For all the arguments about whether the guitar is dead or not, one topic people don’t often discuss is the death of analog gear and rigs, even among veteran musicians. Just like when Pro Tools was introduced to recording decades ago, we stand at a cross roads in guitar technology that has many people choosing between the old way versus the new way. Guitar bodies are being produced with new shapes, and new substances such as carbon fiber, metal, acrylic, and recycled skateboards. While good old fashioned wood Strats and LPs will always have a home in our heart, will this recent aluminum guitar craze carry on? Let’s dive into some questions like this and take a measured approach at what’s fact versus fiction.
Profiling Amps Will Replace Tube Amps
Every day it seems like a new article comes out claiming more and more touring musicians or guitar idols are turning to profiling amps. Mark Knopfler, Steve Morse, and Matt Heafy all use the Kemper system. The AXE FX system has an ever greater list featuring Misha Mansoor, Steve Vai, The Edge, John Petrucci, Alex Lifeson, and many more guitar superstars. These products essentially replace your amps, pedalboard, pre-amps, and anything else you use in your rig. Once they are programmed they can be directly hooked up the PA speakers, a venue’s sound system, or can go directly into a recording board.
While these are definitely for the more technologically savvy player, plenty of younger players are turning to these for consistent tone night after night and lighter carrying cases to take on tour. While I’ll always prefer playing through combo amps or stacks, it is much easier and cheaper to transport a couple of speakers, a foot controller, and these small super computers. Whether you like it or not, I believe these things are here to stay, and will only continue to win over more and more musicians. While traditionalists like Dan Auerbach or Jack White will always stick to amps, I wouldn’t be shocked if the trending, futuristic indie and metal guitarists leave them behind.
What Will Future Guitars Look Like?
Dating back to the ’60s, companies were messing around with alternate materials to make electric guitars. Most famous is the JB Hutto Res-O-Glass guitar that has been made famous by Jack White in the past decade or two. Recently, carbon fiber acoustics have been produced but have achieved only limited success, while higher end luthiers have pursued other, more unique attempts. We’ve seen a Swedish technological group 3D print an all metal, indestructible guitar, we’ve seen an instagram artist create guitars out of epoxy resin, and finally a huge spike in aluminum bodied instruments.
While many of us agree nothing can beat a good, handmade wooden Stratocaster, in an era of unprecedented technological advancement I would be surprised if many attempts along these lines are not made with commercial retail in mind. Furthermore, thanks to social media and the internet, the need to be unique, stick out, or get noticed is becoming a bigger and bigger part of any musician’s arsenal of tools. Realistically, it is probably too soon to worry about guitar construction or designs changing any more than the addition of extra strings, new pickups, or oddball shapes. But be prepared, it’s likely coming at some point in a millennial’s life time.
Huge thanks to Michael from Eastwood Guitars for lending this retro reissue for review!
Overview and Final Score: 7.0
Eastwood’s Airline series seeks to recreate instruments forgotten in pawn shops and attics across the US. Re-popularized by revivalist garage rockers like Jack White (White Strips, Solo) and Dan Auerbach (The Black Keys), these instruments are suddenly back in demand and make an individualistic option for musicians seeking something outside the box. The Airline Jetsons JR bass is no different, offering an affordable P bass alternative with familiar pickup and tone knob setup. Available in red or black finishes, this bass is sure to delight based on looks alone, while offering all the basic tones you need.
This bass guitar in no way sounds bad, it just doesn’t sound extraordinary or special compared to many comparably priced basses from Epiphone, Fender, or Gretsch. The P-bass style pickups sound more fit for a Squier model, retaining the punchiness and output but lacking in clarity. The pickups are also fairly noisy, despite the split-coil design. The guitar is certainly designed to fit in the hands of an anti-establishment punk or garage rock bassist, but tonally, may be limited to exactly those settings. Fret buzz and a bass-heavy, muddy sound especially impacted the lower strings, and notes felt blended together in one big, bass heavy haze.
Aside from the fret buzz, which I already addressed as more a tonal issue, the maple neck and Blackwood fretboard actually play very nice and shouldn’t encourage you to put the bass down. The frets felt level, smooth, and the finish made it easy to move up and down the neck. The quality playability and tuning stability make this bass an excellent candidate for upgraded electronics and pickups. The bass has a 30.5″ scale length, which makes it a comfortable to play short scale option for players with smaller hands or a preference for smaller necks.
