One of the most frequently asked questions by new customers, as well as one that I experienced at least once a week when I used to work as a guitar teacher, was what guitar should I get, a classical or an acoustic?

In this blog, I take a look at the key differences and try to answer some of the questions you ask when first thinking about diving headfirst into the alluring world of guitar.

What is the difference between a classical guitar and a regular guitar?

When most people say “acoustic” or “regular” guitar, they are often referring to a steel-string acoustic guitar. This is the acoustic guitar you’ve heard on countless songs from many of the most well-known artists, from Bob Dylan to The Beatles, Pink Floyd, The Rolling Stones and Led Zeppelin, as well as modern artists such as Radiohead, Oasis, Coldplay, Taylor Swift and Ed Sheeran.

Although sometimes grouped into two categories, they are actually just two types of acoustic guitars. The main difference between the two is that one uses steel (metal) strings while the other uses nylon (plastic) strings.

There are a number of other, mainly constructional differences which I will get into a little later, but on the whole, they are very similar. Both have 6 strings and are generally tuned to ‘standard’ tuning (EADGBE), both feature a scale length (string length between the saddle and nut) of around 25.5”, and both usually have between 18-20 frets, depending on the specific model.

In short, anything you can play on a steel-string guitar, you can also play on a classical guitar and vice versa.

So, what are the differences?

Really, the key differences are the sound and the feel. The nylon strings on a classical guitar produce a much mellower tone, whereas steel strings are often loud, bright and present. The nylon strings can also feel softer to play.

Other key differences include…

• The Nut Width: Classical guitars generally come with a much wider 52mm nut width. This is because the modern classical guitar was developed in Spain in the late 19^th century and was primarily designed to accommodate the playing styles and techniques required for the classical musical styles of the time. Modern steel-string acoustics typically feature a much narrower 43mm nut width, which is generally better suited for more contemporary playing styles such as chordal strumming and flat-picking.
• Lighter Construction: Nylon strings produce a much lower string tension compared to those found on a steel-string. Therefore, a classical guitar can typically be built with far less internal reinforcement. A steel-strung guitar will usually have an adjustable truss rod built into the neck, which is designed to help keep the neck straight under such high amounts of strain. Classical guitars generally don’t need this.
• Internal Bracing Pattern: One of the biggest differences between a classical and a steel-string acoustic guitar is the internal bracing pattern. This is a series of wooden braces which a) support the guitar’s top from the enormous pressures of the strings at pitch, and b) tunes the top to specifically resonate and move in a way that enriches and emphasises the vibrations of the strings. Due to both having such different tones, the bracing patterns are often significantly different.
• Bridge and Tuners: Owing to the differing designs of the strings, particularly how they connect to the guitar at each end, the bridge and tuners differ slightly. On a steel-string acoustic, the strings usually feature a ‘ball end’, which is fed into the guitar’s body and held in place by a bridge pin. Because of the lighter tension and increased flexibility of a nylon string, classical strings are simply tied into place at the bridge. Also, classical guitars typically feature a slotted headstock with side-mounted (horizontal) tuners.
• The sound: Throughout this blog, I have mentioned a few times how nylon-strung classical guitars sound vastly different to steel-strung acoustic guitars. As previously described, in the most simplest terms, classical guitars typically sound warm and mellow, whereas steel-strung guitars sound bright and percussive.

Digging a little deeper, trying not to get too technical, when you hear an individual note from a musical instrument, you actually hear multiple, which sort of mould together to form one note. These are separated into the ‘fundamental’ and the ‘overtones’.

The Fundamental is the main note (pitch) of the sound and is the base sound you hear. The overtones are a whole series of higher notes and frequencies that ring out in combination with the fundamental. It’s these overtones that help form the overall timbre of the instrument. Classical guitars are designed and built to specifically capture the sound of the fundamental note, causing the sound to be more focused and warmer due to the lack of higher overtones. Steel-string guitars are often built to allow the overtones to ring more freely, creating a much brighter, resonant tone.  

Is classical guitar easier than acoustic guitar?

