NAMM 2020 saw a rejuvenated Gibson turn its attention to Epiphone. The results were extremely impressive and, at just £349, this Les Paul Special is appropriately named. Even forgetting about its ridiculously tempting price tag for a second, this modern budget version of a 1950s student model is a you have to force yourself to put down. With its growl, chime, snarl, jazzy cleans and quacking country tones – not to mention that much-improved headstock outline – it sounds superb and there are no significant compromises. A no-brainer purchase.
The Matt Bellamy-owned Manson Works‘ latest model is a modern rock that cherry-picks design elements from both sides of the fence: the scale length is a Fender-style 25.5 inches and the neck is bolted on, but the bridge and tailpiece are true to the Gibson formula, as are the twin humbuckers. And don’t forget the nifty kill button, an essential tool in the Muse frontman’s arsenal, too.
Ultimately, the MBM-1 is a mean and masterful rock that thrives on a high-gain diet, at a price most Muse fans should be able to afford.
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For its new Road Worn series, Fender has amalgamated a variety of features to evoke the spirit of an era: scuffed edges, simulated forearm wear, small dings and areas of fine lacquer checking on the bodies and headstocks.
In use, the ’s acoustic sustain and vibrance are more impressive than plenty of considerably more valuable Teles we’ve played over the years. It’s equipped with Fender’s Vintage-Style Hot pickups, but despite the ‘hot’ designation, output levels are still within vintage tolerances. Compared to a true-blue vintage Esquire, the Vintera has a little more snap and presence, and it occupies less space in the mix.
Though baritones have earned their place in the modern heavy rock and metal player’s toolbox, the presence of slider switches for phase and coil split modes hints that this Rivolta has much more to offer than chugging powerchords. It’s a great recording instrument, too, and can be used to create a variety of bass, rhythm and lead voices – the distinct tones on offer never feel like a compromise.
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Part of Charvel’s Mexican-made Pro-Mod range, this 22-fret solidbody is a relatively affordable, high-performance electric that’s built for the road and covers plenty of ground. Through a souped-up Plexi, the famous brown sound is on tap immediately, enhanced by a dollop of midrange honk. But while it may excel in balls-to-the-wall rock territory, the DK22 delivers tones for all occasions, including some exceptionally dynamic clean sounds.Unsere Topseller kennt ihr zur Genüge. Sie sind uns lieb und meistens gar nicht mal teuer. Aber kennt ihr auch die Top-Picks unserer Mitarbeiter? Da ist die eine oder andere Überraschung dabei, die so gar nicht in den Mainstream passen will. Aber seht und hört selbst: Das Video mit unseren Top 5 E-Gitarren 2020 mit Soundbeispielen findet ihr unten nach der Liste oder unter diesem Link.
Mit Eddie Van Halen ist einer unserer größten Gitarrenhelden von uns gegangen, aber seine Musik und natürlich seine unverkennbaren Designs, die hat er uns hinterlassen. Und deswegen gehört dieses Modell, die „Frankenstrat“ aus Eddies Heydays, ganz an die Spitze unserer Auswahl. Sein eigenes Label EVH legt dieses Modell auf, natürlich im Originallook (so als wäre sie tatsächlich 40 Jahre alt) und mit Originalbestückung inklusive Dummy-Halspickup. Kleine Zugeständnisse an moderne Befindlichkeiten gibt es dann doch, denn beispielsweise kommt das Griffbrett mit einem Compound-Radius. Auf geht’s also: einmal „Eruption“ zu Eddies Ehren!
Edelgitarren und Boutique-Modelle mögen ja ganz nett sein fürs Ego und die Vitrine, aber mal ehrlich: Will man wirklich einen mittleren vierstelligen Betrag der Rock’n’Roll-Bühne aussetzen? Da kommt die DC-Junior FAT von Harley Benton gerade recht: eine Arbeitsaxt bis in die Knochen. Hier muss man wirklich zulangen, denn der Zusatz „FAT“ im Namen bezieht sich auf das Halsprofil. Dazu genau ein Pickup mit Volume- und Tone-Regler, der genau einen Sound liefert (zwei, sobald man das Push-Pull-Poti entdeckt hat), sowie ein einzelner Steg mit integriertem Saitenhalter. Geniales Konzept für eine ends-coole Gitarre, denn endlich kann man sich wieder aufs Spielen konzentrieren.