Finish & Construction: 9
The guitar is made from a solid basswood body, which helps keep it super affordable despite its unique body shape and design. While the basswood is not a high quality tone wood option, it is lightweight and sturdy making the bass feel reliable. Easy to play sitting down or standing up, the Jetson JR is a fantastic option for both larger and smaller sized bass players. The real highlight here is the finish and design of the guitar. The stunning white headstock really sticks out compared to the red, black, or seafoam green body finishes, and the red one I was generously sent had no visible scratches, dents, or quality control issues what so ever.
While the guitar is not expensive and has great playability, the value rating is really held back by the quality of the pickups. In my opinion, I feel the Jetson JR is slightly up charged because the unique design and Airline brand name have started to become trendy, especially with indie rock musicians. While the pickups and electronics could easily be swapped out, giving you one hell of a hot rodded bass, I think many cheaper Squier’s could compete with the Jetson JR tonally. Overall, I think it’s a great option for bassists who want to stick out from the pack but are heavily budget restricted. I wouldn’t recommend against buying it, but I would caution that you should buy it for aesthetic purposes or small scale preferences instead of buying it for the tone.
Cost: $499.99 new, find it on Reverb.com (Affiliate Link)
This review would not have been possible without Stephanie from Yamaha generously lending me this for review!
Overview and Final Score: 9.2
The Yamaha Revstar RS420 is a pure garage rock monster. The guitar features a stripped down design with vintage vibes while still retaining some Gibson similarities that will attract less adventurous buyers. This version of the Revstar is the on the lower end of the series, making it an excellent candidate to become someone’s second guitar or trusty (but not too dear) stage guitar. While not as popular in the electric guitar field as they are in their other pursuits, Yamaha once agains shows off their quality control, craftsmanship, and design skills with the RS420.
The Revstar RS420 has something for almost anyone thanks to its high quality tonal controls, pickups, and features not often found in this price range. Both pickups are nicely balanced and sound clear, even as you increase the gain. The bridge especially sounded great as the humbuckers drove my Vox AC15 nicely without any outside boost or distortion beside rolling up the guitar’s volume knob. To me, the guitar sounded best when used in a punk or garage rock setting. The Clash, The Black Keys, The Ramones, and The Strokes all poured out of this guitar and I felt very inspired bashing out power chords on it. Huge bonus feature was the “dry switch”, which is a pull-push function on the tone knob, which creates more a single coil sound without cutting out any of the output or noise removal that sometimes happens with normal coil tapping or coil splitting. The switch essentially increases the treble, while slightly cutting lows, taking away the full, warm PAF-like humbucker sound. And honestly, it sounded spectacular, I almost bought the guitar on the spot after playing it, there is so much potential for getting a variety of sounds out of it live or in the studio.
I was pleasantly surprised by how comfortable the guitar was and how great the setup was out of the box. At this price range, it is always a mixed bag on what you’ll get, as some companies give up quality control in favor of electronics or vice versa, to keep costs down. But Yamaha did not do that here, this guitar plays smoothly. My only critique would be that only the G string would go out of tune really easily, which is obviously a common complaint of guitar players at all budget/experience levels. The guitar also features a bit of a neck contour on the heel which makes the higher frets super accessible. Otherwise, the guitar is super light and well balanced when playing sitting down or standing up.
Finish and Construction: 9
I was generously sent a model with a “Fire Red” finish and it was stunning, it drew tons of compliments from roommates and friends when they walked by and saw it. The finish was almost flawless, except for a few dings and dents, but that could be because I was sent a well-traveled demo guitar. It is hard to tell how scratch resistant or road worthy the finish would be because of this, but the guitar felt structurally solid and tough, and the low price makes it easy to take it out on the road without fear of ruining a cherished, vintage instrument.
The RS420’s best feature is absolutely the value. For under $500 you’re getting a ton of tonal options, a beautiful instrument, and reliable performance every time. I would kill to take this thing out for a gig and see what kind of stripped-down rock goodness I could coax out of it. While I’m sure you will build up a strong emotional attachment to it, the cost makes it easy to replace, modify, or beat up without fear of being bankrupt should it break, get stolen, or falls out of favor in your rig.