Yes and no. As previously mentioned, nylon strings are softer and due to their reduced string tension, playing a classical guitar can feel slightly more forgiving on your hands and fingers. This is particularly useful when you first start playing, and you have not yet developed tough calluses on your fingertips. This makes classical guitars a great tool for getting the basics down.

With that said, if your intention is to use a nylon guitar for its initial purpose – i.e., classical or Spanish music, then classical guitar certainly is not any easier than a steel-string acoustic guitar. Many of the techniques and chord voicings required for these playing styles require years of practise and dedication to master. All types of guitar playing, whether it’s acoustic, classical, electric, jazz or anything else, have techniques which are suited for beginners and others for more advance player. It’s simply a case of finding the style you want to dedicate your time towards and putting in the time.

Do you have to learn on an acoustic before progressing to an electric guitar?

This was another question I got commonly asked when teaching guitar. The answer, put simply, is no! You do not need to start your guitar journey on an acoustic if your ambition is to play an electric guitar. Yes, as stated above, classical acoustic guitars can be a bit more forgiving for the fingers when compared to a steel-string acoustic or electric guitar; however, if you have no interest in the sound of a classical guitar, then ultimately I would recommend just jumping straight into electric. Learning any new skill is hard, and in reality, there will be a period of time where you might not sound as good as you hoped, and you may feel disheartened and contemplate giving up. Trust me, we’ve all been there! You don’t want to add to this by playing an instrument that you don’t actually like the sound of. If you want to play an electric, then get an electric!

Want to learn more?

If you love staying up to date with the latest kit chatter, our gear news page is one to bookmark. For full-on nerdy deep dives and practical how‑to guides, check out the learn section.

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We all know how nice an acoustic guitar sounds when it’s strummed. Whether it’s round the campfire or on the sofa, it’s pretty darn soothing. But what about when you plug one in?

In this article, we explore the main difference between the two most common acoustic pickup types: piezo and soundhole.

Most people would be able to hear the difference between piezo and soundhole pickups if they were played back-to-back. But we don’t all have that luxury – that’s why we thought we’d dig a little deeper and do the explaining!

Piezo Pickups

Piezo is short for piezoelectric, referring to the generation of a voltage by detecting variations in pressure (in this case, vibration). Unlike ‘traditional’ pickups or microphones, piezo systems uniquely detect vibrations from the wood of your guitar to generate sound, usually from the saddle. The material that detects these changes in pressure consists of tiny piezoelectric crystals – cool huh?

I have never seen two guitar players restring a guitar in the same way. Some bend the strings after going through the pegs, some wind many times around the peg, whilst others do it just once. But do you replace all of your guitar strings by removing them all first? Or do you change them one-by-one?

Steps to changing guitar strings

1. Remove old strings – with a tremolo, remove one at a time.
2. Clean the fretboard and any dirty areas.
3. Slide new strings through the bridge.
4. Insert strings through tuning pegs.
5. Hold string towards tuner, give some leeway and loop clockwise under and over.
6. Hold tight and tune up so the string remains on the inside of the tuning peg.
7. Follow this for each string and retune accurately when all strings have some tension.
8. Clip excess string and you’re set.

Guitar Strings

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Nothing seems to split the world of guitar maintenance more than how you restring your guitar. The old tales go that by removing all of the guitar strings at once, you can potentially ruin the playability of your instrument. From wrecking the intonation, action, tremolo placement and neck, we’ve heard it all…

Luckily, all of those things are easy enough to fix with a quick set up if you know how. But can you avoid having to set up your guitar every time? What if I have been restringing my guitars wrong for the last 10 years?

To demystify these questions, we have conducted a series of tests. Using a 2004 PRS Standard 22, a bunch of guitar strings and some measuring tools, we’re going to find out which string-changing method will affect the action, neck placement or bridge position of your guitar the most- or least! Let’s get started…

Hypothesis: Changing guitar strings one at a time makes no difference to your guitar’s setup compared to restringing the guitar all at once.

I believe that outside of personal reasons for preferring one method over the other, there should be no real difference in the feel, sound or intonation of the guitar.

Electric Guitar Strings

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Method

There will be only a single variable in these tests: the method of stringing the guitar.

