water flowing through a tap. Your perfect bias is a steady, smooth stream of water. Incorrect biasing drastically alters that flow:

• Cold bias = Slow drip (insufficient power)
• Hot bias = Uncontrollable overflow that floods your kitchen (too much power)
• Correct bias = Perfect, steady stream (optimal performance)

Please Note: We strongly recommend that you do NOT attempt to bias your own amp –

Amp bias should only be done by a trained amp tech. Tube amplifiers store lethal voltages even when switched off. Capacitors retain dangerous charges for days after use and just touching the wrong part of the amp can KILL. The cost of professional service is minimal compared to the risks of DIY attempts!

Now back to the fun stuff…

Valve Amps

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Why Is Tube Amp Bias Important For Your Guitar Sound?

Correct tube amp bias ensures your power amp valves run at their optimum performance level. This means you can extract the best possible tone because the tubes receive the precise voltage needed according to their resistance specifications.

Properly biased amplifiers deliver:

• Enhanced tonal clarity and warmth
• Better dynamic response
• Longer tube life
• Consistent performance
• Protection against component damage

How Does Tube Amp Bias Affect Guitar Tone?

The bias setting directly impacts your amplifier’s sound characteristics.

Over-biased (Running Cold):

• Tubes receive insufficient current
• Produces thin, sterile sound
• Lacks warm tube saturation
• Tubes last longer but tone suffers
• Amp never reaches its full potential

Under-biased (Running Hot):

• Tubes receive too much current
• Creates overly saturated, compressed tone
• Tubes wear out quickly
• Risk of damaging other amp components
• Potential fire hazard

Properly Biased (Sweet Spot):

• Perfect balance of current flow
• Optimal tone quality with natural tube warmth
• Maximum tube lifespan
• Best overall performance

When Does A Tube Amp Need To Be Biased?

You should bias the amp when you change tubes. This is because the new power tubes will likely have different characteristics, even if you replace them with a matched set of the same model.

Why?

Most companies do not test valves before shipping them which is why they can vary in terms of resistance.

Power tubes are all somewhat unique. Even a matched set from the same brand can require a different bias.

Example of incorrect tube spec:

Imagine your amp is currently set to run quite ‘hot’ but has high resistance tubes which match perfectly.

But you now want to change tube brand or spec…

If you changed to tubes with a lower resistance without biasing the amp you would quickly burn through those tubes and potentially damage the amp and yourself in the process. This is because the amp is still pushing out current at a higher level than the valves are able to take, until it’s been correctly re-biased.

Not biasing your amp may not have severe effects but will likely affect your tone and cause your tubes to wear out faster at the very least.

Conclusion: You should bias most tube amps if you change the tubes. This is because you cannot buy tubes with a similarly matched resistance. You should always buy a matched pair or a matched quad of tubes, but the chances of them matching your current pair are very small. So, get the amp to a tech and get it biased!

Do You Always Need to Bias New Tubes? – Fixed Bias Vs. Cathode Bias Amps

The majority of valve amplifiers are known as fixed bias amplifiers. They need to be biased every time you change your power tubes.

However, the less common cathode bias amps are self-regulating and don’t need adjustment. You can replace all their tubes without a trip to the service shop.

Fixed Bias Amplifiers:

• Require professional biasing when changing tubes
• Offer more headroom and punch
• Common in higher-wattage amps
• Examples: Marshall JCM800, Fender Twin Reverb.

Cathode Bias Amplifiers:

• Self-biasing design
• More forgiving with tube changes
• More compressed tone, with sag in the low end and less clean headroom
• Common in lower-wattage amps
• Examples: Vox AC30, Fender Blues Junior

Extra note – Mesa/Boogie non-adjustable fixed bias

To get really specific, there is another type of fixed bias amplifier known as non-adjustable fixed bias amps. These are by far the least common. These amps cannot be biased and the manufacturer will strictly test all of their power tubes to ensure they properly fit their fixed circuitry. The only main example is Mesa/Boogie.

This means you can change the tubes out for other Mesa/Boogie tubes without worrying about bias. As long as you use the correct spec from that specific manufacturer, you’re good to go!

Conclusion: Getting the Best from Your Tube Amp

Tube amp bias is one of those topics that can easily go over your head if you aren’t too tech savvy. But as with all things guitar, if it sounds bad, change it. If it sounds good then play it until you can’t anymore.

FAQs

Do Pre-amp tubes need to be biased?