Cost: $1099.00 new but look for savings HERE from Reverb
Can’t thank Michael from Eastwood Guitars enough for also sending this surf rock meets punk rock monster!
Overview and Final Score: 8.2
Inspired by the Mosrite guitars made famous by Johnny Ramone, Eastwood’s Sidejack Pro JM is marketed as an exciting alternative to Fender Jazzmaster guitars. Much like all of Eastwood’s vintage, pawnshop inspired offerings, this guitar mixes modern playability with historical design and aesthetics. With some familiar features such as a Jazzmaster-style bridge and 25.5 scale length, the Sidejack is sure to feel less foreign than it looks.
Featuring two Eastwood designed M90 pickups, the large single coils do sound like a lovely mix of Jazzmaster pickups and more traditional P90’s. However, Ramone fans should take notice this is not just a copy of Johnny’s guitar, which featured a Tele-style bridge pickup and a neck mini humbucker. Overall, the guitar is capable of producing some great tones, including treble-rich surf tones via the bridge and middle positions on the 3-way selector. However, as you creep up in gain, the guitar begins to sound a bit thin. This should be expected as they aren’t overwound P90’s or even the Gibson-style ones that helped create punk rock. However, once boosted with pedals such as a Tube Screamer or DS-1, the guitar’s overdriven tone started to improve. At the end of the day, don’t expect to push the tubes on your amp hard with just this guitar. The neck pickup was incredibly muddy, something I was surprised about in this price range, making most of the tone knob settings useless.
The action came just a bit too high on the guitar, another surprising observations for a $1000+ instrument, but otherwise, the guitar’s playability was smooth and comfortable. The guitar featured a Fender-like C style neck which felt really familiar and easy to play. The medium jumbo frets came well polished and sanded, and played with ease all over the neck. The nice thing about this vintage Mosrite shape is the easy access to the upper frets, something that even more “shredder” or “lead”-friendly guitars sometimes lack. The guitar is deceptively large and heavy, something more slighter framed guitarists may want to avoid, but the body does not feel as bulky when played sitting down.
Finish and Construction: 9
One of the upsides of that heavy, large body is how sturdy it feels. Despite its size, which is closer to an ES-335 than to a Jazzmaster, the guitar is fairly thin, with a slightly raised top that feels great. Furthermore, a lot of the sustain, and full bodied clean tone of this guitar likely comes from the weight of the tone-chambered Alder body and German carved top. The sunburst finish was spotless, but I much prefer the look of the natural finish, and I assume they all come with similar quality. This guitar is certainly going to wow audiences with the shape and color options available.
Ultimately, this is a top notch instrument with killer looks and unique tones that will suit indie rockers or surfers best. Considering the M90’s lack some of the aggression of more traditional P90’s, punk and rock players should be aware that it will take help from boosts, drives, and distortions to really shape the guitar’s tone. With only a few small issues such as high action, and a muddy neck pickup, the guitar is arguably a little bit overpriced to not be more finely set-up out of the box, or well balanced tonally. Of course, these are more minor issues, which is why it is still a good value and should definitely be worthy of serious consideration if you’re looking for a Jazzmaster or similar alternative.
While many claim that guitars and rock music are dead, these 10 bands are fighting back and proving the naysayers wrong.
If I had a dollar for every time I hear the phrases “rock is dead” or “the guitar is dead”, I could go out and finally buy my dream guitar (a 1976 Gibson Explorer FYI). As someone who has spent most of my life trying to actively seek out new bands, new sounds, and new rock music, I never understood this claim. Sure, rock isn’t dominating the top 40 hits like it used to, but who cares? Since when have rock stars cared about popularity, in fact, most rock stars started out as the outsiders or quiet, weird kids. While many media members and twitter users were making these claims, I was attending sold out rock shows, contributing to the millions of Spotify streams these new bands accumulated, and was buying electric guitars. And I wasn’t the only one.
Despite the popular motif that rock is dead, there are plenty of awesome bands making music right now that draw their inspiration from a variety of classic rock artists. They are making guitar based music, playing guitar solos, and carrying the genre into the next decade. Let’s take a look at some of these new acts from the last 10 years or so, and briefly discuss what makes them unique.