• All guitar strings used are 10-46 gauge, from the same brand.
• The guitar has locking tuners and will be strung straight through, with no slack or extra windings.
• Measurements will be made with high-quality, accurate tooling.
• The guitar will be strung in a room with a consistent temperature/humidity on the same day, to ensure that there is no chance for any environmental changes to affect the guitar neck.

If there is a change between tests at the 12th fret but not at the bridge, we can be sure that movement has occurred to the neck.

If there is a change at the bridge and the 12th fret, we can calculate how much of that had to do with the bridge moving and how much of it was the neck. We’ll do this by comparing the differences in movement.

Step 1: Get a control

This guitar was re-strung 1 week before the tests with a set of 10-46 gauge strings. It was set up to the players liking at the time. We will measure the string height at the 12th fret, as well as how high the tremolo system is floating off the body. The intonation will also be measured with a precise, accurate digital tuner. This will check how sharp or flat each guitar string is at the 12th fret and the 12th fret harmonic.

Step 2: Replace strings all at the same time

We will restring the guitar using a fresh set of 10-46 strings, from the same brand as the original set. The guitar will then be tuned to E standard and measured in exactly the same way we measured in the control tests (above). For this test, we will remove all 6 strings at the same time and then replace them.

Step 3: Replace strings one at a time

This step is very similar to step 2, but we will remove one string and replace it before moving onto the next one. Again, this will be done with a fresh set of 10-46 strings, from the same brand.

The Tests

Using a Stewart-MacDonald String Action Gauge, we measured the string height at the 12th fret on both sides of the neck. We also used the same tool to measure the bridge height, to see if that would move through the test.

This set of 10-46 strings had been on the guitar for a few days at this point, so they had time to settle. Here are the measurements of the guitar at this point:

Changing Guitar Strings All At Once

After taking those measurements, we removed the old strings from the guitar and replaced them instantly with a fresh set of the same gauge strings. Like the setup before, they were pulled straight through the peg and locked in place using the locking tuners. There were no extra winds to add any variance to the neck/string tension.

After this, the guitar was remeasured, and we found some interesting results. We can see that there was a slight increase of 0.005 of an inch on the highest e string, and a larger 0.015 of an inch movement on the lower E string.

The bridge, however, did not move at all, staying at a solid 0.100 of an inch.

Changing Guitar Strings One At A Time

Following the same system as before, we changed these strings one at a time, not unlocking the string until it was time to change it. By restringing this way, some tension is kept on the neck at all times.

What we see here is interesting, but not entirely unexpected. The high e string got a little bit higher, however it rose by exactly the same amount as it did when we replaced the strings all at once. Despite this, there was next to no movement on the lower E string. Once again, the bridge did not move at all.

Conclusion

Do the results of these tests prove that you should always replace your strings one-by-one? Probably not. While we did see a marginal difference in the ‘all-at-once test’, it was by such a small amount that in the grand scheme of things – it is not something you need to worry about!

In that test, the movement we saw with both the neck and bridge was almost immeasurable (less than 0.01 of an inch.). With that, we are comfortable to say that there is practically no measurable difference between these two guitar restringing methods.

So, while objectively there is no real difference to the end result, varying guitar models and different people will have contrasting needs when it comes to changing strings. Below, we have detailed a list of pros for these different methods.

FAQs

Why you should change your guitar strings all at once

• Better ability to clean the guitar.
• Faster than changing them one at a time.
• Best time to prepare a guitar for a setup.

If you are confident with a screwdriver and some hex keys, I recommend taking the time to learn the basics of setting up a guitar and replacing your strings all at once. This is the best way to keep your guitar in the best playing condition.

Why you should change your guitar strings one at a time

• Tailpiece, Bigsby and Floyd Rose fitted guitars are much easier to change when replacing one string at a time.
• Reduces risk of accidentally putting out the intonation or action.

If nothing scares you more than accidentally messing up your guitar’s intonation, then I recommend replacing them one at a time. This is especially if it has a tailpiece, like a Les Paul tune-o-matic or a Bigsby/Floyd Rose tremolo system.

