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Marshall Class 5 AmplifierSummary: Class A, Plexi goodness in a low wattage amp that packs a punch despite its smaller size.Pros: Great, ballsy tone that’ll just make you smile

Cons: None.

Features (as tested):

  • Power: 5 watts
  • Preamp tubes: 2 x ECC83
  • Power tubes: 1 x EL84
  • Controls: Volume, Treble, Middle, Bass
  • Speaker: 1 x 10″ 16ohm Celestion G10F-15
  • Headphone output
  • Extension speaker output
  • Dimensions: 19.48″ x 16.34″ x 9.05″
  • Weight: 26.46 lbs

Price: < $400 Street

Tone Bone Score: 5.0 ~ Even though I didn’t get to spend as much time as I’d like to play around with the amp, I was simply impressed by the tone that it delivers, and at a price point that makes it very difficult to ignore. While many low wattage amps can sound thin and tinny, the Class 5 with its generously-sized cabinet has a fantastic, rich tone.

On Low Wattage Amps

I love low wattage amps – those that are 10 Watts or less. I have a few. For years, people eschewed these super low wattage amps, and passed them off as mere practice tools. But I suspect they really didn’t understand what a super low wattage amp brings to the party. Low wattage amps such as the 5 Watt Fender Champ helped define the sound of rock and roll. Listen to classic rock tunes, and more likely than not, the venerable Fender Champ would be the amp providing the sound.

Today, more and more people are turning to low wattage amps – especially home recording enthusiasts, and even pros like Jeff Beck – to save their ears and to get crunch and grind at low volume levels. As a result of the increased demand, many manufacturers, boutique and mainstream alike, have responded and come up with a slew of low wattage amps. It’s a good thing and a bad thing. On the one hand, you have tons of selections, on the other hand; well, you have tons of selections. There are a lot of them out there and it’s tough to decide which way to go.

The shear amount of low wattage amps on the market is perhaps a big reason why Marshall waited so long to come out with its super own low wattage amp. Perhaps they were studying what the market responded to and what they could do to address what people might have fed back as improvements that could be made.

Enter the Marshall Class 5 amp. This amp was released in the UK near the middle of last year, and arrived here on our fair shores around November of last year. Amazingly enough, news about this amp has been relatively quiet. There hasn’t been all that much advertising that I’ve seen about this amp. The Marshall Haze amps have gotten lots of “rag” time, and the response to those amps has been generally positive. But I haven’t heard much about this amp other than user reviews. That’s too bad because after playing it, I have to say that I really dig it!

Classic, Killer Tone!

Is Marshall embarrassed about advertising such a low wattage amp? I certainly hope not, because I got a chance to play this amp today, and I just have two words to describe it: KICK ASS! Built upon the “Bluesbreaker”/Plexi pedigree, the Class 5 has all of that Plexi goodness in a low wattage combo. Make no mistake: The Class 5 packs a serious punch; maybe not maximum volume-wise (for a gig, this amp would need to be miked, but will provide plenty of stage volume), but if you’re looking for those classic Plexi tones in a low wattage solution, look no further!

Because I was in a shop, I only tested it with a single guitar: An Epiphone Les Paul Ultra. But the Class 5 delivered that cranked Les Paul through a cranked Marshall Plexi true to form. It was everything I expected to hear from a cranked Plexi, just at a lower volume. That really blew me away!

There’s really something special about that tone. My Aracom PLX18BB is a super-close replica of the Plexi 18, plus my good buddy has several Marshalls including an original JTM45 and Plexi 50, so I’m very familiar with that classic tone. While the Class 5 is just a tad grittier in its overdrive than its more powerful siblings (perhaps due to the new speaker), the rich harmonics and smooth overdrive delivered with “balls” with a gorgeous sustain is all there.

While it might seem from my description that this amp isn’t very loud, it’s plenty loud. You can even gig with it easily, even with the stock 10″ speaker which, by the way, has tons of volume and provides rich tone. I was actually expecting the amp to sound a bit thin due to the smaller speaker, but there was nothing thin-sounding about the amp.

Another reviewer mentioned turning the bass all the way down, because he thought it was flabby. I really didn’t detect a flabbiness to the bass, but I like a bright amp anyway so I had the bass EQ dialed down to about 8pm which is almost off.

All this tonal goodness is delivered by a 10″ speaker specially developed for the Class 5 by Celestion, the G10F-15. As expected, the 10″ really has an emphasis on the mid- to high-frequencies, but Marshall compensated for the lows by providing a spacious cabinet to act as a nice resonance chamber for the speaker. The result is a very balanced and smooth tone, if a little on the bright side. But bright is what Plexi’s are all about, and the Class 5 delivers on that swimmingly!

As far as my customary test clips go, sorry, this was a shop eval, so I didn’t record any. But if and when I get the amp, I’ll post some for sure!

Yikes! It’s Too Loud!

Hello… 5 Watts is loud. In fact the speaker’s SPL is rated at 97dB at 1 meter with a power rating of 15 Watts. People have complained that they can’t crank it up in the bedroom past 3 or 4. Yeah… welcome to the Non-Master-Volume club. But that’s the beauty of the Plexi in the first place! You need to saturate the power tubes as well as the preamp tubes to get that Plexi vibe. If you need to run this amp at bedroom levels, the best solution is to get an attenuator such as the Aracom PRX150-Pro.

I sincerely hope that Marshall doesn’t cave in to those complaining it’s too loud and add a master volume to the amp. To me, it doesn’t need and would take away from its vibe.