One of many guitar based-rock bands to emerge via the American Indie scene in the last decade, Bad Flower has very quickly gained a million Spotify listeners. Their debut was only just released in 2019 after years of successful touring, promotion, and single releases. “Ok, I’m Sick” was released to both critical commercial acclaim with big, vocal hooks in songs like “Ghost” and fuzzed out, spastic soloing in “Heroin”, if the guitar riff was dead, these guys didn’t get the message. As one of the youngest tenured bands on the list, the next few years will be rife with opportunities for them to ride the rock wave being paved by Greta Van Fleet right now. Singer-guitarist Josh Katz and the rest of the band clearly are on to something mixing 70’s riffs with 90’s angst and the rock world is a better place for it.
If fuzzed out, garage rock madness is what you wish, then hit the play button on Rival Sons. One part White Stripes, another part Chris Stapleton, the band wrote their 2019 album “Feral Roots” was formed in legendary American studios RCA Studio A and Muscle Shoals. In their song “Do Your Worst”, you can hear their southern rock roots and soul roots underneath heavy layers of fuzzy guitar and drums. Around since their formation in Long Beach, California during the year 2009, the band sounds a long way from the dreamy, hazy beach sounds or DIY punk often associated with their home state. The band has claimed plenty of international success as well, with their top 5 Spotify listening countries featuring Paris, São Paulo, and Stockholm.
King Gizzard and the Lizard Wizard
King Gizzard and the Lizard Wizard’s earlier work could easily be confused with some historic 60’s psych-rock movement thanks to the low-fi recording and easy drifting vocals. If the differences between songs like “Fishing For Fishies” and “Work This Time” weren’t stark enough, take a listen to their most recent single “Self-Immolate” which moves from hazy, experimental rock towards darker, heavy metal spaces. Originating from Melbourne, Australia, the band has quickly made an impression on the rest of the world outside their home island with world tours and millions of streams. To further mix things up, it doesn’t hurt that most of the members are multi-instrumentalists who have worked flute, piano, and horns into their catalog. If you think modern rock is dead or dying because it has become too formulaic, you’ll have an especially good time digging through their albums.
Moving into indie rock territory, with growing influences from electronic and new wave music, Real Estate is best described as “chill” music. Songs feature dreamy soundscapes of chiming guitar with smooth lead lines playing counter melodies around lead singer Martin Courtney’s vocals. The band formed in New Jersey but has since been based in Brooklyn, New York and has slowly built up quite an online following thanks to alternative chart hits like “Darling” and “Had to Hear”. After opening for indie heavyweights like Kurt Vile, Real Estate has grown to show that there continues to be a commercial market for indie rock. Fairly dormant since 2017, 2019 and 2020 looks to be big years for the band to get back out there and build on the success of their 2017 record “In Mind”.
SWMRS has exploded from the revitalized Bay Area punk scene alongside successful California peers FIDLAR, The Regrettes, and The Wrecks. Fresh off their “International Newcomer” win at the Kerrang awards, SWMRS are building up to become the face of modern punk music, alongside FIDLAR. Unlike the hardcore punk and pop-punk that had taken over the genre in the 2000s, SWMRS are more in the vain of The Clash, The Ramones, and alternative rock heroes like Television. This re-introduction of musicality and song writing into the punk rock format should pay dividends for them as they continue to work towards their follow up to this years explosive “Berkeley’s On Fire” record.
Catfish and the Bottlemen
If good old English pub-rock is what you’re looking for, check out Catfish and the Bottlemen, who can be best described as a mix of Arctic Monkeys and Oasis rolled into one but with a Welsh accent. Having just released their third album, “The Balcony”, this year, the band continues to headline tours behind their mix of pop song structures with english rock bite. Their musicianship within the confines of these simple, short pop songs is what makes them stick out. Lead guitarist Johnny Bond mixes echoes and modulation effects over pentatonic melodies that would make The Edge proud, while frontman Van McCann bashes out distorted power chords over Benji Blakeway’s driving bass lines. Check out “Kathleen”, “Soundcheck”, and “Longshot” for prime examples of their take on anthems and sing-a-long rock.