Generally, no. Pre-amp tubes almost always have a self-regulating circuit meaning you don’t need to worry about biasing them when you change them, as long as your new tube is the same type as the old tube. Pre-amp tubes also draw much less current than power amp tubes, meaning bias isn’t as much of a concern anyway.

How do I know if my amp needs biasing?

Generally, just when you replace your power tubes. If you notice sound changes or experience performance issues, take it to an amp tech to be sure.

Can wrong bias damage my amp?

Yes, incorrect bias can damage tubes, other components, and even be a fire risk.

How long do biased tubes last in a guitar amp?

Properly biased power tubes typically last 1-3 years with regular use, though this varies based on playing style, volume levels, and tube quality. Gigging musicians may need replacements every 6-12 months.

Does tube amp bias affect volume and headroom?

Yes, bias settings impact both volume and headroom. Cooler bias provides more headroom and cleaner tones, while warmer bias offers earlier saturation and more compressed dynamics at lower volumes.

Want To Learn More?

If you have any further questions about your amp, tubes or similar please contact us.

Did you enjoy reading this article? Leave a comment below and share your thoughts!

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The post What Is Tube Amp Bias? appeared first on Andertons Blog.

The answer depends entirely on your set up and how you want your modulation, reverb and delay pedals to sound. However, if you’ve never tried your guitar effects loop, now is a good time to try and you’ll be surprised at the difference it makes.

What will I learn?

• What will I learn?
• What is a guitar amp effects loop?
• The difference between an effects loop and going into the front of an amp.
• What’s the best guitar pedal order for a pedalboard?
• What’s the best guitar pedal order for your effects loop?
• So, to answer the question, should I use an effects loop?

What is a guitar amp effects loop?

A guitar tube amp effects loop is an input and output section between the preamp stage and power amp section in your amplifier. It is normally labelled on your amp as the send and return. What this means is that you can use the preamp – which is where your amp gets its tone and voice from – in your actual signal chain with your pedals. This is called preamp distortion.

This is particularly important for players that use their amp for distortion sounds but still want clear delay and reverb sounds from their pedals.

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Gibson pickups have shaped the sound of rock, blues, jazz, and beyond for decades. From the sweet warmth of a ’57 Classic to the right-on-the-limit aggression of Dirty Fingers, these pickups run the gamut on tone range, and each one comes with its own unique flavour and history. But with so many different options, knowing which Gibson pickups are the right ones for you could be a little tricky!

That’s where this guide comes in. We’ll walk you through all the most popular Gibson pickups, explore their sound profiles, and ultimately, help you figure out which ones could best suit your playing style.

Pickups We’ll Be Covering:

• CustomBucker
• ’57 Classic
• Burstbucker 1 & 2
• Greenybucker
• 490R & 490T
• T-Type
• ‘70s Tribute Pickups
• Dirty Fingers

A Brief History of Gibson Pickups

Before humbuckers came along, single coil pickups were the industry standard. They offered plenty of clarity, but they were also prone to producing a persistent electrical hum. And as guitarists began playing through louder, more powerful amps, this soon became a problem. But in the mid-1950s, Gibson engineer Seth Lover invented the perfect solution: the humbucking pickup.

By placing two coils side by side with opposite polarity and reverse windings, the simple humbucker cancelled out any unwanted noise, getting rid of that dreaded “60-cycle hum”. But just as importantly, it also gave rise to a whole new tonal character: thicker, fuller, warmer, and perfectly suited to the emerging sounds of rock and roll.

Following the breakthrough of the humbucker, 1957 witnessed the creation of the now-legendary PAF (Patent Applied For) pickup. Originally simply a practical innovation, the PAF would go on to define what many consider to be the ultimate vintage guitar tone. With its smooth highs, creamy mids, and just the right amount of output, the PAF has been an endless source of inspiration for pickup design over the years.

Since the 50s, just about every Gibson humbucker has been a variation of this foundational design, refined and tailored to meet the demands of different playing styles and musical genres. Able to tackle everything from the warm, expressive tones of jazz to the unabashed aggression of modern metal and hard rock, Gibson pickups continue to evolve, keeping up with the zeitgeist while still respecting that old school PAF magic.

Why Gibson Pickups Matter

Ever since guitars turned electric, the components that affect the tone you produce have become a much more complicated cocktail. Tonewoods definitely still play a part, but then there are factors like the string gauge you use, the amp and speaker cab you play through, and the electronic components in your instrument. And when it comes to the electronics, the chief proponent at play is, of course, the pickups. They capture the magnetic vibrations you produce when you attack your strings, turning them into the electronic signal that gets sent to your amplifier and speaker, where they’re converted into sound waves. That’s why high-quality pickups are so important: to capture the best quality signal at the source, so you can get the cleanest possible sounds out of your speaker.

