Maybe you’re in a country band and a shoegaze band. Maybe they’re the same band. Maybe you want to keep your options open when it comes to freelance gigs. Maybe you just enjoy a lot of different styles. In any case, there are a lot of options if you want a versatile electric – from reliable classics to innovative modern approaches.
The electronics, and how nicely they’ll play with different amplification situations, are arguably the most important thing in deciding a ’s versatility. If the pickups have a low output level, then a great clean sound can be easily achieved with a low-gain amp. If you want to engage some distortion, then a clean boost or an EQ pedal can emulate the behaviour of a high-output pickup slamming into overdrive.
Conversely, if the pickups are voiced for extra-beefy output, it can be hard to coax clarity out of them for cleaner sounds, depending on the ’s wiring. This is one of the reasons s such as the ES-335 and the Telecaster are both viewed as a ‘gold standard’ for versatility – their lower-output pickups provide a canvas upon which you can paint any number of tones.
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But that’s not the only way. Plenty of more modern instruments have some tricks up their sleeve to suit any number of styles.
Coil-splitting is the most common: it removes one of the coils from the equation of a humbucker to effectively make a single coil. This is similar to coil-tapping, but not exactly the same: coil-tapping takes the signal from a point partially along a pickup’s coil, rather than using its full length. This reduces the output, as does coil-splitting, but doesn’t necessarily create a true single-coil sound.
To make things even more confusing for everyone, you’ll often see these two terms used interchangeably – so be sure to check the details if you’re looking for a with complex switching.
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When we took a look at the Cort G300 Pro, we were impressed enough to give it a perfect 10. In part, because of the number of sounds it excelled at. It takes a classic set of electrics (A Seymour Duncan Jazz in the neck and a JB in the bridge) and surrounds it with some well-chosen hardware and immaculate construction. There’s comfort across its whole sonic range, too, with a deep cutaway allowing easy access to all 24 frets.
In terms of switching, a five-way switch allows you to engage both the inner and outer coils of the two humbuckers, for glassy, dynamic tones. Full humbucker chunk is, of course, offered in the extreme positions, with both pickups fully engaged in the middle position.
Build: Basswood body with 6mm maple top, bolt-on roasted maple neck with 12-16” compound radius fingerboard, Luminaly side dot inlays, 24 stainless steel jumbo frets, Graph Tech Tusq nut
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This great take on a classic formula from Fender offers a no-nonsense 1950s Telecaster: the same combination of two single coils and a solid hardtail that’s seen the Tele travel easily from country and western to alt-rock to jazz and everything in between.
There’s also a vintage-correct 7.25-inch fretboard radius, which might deter some people who want to do large bends. But any fan of vintage Fenders will tell you that with the right setup, a round fretboard is no barrier to silly bends. This rounded radius also provides a lot of comfort when fretting chords below the fifth fret.
‘Signature Model’ and ‘Versatile’ are not often found in the same , but Pete Thorn’s signature Suhr reflects his nature as a session player with a rather full diary. It’s loaded with two Thornbucker humbuckers, with the bridge pickup able to be used in series or in parallel.
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The five-way blade switch is wired a little oddly, but offers even more sonic shuffling: positions one and three select the bridge unit and neck and bridge combinations respectively, while position two selects the inner coils of both Thornbuckers. Position four selects the full neck humbucker, while position five is where you’ll find the neck pickup in split mode.
Combined with a sturdy locking-saddle vibrato from Wilkinson and some stellar construction, this dual-humbucker S-type certainly has more to it that meets the eye. Its subtle aesthetics are again another reflection of this as a useful session tool rather than an overstated rock machine.