Cage the Elephant
Likely the most successful and proven band on this list, Cage the Elephant has proven time and time again that they are the engine driving the Indie and Alternative rock boom. Hailing from the southern state of Kentucky, Cage was formed around the brothers Matt and Brad Shultz and drew on a variety of influences on their successful self-titled debut. All their following albums would be equally successful mixing punk, 90’s alternative, and blues influences in ever changing quantities. From early hits like the slide guitar based “Ain’t No Rest for the Wicked” to the Dan Auerbach produced “Trouble”, the band has shown consistent growth and momentum with each album. The dual guitar attack of Brad Shultz and Nick Bockrath has been a staple of their sound, felt all over their latest release, “Social Cues”.
Another punk band from the same scene as SWMRS, The Regrettes have a bit more anger and classic punk vitriol behind their 2-3 minute songs. The band cites a variety of influences ranging from Bikini Kill to Elvis Presley and Buddy Holly, something you can hear in their garage-pop meets distorted guitar songs. One of the most unique things about this band is the success and touring miles they’ve accumulated all while lead singer, Lydia Night, is still a teenager. Having gained major exposure by touring with Twenty One Pilots and Sleigh Bells, the band has slowly seen major growth via streaming platforms and will likely have to continue to hone their craft on the road alongside up and coming punks like Beach Goons and Destroy Boys while playing tracks off their 2017 Feel Your Feelings Fool!” debut and new single “I Dare You”.
The Struts are a fantastic mix of classic rock influences all poured into one revivalist outfit featuring a bombastic singer, a do-it-all guitarist, and a tight rhythm section. The Struts have recently been strutting their stuff on tour with Foo Fighters, receiving a warm welcome from crowds everywhere. Vocalist Luke Spiller delivers a sensational duet with Foo’s stickman Taylor Hawkins each night when the Dave Grohl and co. usually cover “Under Pressure”. For a mix of glam rock swagger and blues-rock riffage check out their singles “Kiss This” or “Body Talks” and then try to tell me that rock is dead. These guys certainly have the stage presence to back up their new age anthems.
Greta Van Fleet
Lastly, we come to the heavily contested band Greta Van Fleet. While many famous artists and rock community members have spoken out against or for this band, they remain a vital part of the modern day rock scene. Musical skill or commercial success aside, this band is important for one very big reason: they have created an incredibly engaged and loyal fan base. GVF has created a small, mass hysteria for modern day teenagers who grew up listening to their parents’ records. Despite all the headlines that decreed rock could no longer engage and entrance the youth, Greta Van Fleet has done just that, and has set themselves up to grow into a powerhouse of the modern rock scene. Their next album will be heavily scrutinized, as many hope or expect them to move away from the constant Led Zeppelin comparisons into their own sound.
Thanks to Keena from Cordoba Music, makers of Guild Guitars, for lending me and then selling me this gorgeous instrument!
Overview and Final Score: 9.7
This guitar has quickly become one of my main instruments, and before I dig into it, I have to make it clear I liked this instrument so much, I purchased it shortly after the review. The Guild Jetstar is a re-issue of a classic, historical model that mixes distinct design with vintage tone. Looking like something that should be found in Dan Auerbach’s arsenal of pawn shop guitars, the Jetstar has a truly original body shape, with an eye catching bite out of strat body and an awesome reverse headstock. Adding to the charm is two LB-1 humbuckers, Guild’s toaster top style dual coil pickups with plenty of output, low hum, and a Rickenbacker-esque chime.
The Jetstar sounds somewhere between a jangly, British invasion tone and a crunchy, garage rock guitar. The neck pickup is full, round, and warm, like you would expect a neck pickup to be, but retains much more top end and treble than others. This is a tone that may not be for everyone, but for me, a loyal bridge pickup obsessive, I loved being to switch up my sound without losing all that top end. The bridge pickup was spot on perfect, it shined through recording mixes and jam sessions when played clean, over driven, or with heavy distortion or fuzz on top. The guitar even pushed my Vox AC15 tube amp to breakup a bit as I cranked the volume, but the humbuckers here are still a far cry from the breakup you can achieve with PAF-style humbuckers. The only real negative is that the pickups tonal options are somewhat limited by a tone knob that doesn’t have great spread, as you have to really turn it past 5 or 6 to hear much a change.