You will eventually have to give in though and occasionally replace your guitar strings all at once, to give the guitar a good clean and a setup. If you are not confident doing this, taking your guitar to a tech once or twice a year to get it cleaned, setup and restrung is recommended.

Conclusion

Personally, I noticed no real-world difference in the feel, playability, intonation or setup of the guitar between changing guitar strings using either method. I will continue to change guitar strings all at once, so I can easily clean and refine the setup each time I restring.

What do you think about the results of this test? Leave a comment and share your thoughts!

If you’re interested in finding the answers to some of the most notorious guitar myths around, check out more of our Labs articles by clicking here.

Check out the huge array of guitar strings on sale at the Andertons website.

The post What’s The Best Method For Changing Guitar Strings? appeared first on Andertons Blog.

The secret to many guitarists’ huge sounds is running multiple amplifiers in their rigs, either to combine different amplifiers to create a unique tone, or to add additional space and dimension to their sound using stereo effects. There are three main ways to set up a stereo amplifier rig, being dual mono, wet/dry, or true stereo. All have their own unique sounds and capabilities, which I’ll cover in this guide.

Essentials you need for a stereo guitar rig

• A Guitar
• 3 Cables
• Splitter / ABY Pedal or Stereo Pedal (and pedal power supply if required)
• 2 Amps

How do you set up an ABY pedal?

For the simplest of stereo rigs there’s a couple of things you’ll need: two amps, and a way to split your signal – that could be by using an ABY switcher or a stereo pedal with two outputs to split your signal to both amps. With your splitter, simply plug your guitar into the input of the pedal, then plug the two outputs to the input of two different amps.

ABY & Switcher Pedals

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Let’s talk amps

There are many different ways to run a stereo rig, but the simplest (and in my opinion best) way is to pick two amps of a similar headroom – which in general will mean a similar wattage. Bear in mind that solid state and valve amps produce vastly different volume and headroom at the same power. As a rule of thumb, a valve amp of 15W or more will probably need to be paired with a solid-state amp of 50W or more.

Why wattage matters

It’s all about headroom when it comes to balancing a stereo rig, which is the amount of clean volume the amp produces before it starts to overdrive. This is because you ideally want to run both amps at the same volume at similar gain levels, so the sounds complement each other rather than one dominating the other. This becomes especially important if you want to add gain pedals into the mix. If you decided to pair a super high-headroom 100W amp like the Victory V140 Super Duchess with a low-headroom 1W amp like a Marshall DSL-1, then the moment you stepped on a distortion pedal, the Victory with all that headroom would jump in volume, whilst the Marshall – which has far less headroom – would be pushed over the limit and would only produce more gain without a measurable increase in volume. So suddenly, your amps which were perfectly matched in volume and gain will be thrown entirely out of balance as one becomes much louder, and one is much quieter and more distorted.

Which amps pair well?

Provided your amps are roughly matched in power, this is really all down to you, and what kind of sound you’re going for. Many guitarists will pair two of the same amp, because they like that sound but they’re just looking to add more width and texture, while others will combine different amps to find their own unique tone.

A great starting point would be to try pairing any of the big three amp brands: Fender, Marshall and Vox. All have their own unique characteristics that compliment each other in a variety of ways.

Fender & Marshall: complimentary frequencies

Perhaps the most popular combination of British and American tone is Fender and Marshall, famously used by Stevie Ray Vaughan and more recently demonstrated by Simon Neil of Biffy Clyro. The EQs of these two amps are excellently suited to each other, as Fenders amps are known for their mid-scooped tone with plenty of bass and top end sparkle, while Marshall amps have a very mid-focused character that can sound very aggressive when cranked up. Together they fill in where the other lacks, so you still get the warmth and chime of the Fender with the punch of the Marshall.

Vox & Marshall: “mid-stacking” punch

For something dirtier, a Vox and Marshall could hit the spot. Both amps sound great when they’re overdriving as their midrange character adds fullness and punch. This idea of “mid-stacking” is a trick used by Joe Bonamassa to get his huge sounds. The idea is to find amps that are mid-focused, but accentuate different parts of the midrange, to create a really full effect that sits perfectly in the guitar’s frequency range. Marshall amps have a lot of lower midrange which gives them their characteristic punch, while a Vox is very upper mid focused when it starts to overdrive, giving it grit and cut.