Build: Chambered mahogany body with plain maple cap and scraped binding, bolt-on satin-finished mahogany neck with 10-14” compound radius Indian rosewood fingerboard, 22 jumbo stainless steel frets
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Electronics: Suhr Thornbucker+ (bridge) and Thornbucker (neck) with raw nickel covers, 5-way blade pickup selector, volume and tone control (push/pull on tone to activate bridge in parallel)
One of the aforementioned ‘gold standards’ when it comes to versatility, the 335’s vintage-style pickups and airy semi-hollow sound make it perfect for a huge range of applications. Its expressiveness is perfect for blues, as proved by BB King, but there’s certainly enough edge for the countless rock players that use them. The ES-335 can even get aggressive enough for players such as Michael Gira of Swans.
While there’s no complex switching on this , it doesn’t really suffer for it, as the pickups are Gibson’s new Calibrated T-Types: voiced to have a little less output than modern humbuckers, but still provide some warmth and play nicely with overdrive.
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Build: Semi-hollow with 3-ply maple/poplar/maple body, maple centreblock, mahogany neck with 12” radius rosewood fretboard, 22 medium jumbo frets, Graph Tech nut
The Trinity is a whole new approach to versatility. Where other s might try and make one pickup sound like another with some electronic trickery, Relish instead tackled the problem in a different way. The Trinity’s pickups are secured to a magnetic mount, and can be switched out between a humbucker, P-90 or traditional single coil on the fly.
The idea’s been done before, but never quite as elegantly, and it helps that the rest of the instrument is well-made, and Relish’s pickups well-voiced. Players in the US can even enlist Sweetwater to Relish-ify their favourite pickup for hotswapping.
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Electronics: 2x Relish Bucker XX, Relish P-90 and Relish Single-Coil pickups with magnetic mounts; master volume and tone controls, three-way pickup selector switch
The antithesis of versatility. Baritones are still a force to be reckoned with in country and western music, and they’re all over ambient, soundtrack and indie rock. And lest we forget, their deep tuning makes them prime candidates for metal of the doom and death varieties.
The Rivolta Mondata Baritone VII is the sort of that’ll happily do any of those: if you need palm-muted riffs, there’s a humbucker in the bridge position, but there’s a P-90 in the neck for deep, smooth clean tones. The bridge position can be coil-split for some expressive tic-tac bass playing, too.
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A baritone-specific feature that makes it particularly appealing for the versatile-minded is the scale length – at 28 inches, it’s slightly longer than most baritones but not as long as the 30 inches of a Bass VI. With the right setup and string gauge, the Mondata VII could be happy as low as E standard, or kept at B standard.
Build: Chambered double-bound mahogany body with German carve and raised centre block, set maple neck with C+ profile, 12” radius ebony fingerboard with aged pearloid block inlays and 24 medium-jumbo frets
Electronics: Rivolta Novanta P-90 (neck) and Brevetto humbucking (bridge) pickups, three-way toggle pickup selector switch, master volume, master tone, coil split and phase switches
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As with the Telecaster, the Stratocaster is found in pretty much every corner of music. The Strat’s extra switching options when compared with the Tele (not to mention the extra pickup), as well as its vibrato system, make it a prime candidate for those who want some more options at their fingertips.
Like the American Pro II Jazzmaster, this iteration of the Stratocaster features rolled fingerboard edges and a carved neck heel for extra comfort. The V-Mod II pickups also feature refreshed voicing, and some extra switching trickery is still here: this time, a push/push tone pot allows you to add the neck pickup into position one, mimicking the sound of a Telecaster’s middle position.
Electronics: 3x V-Mod II Strat single-coil pickups, 5-way blade selector switch, master volume, neck/middle tone, push-push bridge tone control activates neck pickup in switch positions 1 and 2
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While this ’s sibling, the Les Paul Junior, can be fairly dynamic in the right hands, its single pickup can prove too much of a limitation for some players. Enter the Les Paul Special, revived in this Tribute form for the modern era: two P-90 pickups, each with a volume and tone, and a three-way toggle switch. This arrangement handily lets you dial back everything in one position, and have the other running at full blast. It just takes a confident flick of the selector switch to change things up completely.
Handily, this also comes in a humbucker version if that’s your style – offering a stripped-back version that’s truer to the classic HH Les Paul.
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