Tuning stability has been superb so far and the 22 frets are all easy to access thanks to the friendly, large cutaways. Furthermore the Fender 25.5” scale length feels familiar and comfortable to play even though it is paired with Gibson-esque features such as a stopbar tailpiece and dual humbuckers. The guitar is also incredibly easy to play, with a “Pau Ferro” fretboard on top of a Mahogany neck and body. The distinct shape and dual body contours on either side make it comfortable to play sitting down or standing up, and even better, the guitar feels fairly light as a feather, and feels well balanced in my hands.
Finish and Construction: 10
One of the best features of this whole guitar is the awesome finish options. I was fortunate enough to be sent one in Seafoam Green, which looks stunning and has already drawn audible attention from everyone who sees it. It is also available in white and black finishes, with a beautiful tortoise shell pickguard. The guitar feels reliable too, it stays in tune, it’s lightweight enough to play comfortable for hours, and feels like one solid piece of wood. It’s important to feel that you can trust your guitar once you put it on before a gig or recording session, and this guitar certainly evokes that sense of trust quickly.
For the mid-range price of $599.00 USD, there is a lot to like for the guitar. That price is firmly in the price range of most experienced players, and wouldn’t even be outlandish for a young player’s second guitar. With oddball, vintage reissue guitars being very popular right now, especially in indie and alternative rock scenes, I fully expect these to continue to be good sellers. Even though this guitar doesn’t feature a lot of extras such as tremolo arm, coil splitting, or fancy wiring schematics, it flat out plays great and sound great for an affordable price. You can feel how just much higher quality it is in than more budget oriented options the minute you pick it up.
Ever since the advent of the acoustic guitar, players have
sought ways to create new sounds and push the limits on what a single guitar
can accomplish. Many guitar heroes from Robert Johnson to Eddy Van Halen have
used incredible technical skill and years of practice to propel the guitar
forward while some have used more a mix of technique and technology.
Tom Morello, The Edge, and even Jack White have used effects
pedals to great success to amplify and accentuate their guitar playing and
create sounds unlike any heard before. While some of their pedals and playing
styles are pretty out there, they still had to learn the basics about guitar
effects, modulation, and experimentation before they could take the next step
to legend status. Let’s take a look at a few of the basic, most popular pedals
and how they can help take your playing to the next level and inspire
While these pedals are technically three different types,
we’ll group them as one here for simplicity’s sake. Basically, the idea here is
to change the signal by overloading it and changing the physical sound waves.
For physics nerds, you’re taking the nice, clean sine wave of signal, and
squaring it off thus changing the harmonics and sound by altering the
frequency. For guitar and bass players, you’re taking your nice, clean signal
and adding noise and volume.
Typically, this effect was produced naturally by traditional
tube amplifiers when volume was cranked up, the tubes warmed up, and players
hit the strings harder. Many drive, distortion, or fuzz pedals try to recreate
this sound in solid state amps or help push tube amps to break up at a lower
volume. This is a huge help, especially for amateurs who are often required to
play in dorms, bedrooms, or houses where you cannot turn your amp up enough to
naturally distort it.
Generally speaking, overdrive pedals produce the least
amount of this effect, instead giving more of a vintage feel associated with
early blues and rock legends. Distortion is a bit more of a compressed, hard
clipping device that is not meant to drive the tubes to distortion, instead
manually “distorting” the sound signal itself. This produces a heavier,
grittier, thicker sound and is associated with louder and heavier rock and
metal playing. Try comparing the overdriven tone of The Rolling Stone’s
“Jumping Jack Flash” to their distorted riff on “Satisfaction”.
Fuzz is like distortion but the next level by being an even
harder clipping, more compressing, distorting monster. Often, you hear people
describe a fuzz tone as controlled chaos or mayhem, this is because fuzz pedals
just produce these crazy harmonics and tones at will. If you’re looking to
start an all-out audio ambush on the audience, a fuzz pedal is for you.