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Nicht von dieser Welt: Das Ding ist schon ganz schön schräg, aber die Squier-Serie, aus der die Super-Sonic stammt, heißt nicht umsonst „Paranormal“. Was genau stand für diese Korpusform Pate? Eine Firebird? Eine Jazzmaster für Linkshänder? Eddies Frankenstrat? Egal – wer etwas wirklich Außergewöhnliches von der Stange will, ist hier goldrichtig. Abseits der abgefahrenen Optik bekommt er eine mit Tremolo sowie zwei Humbuckern exzellent ausgestattete Gitarre, die sich dank ihres schlanken Halses (40 Millimeter am Sattel) und der kurzen Mensur (610 Millimeter) wie von selbst spielt. Wer braucht schon Mainstream, wenn er so etwas haben kann?
Das, was wir heute als Telecaster kennen und abgöttisch lieben, kam 1950, also vor satten 70 Jahren, als „Broadcaster“ auf die Welt. Von der Telecaster unterscheidet sie sich nur im Namen, ansonsten haben wir hier alles, was eine Vintage-Telly ausmacht, allen voran die beiden Single-Coil-Pickups sowie die Blechwanne, die die Saitenreiter und den Bridge-Pickup trägt. Unsere 70th Anniversary entspricht dieser Vorgabe in fast jedem Detail, inklusive Bakelit-Pickguard und dem doch recht fetten Hals. Sogar die eigenwillige Schaltung wurde reproduziert – allerdings nicht eingebaut, sondern nur beigelegt. Wer es unbedingt ganz original haben will, muss zum Werkzeug greifen.
Die Les Paul Standard 50s ist eine reine Goldtop im Stile der ausgehenden 50er-Jahre, ausgestattet mit ausgezeichnet klingenden Humbuckern und allen Details, die man von einer Paula so erwartet. Das sollte die zufriedenstellen, die sich immer ein bisschen geniert haben, mit einer Epiphone auf die Bühne zu gehen. Und wenn nicht: Seht euch doch nur mal die neue Kopfplatte an!Stylish contours, three single-coils and an elegant six-in-line headstock: these elements help make the Fender Stratocaster the most recognisable electric in music history.
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Since the first Strat rolled out of the factory in 1954, the model has been refined, redesigned and re-engineered endlessly, on top of inspiring a legion of inspired models adding subtle twists to the formula or reimagining the shape entirely.
There are a few key terms that’ll be thrown around the world of S-types. Firstly, HSS and SSS – this refers to the pickup configuration, with HSS referring to a humbucker in the bridge and single-coils in the neck and middle position. SSS, as you might have guessed, refers to three single-coil pickups. Other configurations such as HSH and HH do pop up in the world of S-types, but when it comes to traditionally-styled, overtly Fender-inspired instruments, HSS and SSS are definitely more common.
Dual-humbucker configurations are also oft-seen in the world of stripped-back rock and metal-focused S-types. These often won’t let you get what’s considered a ‘traditional’ Stratocaster sound, so be aware of that if you want a that does it all.
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Some s have the option to split their humbuckers for a more overtly Strat-esque sound – this, as the name implies, involves taking signal from only one of the coils of the humbucker, leading to a spankier sound and negating the pickup’s hum-cancelling abilities. Results vary, and those with discerning taste will claim that a split humbucker will never sound as good and punchy as a true single-coil – but, it’s all down to preference.
Another specification that’s important to keep in mind when looking at any purchase – but especially S-type s – is fretboard radius. This can confuse beginners, and get lost in a slew of measurements and specs, but it’s crucial to knowing how a feels.
A good way to visualise this is to imagine a ’s fret extending out of the sides of the fretboard, keeping the same curvature and forming a circle. The radius of that circle is what “fretboard radius” refers to – a smaller radius means a more curved fretboard, and a larger radius means a flatter ‘board.
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The earliest Stratocasters had 7.25-inch fretboards, while more modern-spec’d instruments can have ‘boards as flat as 12 or 14 inches. Is one better than the other? No, but again it’s down to personal preference and playing style. A more curved fretboard is often said to feel more welcoming when fretting open chords towards the lower frets, while a flatter radius is said to make bending and fast runs easier, especially beyond the 12th fret and with a lower string height.
The Strat-inspired body shape is one of the most common shapes out there. To prevent this list reaching the same word-count as War And Peace, we’ve aimed to offer an overview of great options for a spectrum of budgets, and of playing styles – so if we’ve missed one of your favourites, know it wasn’t out of spite.
G&L is the brand that Leo Fender, along with George Fullerton and Dale Hyatt, started after leaving Fender. So, the designs certainly have some pedigree, and the Comanche shape is no exception: the silhouette is the classic S-shape, and there are some standard Stratocaster-like features, but it’s got a lot of little G&L touches that set the apart from the crowd.
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The most obvious difference is the three pickups, which are the unique Z-Coil design – these are split single-coils as you might find in a
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