But don’t feel limited to these options, try pairing any two amps you like and find your unique sound!

What is phase and why does it matter?

As previously alluded, provided that a chosen solid-state amp can match a valve amp for headroom, they can work perfectly well together in a stereo setup, but you can run into issues combining a solid state or valve amp with a digital amp. This is because digital amps experience an almost imperceptible amount of latency as your signal is converted from digital to analogue, which when paired with an all-analogue amp, would put the two signals out of phase with one another.

If two amps are out of phase, the sound you hear will be very thin and quite shrill – not a very pleasant sound. So remember, pair analogue with analogue, or digital with digital – don’t mix and match.

Dual mono setup

Dual Mono is perhaps the simplest stereo setup, as you’re sending the same signal to both amps, so the splitter goes at the end of your chain. What you get with this setup is extra width and tonal blending in your overall sound, but the effects remain the same out of both amps. For example, if you activate a tremolo, you won’t get a bouncing effect – it’ll produce the same on both sides.

The main benefit of this setup is simplicity. If you’re not interested adding stereo effects pedals and you’re just looking to blend the frequencies of the two amps to compliment one another, this method is for you.

Make sure to roughly match volume and gain so that adding gain pedals won’t result in uneven jumps in volume.

Wet/dry setup

Wet/dry is a little more complicated than dual mono, but it creates crisp ambient textures while still delivering a clear, direct signal. The concept of wet/dry is that you send all of your “wet” effects such as reverb, delay and modulation to one amp, while the other amp receives your “dry” signal only containing overdrive, which remains dynamic and punchy. The great advantage to this setup is that you can heavily layer wet effects without your core sound getting washy or mushy, which can often be an issue when layering time-based effects.

If you use a wet/dry rig in a live or studio situation and mic both amps, the mix engineer can blend the wet and dry signals to taste. As a rule of thumb, use the amp with more headroom (usually known as a “pedal platform amp”) as the wet amp to ensure clarity in the wet effects. However there are no hard rules, so try both ways! Consider running your wet effects in the FX loop of one of the amps if you’ve got one. This gives you even more definition in your reverbs and delays and will sound just as the pedals were intended.

True stereo setup

The true stereo setup gets the most out of your best stereo effects. Many modern effects pedals feature stereo inputs and outputs, designed to send different effects to each side, adding width and unique variety across the two speakers. Strymon are a huge name in stereo effects, creating the likes of the Big Sky, Volante and Timeline – premium pedals with huge potential in sound production. Meris are another pedal company specialising in this department, producing synth-like tones from their cutting edge designs. Quality stompbox manufacturers like Walrus Audio, GFI System, Eventide Audio and Old Blood Noise Endeavours all make amazing stereo pedals for your tone-shaping desires.

In terms of dialling in your amps, the same guidelines apply. If you already have any stereo pedals, it is very simple to set up. place your stereo pedal(s) at the end of your signal chain and send the two outputs to your two amps, and enjoy creating a sea of ambient sounds.

Stereo modelling rigs

The latest modelling amp technology provides everything two amps and a splitter does in one package. The Neural DSP Quad Cortex, Line 6 Helix, Kemper Profiling Amp, Valeton GP-200 and all their variations are amp emulators packed with guitar effects and stereo outputs. Dial in your amp settings in two “patches” or “blocks” and send each signal to a dedicated output. With an amp modeller, you can achieve any of the stereo setups depending on where you place each block in the signal chain.

Want to run a wet/dry setup? Easy – keep all your wet effects in one chain. Want to load up a ton of different effects for both amps? Done. Picking up a modelling amp is likely the best course of action for gigging guitarists because it makes travelling and setting up at shows that much quicker and easier. Plug your modeller into the front of house and you’re there – no heavy amps, or two in this case for a stereo rig, to lug around. For the tone purists valve amps are still the way to go. Unpowered modellers require a power amp if you wish to plug into amp cabinet speakers, otherwise you’ll have to run the signal into FRFR speakers or your audio interface.