Next, we come to one of my favorite types of pedal, the echo
or delay pedal. Typically echo pedals are described as a short delay or
“slapback” kind of sound, and have been widely used in country, rock, and pop
music. Delay pedals typically cover longer delay sounds be it either in terms
of the length of time between each signal or the number of “delays” or
repeating signals. The basic ideology is simple; take what you play and repeat
it over and over again with a slight delay in between each signal. These pedals
are often used to add texture to guitar solos or to create ambient, lush
backgrounds to build songs over. The delay’s biggest endorser in the years has
likely been U2’s The Edge who used it to add musical muscle to the band’s
simple, one guitar attack. The pedal is also often associated with
“shoegaze”-type music that features dense guitar effect sounds and looping.
Chorus is one of a handful of modulation effects available
and widely used by musicians, especially in jazz and alternative rock
performances. Some have described the chorus as fattening up your tone while
making it sound warm, full, or dreamy. Chorus pedals work by having a circuit
that creates two copies of your signal with a delay between them. In theory,
they are supposed to create the sound of a backing choir but for your guitar
signal, a sound that rings out, fills space, and sounds like multiple signals
converging to sound as one.
Often built into amplifiers but also popular as a pedal,
reverb is another classic guitar effect that has been featured on numerous legendary
records. Reverb can be described as bringing space or depth to your music and
while a chorus pedal may sound like a choir for your guitar, a reverb pedal
sounds like the cathedral hall where the choir’s voices echo and carry.
Reverb is often split into a few smaller categories such as
spring reverb or hall reverb. Hall reverb mimics the sound of your guitar tone
reflecting off a myriad of surfaces a lot like the way sounds carry through
large rooms. Spring reverb is more common on vintage amplifiers such as the wonderful
Fender silverfaces or Vox AC30 models. It is characterized by having a tank
that houses a number of springs that uses vibrational energy to reflect the
sound artificially and amplify it.
When most people think of wah pedals, they think of
blistering guitar solos instead of the technical sine wave manipulation that
causes that signature “crying tone”. Wah’s mimic the human voice to some degree
by allowing for notes, pitches, and frequencies to swell up and down. The pedal
takes the peak response of the frequency filter and alternates it up and down
quickly, based vaguely on how a mute can be used on trumpets to alter the
sound. The wah can be used in a fixed position to get a specific tone for funk
or reggae upstrokes or can be manipulated using the foot pedal to create the
full spectrum of sounds that are produced by alternating the frequency
Building Your Pedal Board
These are just five of the most popular pedals and there are
dozens more that have been used throughout the electric guitar’s history. Many
of these pedals are also popular with bassists, especially fuzz and chorus, who
are looking to help their bass tone cut through the mix or add texture to a
song. If you’re just starting to build a pedal board, it is hard to go wrong
with any of the five pedals listed above, but always check to see if any of
these are built into your amp and controllable by footswitch. Now that these
five are out of the way, what other pedals or guitar signal processing
techniques would you like to learn about?
I’m going to start this with a disclaimer, I cannot tell you which guitars you should buy. I can’t tell you which one is best either. Guitars, like musicians, are a unique art form and each and every one is different. But in an online world dominated by guitar forums debating which Strat is better and guitar magazine articles advertising “guitar of the year”, let’s all take a step back and think about our experiences buying guitars.
By reflecting on my own youthful experiences with buying
guitars, amps, and pedals, I remember swapping gear out all the time, losing
money on deals, and still be generally unsatisfied with my playing and tone.
Players of any age commonly make the mistake of, well if my favorite front man
played instrument x, I need instrument x. I ran into this problem with a friend
of mine who has begun to learn the guitar in his late 20’s. He went out and
bought a Squier Deluxe Stratocaster because his favorite guitarists played
Fender’s with humbuckers in them.
His arguments for why he thought he would love it were as
Chris Shifflet (Foo Fighters) used to shred a
Billie Joe Armstrong had a strat copy with a
humbucker in the bridge
It was cheap, and what the Guitar Center
employee pushed on him as a good beginner
It was aesthetically appealing
I understand that many of the fantastic readers of sites and
forums like these obviously understand the difference between good and bad
guitars, but I find that most online guitar communities (unintentionally)
ignore the beginners coming to them not to chat, but to learn. That same friend
had spent hours on sites reading through peoples rigs and looking at demos on
YouTube deciding that this guitar would be great.