If you’re at all familiar with guitars, you’ve heard the name Gibson – and with good reason. Operating out of their factory in Nashville, Tennessee, the company has become nothing short of synonymous with legendary electric guitars. And just as crucially for this article, they’ve also developed a wide variety of pickups over the years, each with its own voice, feel, and vibe. So, no matter whether you’re chasing vintage clarity, modern crunch, or something to really stand out from the pack, you can’t go wrong with Gibson pickups.

Gibson Pickups: The Basics

Today, Gibson offers both humbuckers and P-90s, with humbuckers being arguably their most iconic creation, at least in the world of pups! As the name suggests, humbuckers cancel out (or buck!) the hum and deliver a thicker, fuller sound than single coils can typically manage. But that doesn’t mean single coil pickups don’t have their place. In fact, the company’s P-90 pickups pack a raw, punchy midrange that’s just perfect for blues and garage rock players who need a little bite and clarity.

Within the humbucker family, you’ll find a surprisingly wide range of pickups, all tailored to meet the demands of different eras and styles – 1950s-style PAF replicas to modern high-output screamers.

Gibson’s Most Popular Pickups

CustomBucker

For many, the Gibson CustomBucker is the holy grail pickup in modern instruments. It’s the closest Gibson has come to recreating their original ‘50s PAF pickups, with a mellower sounding Alnico III magnet and smooth, rounded tones on offer. It’s quite simply ‘that’ Gibson sound that you probably have in your head, made famous by legendary players like Jimmy Page, Slash, and so many others.

Warm, airy, and with a touch of vintage sparkle, the CustomBuckers are hard to beat. Unfortunately, they’re just as hard to find – they’re only available in certain Gibson Custom Shop guitars – you can’t purchase them separately.

’57 Classic

The 57 Classic pickup is Gibson’s flagship vintage-style humbucker. Inspired by the PAFs, they’ve got very similar specs to the original; however, the coils are evenly wound to give them a rich, balanced tonal output that the original winding machines could not achieve. They still have that vintage sweetness that you might expect, but with a bit more balance and even distribution over the EQ spectrum.

You’ll often see the 57 Classic pickups in SGs and Les Pauls, as well as some hollow body guitars. They’re versatile and simple, delivering smooth sustain, clear highs, and a robust low end for consistently great guitar tones.

Burstbucker 1 & 2

The Burstbuckers offer a bit more grit and unpredictability than the ‘57 Classics. Purposefully designed to replicate some of the inconsistencies of early PAFs, Burstbuckers feature unbalanced coil windings, giving them a slightly edgier tone.

The Burstbucker 1 is slightly underwound and usually sits in the neck position, while Burstbucker 2 is a touch hotter, perfect for the bridge. Put them together, and you’ve got all the makings for a dynamic, vintage tone with plenty of personality.

Greenybucker

The Greenybucker is inspired by guitarist Peter Green’s legendary out-of-phase Les Paul tone, made famous during his time with Fleetwood Mac. An unpotted pickup, it replicates the reversed-magnet mod that created the hauntingly nasal, almost quacky middle position sound of the near-mythical “Greeny” Les Paul, which over the years has been owned and played by the likes of Green, Gary Moore, and Kirk Hammett.

If you’re looking to explore unique, leftfield, bluesy textures, the Greenybucker is a great choice, quickly becoming a cult favourite since its 2023 release.

490R & 490T

These pickups have become modern-day standards for Gibson’s USA-made instruments. Using Alnico II magnets and slightly hotter windings than vintage models, the 490R (neck) and 490T (bridge) offer more midrange push and output while still maintaining that all-important vintage warmth.

These incredibly versatile pickups have a sweet mid-range with a beautiful singing overdrive tone that works well in everything from rock to pop to blues. You’ll find them in modern Gibson guitars like the SG Special or Les Paul Studio and Tribute models.

T-Type

A throwback to the 1970s, the T-Type pickup was originally made to replace ageing PAFs with a more consistent and slightly brighter tone. Today’s reissues bring that same mid-scooped, articulate sound – great news for players looking for something a little more open and jangly than the typical humbucker.

If you like crisp note separation and vintage warmth, the T-Type is definitely worth thinking about.