So… should you get a stereo amp rig?

With two amps, there are so many ways to set them up to great a huge variety of different sounds. If you already have two amps, why not try a few different ways to set them up and find what your like – all you’ll need are two cables and a splitter, either as an ABY pedal or stereo guitar pedal (it’s a great excuse to buy a new pedal).

If you currently have one amp and you’re searching for more texture, depth or intricacy to your tone and effects, getting a second may be the perfect solution. And remember, there are no right answers, try experimenting until you find a sound that truly connects with you and your sound and style.

Enjoyed this read? We’ve collated some more relevant articles for you to check out:

• How to set up your first pedalboard
• Should I buy a combo amp or a head and cab?
• What is an ampless guitar rig?

The post Why You Should Try A Stereo Guitar Amplifier Rig appeared first on Andertons Blog.

Are your inbuilt synth effects getting boring? Running out of ways to spice up your sound? It might not be your first thought – but adding guitar pedals into your synth rig can open a whole new world of sonic variety. Alternatively, if you’re a guitarist with some pedals lying around, get your hands on a cheap synth and hear your familiar effects in a whole new light. Here are some fantastic options to explore.

Practising on Acoustic vs Electronic Drums: What You Need to Know

When it comes to developing your drumming skills, both acoustic and electronic drum kits offer distinct advantages and drawbacks. The choice often depends on your goals, environment, and long-term aspirations. Here’s how they stack up specifically for practice.

Electronic Drums for Practice

Pros:

• Silent Practice:
  The biggest advantage of electronic drums is the ability to practice quietly using headphones—ideal for apartments, shared homes, or late-night sessions.
• Built-In Tools:
  Most kits come with helpful practice features like metronomes, play-along tracks, loop functions, and recording options. These tools help refine timing, accuracy, and creativity.
• Sound Variety:
  With a wide range of sounds and kit emulations, you can experiment with different genres and styles, which is great for building versatility.
• Easy Setup and Portability:
  Compact and lightweight, electronic kits are easier to set up and move, making them practical for home practice or mobile teaching.

Cons:

• Feel and Response:
  Rubber or mesh pads don’t replicate the physical feedback of acoustic drums. The rebound, dynamics, and stick response are noticeably different, which can hinder adaptation to acoustic kits.
• Sound Limitations for Live Transition:
  While excellent for practising rhythms and coordination, the electronic kit may not prepare you fully for the volume, tone, and physical intensity of playing acoustic drums in a live setting.
• Long-Term Development:
  As you progress, you may find that electronic kits don’t challenge you to develop the finesse and dynamic control that an acoustic kit demands.

Acoustic Drums for Practice

Pros:

• Realistic Feel:
  Practising on an acoustic kit builds muscle memory and stick control that directly translates to live performance. The response and dynamics of real drumheads and cymbals foster better technique.
• Live-Performance Ready:
  If your goal is to perform live, acoustic practice conditions you for the power, sound, and presence needed on stage.
• Authentic Sound:
  You develop an ear for acoustic tone, tuning, and resonance, which is crucial for playing in bands or recording with microphones.

Cons:

• Volume Issues:
  Acoustic kits are loud. Practising at home can be a challenge unless you have a soundproof space or very understanding neighbours.
• Space and Portability:
  They take up more room and are heavier, making them less convenient for casual or mobile practice setups.
• Fewer Built-in Tools:
  Unlike electronic kits, acoustics don’t come with practice aids. You’ll need external gear (metronomes, recorders, etc.) to track your progress.
• Recording Complexity:
  Practising with recording or feedback in mind is more difficult—you’ll need mics, an interface, and possibly a treated room.

Hybrid Practice Approaches

Some drummers opt for a hybrid setup—acoustic shells fitted with mesh heads and triggers connected to a sound module. This provides the feel of acoustic drums with the noise control and digital tools of electronic kits.

Final Thoughts

If your main priority is quiet, flexible, and tech-supported practice, electronic drums are a smart choice—especially for beginners and hobbyists. They make it easy to focus on fundamentals like timing, coordination, and genre exploration.