These Squier and Epiphone beginner packs and entry level
models obviously have value as they give the beginner everything they need at a
set price point but is the convenience worth it? Beginners are most at-risk to
quit, get frustrated, or lose interest. An instrument that doesn’t stay in
tune, has a rough neck, or lackluster tones can make all that a whole lot
No matter what your buying experience or playing experience
is, go play the guitar before you buy it. Or at least play a model that has the
same neck, the same pickups, or the same brand name so you can begin to
familiarize yourself with how the guitar gets you to that dream tone. That same
friend who bought the Strat has since played a few of my shorter scale
Gibson-style instruments and realized that they are easier for him to play and
find notes on. Scale length, fret size, and pickups are not often things a
beginner would know to look for. Even when a demo says “oh this has jumbo frets”
or “this is a baseball bat neck”, not everyone in the audience knows what that
means, yet many of us experienced players forget that in my opinion (myself
These cheap instruments are so abundant and available for a reason: they generate more income for the business than other models. Production costs are lower in bulk, the general market for beginner’s is always high, and not everyone’s guitar acumen is equivalent to their wallet size. I.e. some of the best, most knowledgeable people on this site may still only be able to afford a sub-$500 guitar. So, let’s conclude these guitars are valuable to the manufacturer and that is why they are pushed on customers, advertised in excess, and flood the market.
This doesn’t mean the instrument is valuable to the guitar
community. It is not a controversial opinion to say that the guitar market’s
goals do not line up with the guitar player’s goals. While we may drool over
their products, they are businesses that have to keep profit margins up no
matter how musician-focused they claim to be. When buying your first guitar, or
last guitar, I highly recommend not buying the one that seems the easiest to
get, the most available, or is the newest model.
(NOTE: There are exceptions when buying guitars to modify,
or budget isn’t an issue, or you’ve specifically fallen in love with a new
model that does get you to that dream tone. Many of these recommendations are
for a broad base of players.)
Don’t interpret this as to avoid cheap guitars, as there are
many affordable models that are absolutely fantastic. For example, for only an
extra hundred dollars or so, pass up the Squier affinity series and check out
the vintage modified options. They look unique, sound great, and give off a
whole different vibe than your average beginner Telecaster or Stratocaster. And
with traditional retail expanding used gear sections and online retailers like
Reverb growing, you can find really great instruments for fractions of what
you’d pay new.
Furthermore, in the pursuit of tone or feel, don’t box
yourself into just the most familiar Gibson/Fender/ESP families of gear. Maybe
in your hands, a Mexican-made Telecaster is all you need to be the next Jimi
Hendrix. But what if what you’re looking for was in that old $300 Tiesco
sitting in Sam Ash’s used section? What if it is the partscaster that is worth
nothing because retail doesn’t value parts and modifications, they value brand
Trying a new brand can mean different things to different
people, moving to a Gretsch (smaller than Fender but still a huge brand name)
can be a huge jump for example. Or maybe it is going out and buying a Reverend
Sensei Junior instead of a Gibson Les Paul Junior. Especially on a budget, it
is easy to see the value of getting a known quantity like an Epiphone instead
of trying something new. I get it, you only have money to buy one nice guitar
every few years, just get what you know will work and get you in the same
ballpark and move on. But in reality, limiting yourself to only a handful of
brands will hurt you in the end. Like you just said, you only get to buy one
every few years or so, that’s a long wait to try again and settle for just
In my opinion, the influx of YouTubers, magazines, and
forums has helped us a guitar player community be exposed to more information
than ever before. But with this information came increased opportunities for
advertising and market manipulation by major brands and retailers. Being a
smart shopper is only getting more important as retail begins to shift to more
and more online platforms at the expense of the mom and pop stores that fueled
many of rock music’s beginnings. With the sudden increase in available guitars
of all prices, it is more important than ever to do thorough research before
buying and pick a guitar based on feel, comfort, sound, and inspiration instead
of brand name, price, or aesthetics.
The guitar industry is changing at a rapid pace, shifting
from traditional retail to online and second-hand sources. According to Digital
Music News, the average price of electric guitars has increased since 2008
while overall volume of sales has decreased. This is due to the increasing
parity in the abundance between low-end and high-end guitar models, with my
mid-range options and used gear moving online. As the market changes, we as consumers
must adapt as well and stay educated to make sure we get the best value for our
hard earned money.