‘70s Tribute Pickups

If you want to capture the bold, aggressive tones of 1970s hard rock, these pickups are worthy of investigation! Overwound for higher output, they’re a great choice for crunchy rhythm playing and searing solos, with a definite focus on upper mids and tight lows.

The 70s Tributes pack high-output ceramic magnets that deliver a punchy, in-your-face tone that eats high-gain settings. So, if you’re chasing Thin Lizzy or early Judas Priest tones, these are a solid choice for heavy riff-driven shenanigans.

Dirty Fingers

If heavier genres like metal or hardcore are more your bag, then don’t worry; Gibson has you suitably covered with the Dirty Fingers pickups. With ceramic magnets and an extremely high output, these pickups are made to drive amps to within an inch of their lives and slice through any mix.

Expect nothing but aggressive attack, scooped mids, and massive sustain. They’re not for the faint-hearted, but if you need power and precision in your playing, you can’t go far wrong with these.

How to Buy Gibson Pickups

The easiest way to get your hands on a set of Gibson pickups is the way you’d most expect – buy a Gibson guitar! Whether you go for a Les Paul, SG, an ES Guitar, or even something special from the Gibson Custom Shop, you’re going to get Gibson pickups as standard, installed in the company’s Nashville factory.

But what if you already have your dream guitar? Fear not! Many of these pickups are available as aftermarket options too. As long as your guitar is compatible and you know your way around a soldering iron, you can pick up a set and upgrade your guitar with some Gibson goodness. Swapping pickups isn’t as daunting a task as it sounds, but if you aren’t completely comfortable, don’t take any risks – get in touch with a nearby guitar tech who can complete the work for you.

When buying aftermarket, make sure you check your guitar’s pickup cavity size, wiring configuration, and magnet type preferences. If you’re upgrading from lower-end stock pickups, even a mid-range Gibson pickup could make a real difference to your tone. Don’t forget, you can also experiment with mixing different models. For example, why not try pairing a 490R in the neck with a Dirty Fingers in the bridge for a best-of-both-worlds setup?

Gibson Les Paul

Gibson SG

Gibson Pickups: Frequently Asked Questions

What’s the difference between Alnico II and Alnico V magnets in pickups?

Alnico II magnets tend to produce a warmer, softer sound with smoother highs and rounded lows, which is great for vintage-style tones. Alnico V magnets are stronger and provide more output, brighter highs, and tighter lows – just what you need for more aggressive or modern styles.

Are Gibson pickups compatible with non-Gibson guitars?

For the most part, yes – Gibson humbuckers can generally be installed in any guitar with standard humbucker routing and electronics. Just make sure to check things like cavity size, mounting style, and wiring compatibility before you make any changes.

Can I mix different Gibson pickups in the same guitar?

Absolutely! Mixing different pickups is a fantastic way to unlock a really unique sound. Pairing a warmer neck pickup with a hotter bridge pickup is a popular way to broaden your tone options – just make sure they’re matched in output to avoid any very drastic volume differences.

What are ‘unpotted’ pickups?

Unpotted pickups aren’t sealed in wax, giving them more natural resonance and microphonic feedback, which helps you get that vintage tone. However, unpotted pickups can be more susceptible to unwanted squeal at high volumes.

How do I know if I need high-output pickups like Dirty Fingers?

If you play heavy genres, use a lot of distortion, or want your pickups to push your amp hard, high-output models are the way to go. If you prefer clean dynamics and vintage breakup, lower-output pickups might be a better fit.

Are Burstbuckers better than ’57 Classics?

Not necessarily better, just different. Because of their unbalanced coils, Burstbuckers are a bit hotter and more raw, while ’57 Classics are smoother and more refined. It all depends on the sound you’re after.

Does changing pickups affect my guitar’s resale value?

It can. Vintage-correct pickups can increase value for collectors, while there’s a chance that aftermarket swaps might decrease your guitar’s value. But if tone is your biggest priority, the right pickup upgrade could be worth its weight in gold!

Want to Learn More?

Enjoyed this guide? Check out the following related articles:

• Gibson Les Paul vs. SG Guitars
• Gibson vs. Epiphone – Which Guitars Are Better?
• Single Coil vs. P90 vs. Humbucker Pickups

Or dive into our Learn topics for further reading!

The post Gibson Pickups: Which One is Right for You? appeared first on Andertons Blog.

Chapman guitars have established themselves as genuine contenders in the highly competitive market of electric guitars. They’ve done this by offering a number of different guitars that suit a number of different styles. Most importantly, their core standard range has always remained affordable.

Not only are their guitars affordable, despite using high-quality woods and hardware, but they’re also collaboratively designed.