However, if you’re aiming for live performance, nuanced technique, or professional-level playing, there’s no substitute for regular practice on an acoustic kit. The feel, dynamics, and physical demands of acoustics are crucial to mastering the instrument fully.

Best Practice Strategy: Combine both. Use electronic kits for convenience and drills, and acoustic kits to develop real-world chops and stage readiness.

The post Electronic Drums vs. Acoustic Drums For Practice appeared first on Andertons Blog.

Who Are PRS?

Founded in 1985 by Paul Reed Smith, PRS Guitars has become one of the most renowned brands in the guitar community. Making its name with original electric guitar designs like the Custom 24, in recent years the company has diversified its lineup, splitting its electric guitar catalogue into different ranges, introducing acoustic models, and even releasing its own amplifiers. They also offer custom made guitars through their unique Wood Library service. By implementing these changes, PRS Guitars’ popularity and market share has grown exponentially. And it’s clear that the PRS of today is far different to the PRS of just a few years ago.

Much like its contemporaries, PRS Guitars has split its catalogue into two main ranges – to accommodate for different budgets. In this article, we’ll help you to distinguish the main differences between PRS’ Core and SE lineups.

Introducing PRS Core & SE

In its first 15 years of trading, PRS crafted electric guitars only at its US factory. Carving themselves a niche in the high-end guitar market, it’s fair to say that the company still prides itself on its ‘Core’ USA offerings.

However, in 2000, PRS launched its successful SE guitar range. Representing their affordable side, the SE lineup encompasses genuine PRS designs that won’t break the bank. Now established as a key player in the mid-priced guitar market too, PRS has extended its appeal to a larger audience by manufacturing instruments in the Far East.

It’s worth noting that PRS also has other product ranges within its catalogue – such as the S2 series, and their premium Private Stock guitars. That said, in this article, we’re going to focus solely on its Core and SE electric guitars. We’re aware that there is a gulf between them in terms of their prices, but you’ll soon realise that these models are more similar than you may have originally thought. Let’s break them down!

Where are PRS USA Core Guitars made?

The PRS Core guitar range epitomises high-quality, American craftsmanship. Made with the utmost attention to detail, these instruments are built at PRS’ main factory in Stevensville, Maryland. This has been the company’s main headquarters since 1996.

PRS Core guitars are predominantly cut using conventional CNC machines. This is a common industry practice, as these sophisticated machines ensure great consistency between models. However, skilled workers hand-sand, fit and finish every guitar to perfection, making them feel like true works-of-art. PRS also has a reputation for strict quality control, meaning that no ‘dud’ guitar will ever leave its main factory.

What Features do PRS USA Core Guitars have?

PRS is known to select the finest quality woods available for its USA guitars, which are typically constructed from Mahogany. The materials that PRS use to make their Core guitars ensure first-class tones and exquisite looks as well. In fact, it’s fair to say that the use of Flamed Maple tops in guitar construction has become most synonymous with PRS.

Regarding pickups, PRS wire their very own models and rarely use aftermarket pickups for their USA instruments. Their ‘Treble’ and ‘Bass’ humbuckers are the most well-known, acclaimed for projecting a balanced, and ultimately, versatile sound. However, in recent years their 85/15 humbuckers have become a favoured choice. Used in current Custom 22 and 24 models among others, these pickups are admired for their clarity and precision. In recent years, PRS have started to use single-coils in certain models, such as the Special Semi-Hollow.

PRS USA Core Guitar Models

PRS Custom 24

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The Custom 24 electric guitar is arguably PRS’ flagship model, which has led its Core range since 1985. With its bird fingerboard inlays, dual humbuckers, carved top, 24 frets and ergonomic contours, the Custom 24 is considered a modern classic among guitarists. The Custom 24 certainly set the precedent for PRS’ future designs, with many of its features dripping down into its other models.

PRS Custom 22

The Custom 22 is nearly identical to the 24, but, as its name suggests, it features 22 frets.