2009: It all started with the ML-1

The concept of collaborative design was born with the first Chapman ML-1. In a series of videos, Chappers put out a vote to the public for what each individual aspect of the guitar should be. This included body shape, woods used, pickup style and hardware too. This is still the way that Chapman Guitars choose to design their newest releases.

By getting the public to vote, people felt like they’d invested in their own little way to a guitar design that would suit other guitar players like themselves. Rather than a guitar designed by marketing analysts trying to follow the current trend. Ahem *offset guitars* ahem…

Easy To Modify

One of the early unique selling points of the Chapman range was the fact that they were (and still are) so easy to modify. This allowed guitarists to take on the project of turning a blank slate into the guitar of their dreams. The initial run of ML-1 guitars was the perfect starting point.  This has been a part of the Chapman ethos ever since however it’s worth noting that they’ve turned up the quality in hardware, wood choice and pickups since inception. This has resulted in some stunning guitars for the money.

They also refuse to go through third-party distribution which means that they’re able to keep the price down.

Chapman Guitars Between 2009 and 2022

The years between 2009 and 2016 are where Chapman Guitars really found their niche and defined themselves, and have only grown from there. They did it all! From releasing brand new models, body shapes and signature models to limited edition one-off runs. Here’s a timeline of guitars released between 2009 and 2022 in order:

• ML-1 – Stands for Monkey Lord-1. This was the first Chapman Guitar and still exists to this day. It had an HSS pickup configuration in a natural satin finish.
• ML-2 – This was the second Chapman guitar to come out. It’s a single-cut, dual humbucker modern rock and metal guitar.
• ML-3 Modern & ML-3 Traditional – Both of these guitars are T-shaped and had either an SS or HH pickup configuration.
• ML-7S – a 7-string with an ML-1 body shape and a Mahogany body.
• ML-7T – a 7-string with a ML-3 T-style Ash body.
• ML-1 CAP10 – The very first Chapman signature guitar for Lee Anderton – the Captain. It was based on his favourite Mahogany-bodied strat with an HSH pickup configuration.
• ML-1 BEA – The Rabea Massaad signature model with Seymour Duncan humbuckers.
• ML-3 RC – Rob Chapmans signature T-style guitar.
• Rob Chapman Signature Ghost Fret – Incredibly popular metal guitar – For the explorers amongst us…
• ML-1 Natural Ash – A limited edition run of swamp ash ML-1s.
• ML-1 CAP10 Blackout – A limited run of the Captains signature model but with all the white reversed for black.
• ML1 CAP10 America –  A limited run of the Captains signature model but with a cherry sunburst finish and Maple fingerboard.
• ML-1 Hot Rod – A limited run ML-1 with a single humbucker and Floyd Rose tremolo system.
• ML-2 Classic – The ML-2 in a gold sparkle finish with 2x Seymour Duncan humbuckers.
• ML-1 Norseman – A special ML-1 designed by Chapman guitars in conjunction with Norwegian retailer, Evenstad Musikk.
• MLB-1 – The first 4-string bass in the line-up.
• ML1-8 RS – The Rob Scallon 8-String guitar.
• ML1 RS – Rob Scallons 6-string signature guitar.
• Chapman V2 Standard guitars announced.
• Snake Oil Fine Instruments pedals announced at the NAMM 2019 show.
• ML-3 BEA – Rabea Massaad Signature T-Style Guitar (Standard & Pro Series)
• ML-3 P90 Pro – Classic ML-3 looks supercharged with punchy Seymour Duncan P90s
• ML-2 Pro – The 2022 return of the Chapman Single-Cut

NAMM 2017 : The Pro and Standard Series

It was at the NAMM 2017 show that Chapman made the decision to split their entire range into 2. This is when the Standard series and Pro series were formed.

The Standard Series – The Standard Series guitars are all made in Indonesia and have bolt-on Roasted Maple necks (with varying fretboards). They also feature veneers instead of thick Maple caps and have gloss finishes.

The Pro Series – These are made at World Guitars in South Korea with 3-piece Roasted Maple through-necks. They’ve also got solid carved tops, stainless steel frets, hipshot open-gear tuners and this is the range that you’ll see signature and satin-finished guitars.

I’m going to run you through the 4 key stages of playing guitar live at a show and what gear you might need for each stage: preparing for the show, soundcheck, during the show and after the show.

but ultimately, it comes down to preparing and playing a memorable show for yourself and the audience and having fun whilst doing so. Whether you’re a pro or beginner, these steps will help in some way to make sure your next show is a doozy! 

How to prepare for a gig playing guitar 

Playing your first gig can be daunting. Playing your 100th gig can be daunting too. The only way you’ll allow yourself to trust in your ability and feel ‘comfortable’ at the show is if you’ve prepared for the songs you’ll be playing. 

What to do leading up to the show 

• Learn the songs like the back of your hand. And I don’t mean write the chords on the back of your hand. Without sounding preachy, knowing the songs will give you the freedom to perform and enjoy yourself without thinking about that next Bb Diminished chord! 
• Dial in the same tones at practice that you’ll be using at the show. This will allow you to play the songs exactly as intended. With the correct delay times, sustain, compression and distortion. Try to rehearse at gig volume at least once before the show – this is so that you’re used to the power and volume of a show.  
• Make sure your rig is gig-ready. Check what gear you need to bring. Sometimes a venue will have guitar cabs that you can use which means you can plug your guitar head in and not worry about lugging your own cab around. However, some venues are notoriously low on gear so make sure you have everything that you need to turn up and rock out! 
• Practice along to a metronome set to the correct tempo of each song you’re going to perform. Get used to playing in time and staying in time. Pretty much everyone speeds up when playing live so try and get used to how it feels to stay playing at the same speed, in time and in the groove.
• Make sure your gear is set up correctly and at a gigging standard. You should always be playing with good strings – older strings can rust and damage your frets and will generally sound bad and can also lose their tension and tuning! 
• Use straplocks to prevent a disaster. This is all down to preference but straplocks will allow you to move about without worrying about the guitar strap slipping and eventually dropping your precious instrument! They’re cheap and effective. 

(above: straplocks and a tuner are essential guitar gear, both on and off stage)

What should a guitarist have in their gigbag? 

• Spare Strings – in the same gauge as the set on your guitar. 
• Spare Strap – with the correct straplocks! 
• Spare guitar picks – because when you drop one, it will disappear into the abyss. 
• Guitar tuner – headstock or otherwise, it’s imperative to be in tune and not sound like nails on a chalkboard! 
• Guitar tools including wire cutters and Allen Keys to adjust action if needed 
• Pen and paper – always handy to make setlists, remember chord changes or pen a new song backstage 
• Amp backup – amp sim or multi-fx with built-in amp modelling in case your main rig goes down. 
• Batteries – for your pedals or guitar if you have active circuitry. 
• Spare cables – an absolute must have! Make sure they’re the same grade as your gigging cables too.  
• Spare mains adapter / multiplug adapter – to ensure you have the power options available. 

What’s a soundcheck for a guitarist? 

The soundcheck exists to allow you to dial in your tones to taste and to allow the engineer to take these tones and make them sound the best that they can out front. 

Find a sound that you like and let the engineer do the rest.  

If there is no sound engineer, then try to balance the overall level of the band and make sure your guitar is the correct volume in relation to the other band members. Remember your guitar will sound different in the mix amongst the sounds of the drums, bass, vocals and anything else so dial in your tone to sound good with those instruments playing. And then relax and have fun with it! 

You may have had your eye on a particularly expensive guitar or drum kit for a long time and be uncertain as to whether you should go ahead and spend your money on such a product. Will it depreciate? What will it be worth in a few years? Does that even matter because why would you sell your precious dream instrument?

Well, sometimes the peace of mind alone can be enough reason to buy an expensive item knowing that it won’t be worthless in a few years.

Unfortunately, because the premium instrument market is so saturated it can often be difficult to predict which instruments are going to increase in value over time as most, will actually follow the rule of diminishing returns.

This is the marginal decrease in value of an instrument after usage and generally the product will go down to about 2/3 or even half it’s value when it comes time to re-sell. This is the harsh reality of most second-hand products however some are extreme exceptions to the rule and will go up in value due to rarity, demand and availability.

The best investment for your soul

Ultimately, a premium instrument may not be a monetary investment. Or at least that would be difficult to predict. However, it is a worthwhile investment for your soul. There’s nothing more joyous than playing a beautiful, handcrafted instrument that you’ve dreamed about, every time you want to practice or play.

Sometimes, that premium instrument will simply affect you psychologically and make you feel like you should work harder to be a better player. This happened to me when I got my PRS Custom 24. I felt like I needed to earn the ability to make the guitar sound the best it could. It’s also still the best instrument I own and don’t really need to or want to own many others.

Sometimes just feeling like you have bought the best instrument on the market will inspire you to play more than ever before.