PRS Standard Guitars

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Calling this PRS electric guitar ‘Standard’ doesn’t really do it justice. An all-mahogany construction and many classic PRS features make this a top-flight piece of kit.

PRS McCarty 594 Guitars

Browse PRS McCarty 594 Guitars

Balanced to play with a warm tonal response, the McCarty is built to the highest standards, using the highest quality materials available.

Each Core USA model also comes in many variations, such as hollow-body and limited editions. All in all, there’s a lot to explore!

PRS SE Guitars

Where are PRS SE Guitars made?

If you’re looking for a PRS guitar for less than £1000, the SE range is where you’ll find it. Standing for ‘Student Edition’, early SE models were intended for beginners and intermediates. But today, even seasoned professionals have been known to use them. With modern PRS SE models featuring upgraded hardware and higher-quality pickups, there are more reasons as to why experienced players feel at home on a PRS SE guitar.

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.

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

Contrary to popular belief, coil split and coil tap are not just two ways of saying the same thing. There’s quite a big difference in how they function and the resulting sound. Both aim to alter your guitar’s tone and output, but the two electronics techniques go about accomplishing this in different ways.

Many players enjoy the ability to reduce their guitar’s pickup output. It broadens the available palette of tones, which is crucial in today’s diverse music landscape. This feature is most often found in guitars equipped with hot humbuckers or high-output single coils, adding another dimension to the styles you can explore with a single instrument.

It’s no longer a simple case of owning a single-coil guitar for softer genres and a humbucker guitar for heavier styles. Thanks to advancements in pickup design and switching technology, players can expect greater tonal versatility across all price ranges and guitar categories.

What is Coil Split?

Coil splitting applies exclusively to humbucker pickups. Humbuckers consist of two coils and magnets of opposite polarity to cancel hum and deliver a thick, powerful signal. To split a humbucker means to deactivate one coil, leaving a single coil active – producing a tone closer to what you’d expect from a standard Strat or Tele.

Why split the coils? Humbuckers and single coils offer dramatically different voicings. Humbuckers are fuller, warmer, and smoother. Single coils, by contrast, are brighter, more dynamic, and often more expressive – making them ideal for soulful leads or nuanced clean tones.

• Popular guitars like the PRS SE Custom 24, many Schecter Diamond Series models, and Charvel Pro-Mods offer built-in coil-splitting options, giving players quick access to both humbucker power and single-coil clarity.

What is Coil Tap?

Coil tapping functions differently. Rather than cutting out one of two coils, a coil tap reduces output by diverting the signal from a partial section of the pickup’s winding – often at the halfway point. This feature can be implemented in both humbucker and single-coil pickups.

The idea here is simple: the more wire windings a pickup has, the higher its output. Tapping a pickup shortens the wire path, reducing output and bringing the tone closer to that of vintage-style pickups. This can be perfect for classic rock, blues, and other lower-gain styles, adding a bit of sparkle and smoothing out the mids.

That said, a coil-tapped humbucker won’t sound identical to a single coil. The effect is more like lowering the gain or turning off a boost pedal. It’s a subtler change than coil splitting and not quite as versatile.

• You’ll find coil tap technology featured in some Gibson models, including the Les Paul Studio and Les Paul Modern, allowing players to switch between powerful modern tones and the more subdued, classic PAF-inspired character.

What’s Better: Coil Split or Coil Tap?

It depends on what you want from your tone. Gibson often leans toward coil tap to deliver a vintage character from modern high-output pickups. This setup allows players to access both classic and modern voicings in one guitar.

Coil splitting is more commonly found on guitars with dual humbuckers. Brands like PRS, Charvel, and Schecter have adopted coil split switches and push-pull pots widely across their lineups, especially in modern performance guitars where tonal flexibility is key.

In the end, there’s no definitive answer. Try both and see what suits your style best – do you prefer coil tap’s smoother, vintage-voiced reduction or coil split’s ability to mimic authentic single-coil sounds from your humbuckers?

If you enjoyed this read, check out more of our Labs articles for gear tips, tone guides, and guitar tech insights.

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The post Coil Split vs Coil Tap – What’s The Difference? appeared first on Andertons Blog.