Made in the UK

This amp is constructed in the UK, amazingly enough. And what’s even more amazing is that it sells for less than $400! The shop I tested it at had it a retail price of $389! One would expect those kinds of prices to come from gear manufactured in Asia. But not this beauty. So to have a UK-made amp at this price point is truly remarkable! Then to get tone this good? OMG! Truly amazing!!!

Fit and Finish

This amp is extremely well made. The cabinet feels real solid, and nothing was loose. Apparently, earlier versions suffered from a buzz, but the unit I tested didn’t have that at all. In any case, I inspected the amp thoroughly – front and back-  and didn’t detect any finish flaws. The tolex was nicely molded down to the surface of the underlying wood, and there were no loose pieces of material. From what I could tell, 1/2″ ply was used for the cabinet, and that is good because I’ve found, at least from a purely qualitative perspective, that cabs built with 1/2″ thickness tend to resonate quite well. This obviously helps bolster the bottom end, and it does it nicely.

The rear of the cab is interesting in that it is partially closed with about a 4″ opening, covered by a metal grill. I suppose that this is so you don’t throw in the cable and accidentally puncture the speaker cone, but it may be purely aesthetic in nature. The rear grill is rather cool.

Overall Impression

I totally DIG this amp! It was fun cranking it up in the store this afternoon! Admittedly, the amp doesn’t really hit its sweet spot until the volume knob is about midway. But completely cranked up, it produces the tone I expect out of a Plexi! And even cranked up, it responds well to volume knob levels, so you can clean up the amp quite easily.

Compared to other super low wattage amps I’ve played, even my venerable ’58 Champ, this amp has tons of balls in stock configuration. With my Champ, I had to have an amp tech add a 1/4″ jack so I could run it into an external cab because the 8″ speaker really can be quite thin-sounding. But the Class 5 has enough balls and volume stock to not need any of that (though it’ll be fun to run this into an external cab anyway, which I plan to do).

Note that unlike other reviews, I really didn’t make mention of the amp being “Class A.” That’s a big deal with lots of folks, but to me, even though I understand the classification, it really doesn’t matter. What does matter to me is how the amp sounds, and it simply sounds killer. In my book, I couldn’t care less about an amp’s classification so long as I can get great tones out of it; and the Class 5 will certainly deliver on that!

As you might surmise, I’ll probably end up getting this amp. As if I need another! But it’s a great amp at a great price. That’s just plain tough to ignore! And note that this amp sounds so good stock to me that I really don’t see a need to swap out tubes unless they burn out (which they probably will considering I’ll be running the amp all out all the time 🙂 ).

Here are some cool video clips of the Class 5 in action:

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Peavey Classic 30 Amp

Summary: Great looks, great sound, and at a GREAT price!

Pros: Beautiful cleans with a sweet, airy reverb, and smooth overdrive tones

Cons: This is a nit, but I was a bit annoyed at the labeling of Pre- and Post- volume controls on the Lead channel. Why not just follow convention? It’s obvious that “Pre” is volume, and “Post” is master. But when I first saw it, I wasn’t quite sure what to make of them until I turned the amp on.

Features (from the Peavey site):

  • 30 watts (rms) into 16 or 8 ohms
  • Four EL84s and three 12AX7s
  • 12 inch Blue Marvel® speaker
  • 2-channel preamp
  • Pre- and post-gain controls on lead channel
  • Normal volume control on clean channel
  • 3-band passive EQ (bass, middle, treble)
  • Boost switch
  • Reverb level control
  • Effects loop
  • Footswitch selectable channel switching and reverb
  • External speaker capability
  • Chrome-plated chassis
  • Classic tweed covering
  • Footswitch optional (not included)
  • Weight Unpacked: 39.50 lb(17.917 kg)
  • Weight Packed: 46.00 lb(20.865 kg)
  • Width Packed: 13″(33.02 cm)
  • Depth Packed: 21.5″(54.61 cm)
  • Height Packed: 19.25″(48.895 cm)

Price: $599 street

Tone Bone Score: 5.0 ~ Even my little nit couldn’t keep this amp from getting my top score. It’s simply a great-sounding amp!

I’ve been a big proponent of: If it sounds good to you, then brand and price don’t matter. This goes back to my very first guitar, a Yamaha FG-335 Acoustic that my dad bought me for my 18th birthday. I still have that guitar. But I remember a jam about 25 years ago I was having with my brother at a party. We were sitting in our living room, and we pulled out our guitars to have a jam and singalong. When I got my guitar out of its case, my brother remarked facetiously upon seeing its worn condition, “Dude, you should turn that into a beach guitar.” I just looked at him blankly and replied, “Nope. It may not look like much, but it has a great sound. Why the f&%k would I want to trash it? I’ll never get rid of this guitar!” Ahh… brotherly competition. 🙂 But I digress…

The point of me mentioning that is that nowadays with boutique gear being all the rage with “tube” this, “mustard cap” that, “hand-wired” this, etc., it’s so easy to dismiss some excellent gear that sounds absolutely KILLER! If you can get said killer-sounding gear at a fantastic price, then that’s even better. Now I admit that I have some expensive gear, but not once have I purchased gear because of a name or because someone told me to buy something because they love it. I suppose with this blog you might accuse me of doing just that, but I always suggest people try things out for themselves before making any buying decisions. Damn! Again I digress! Let’s get on the with the review, shall we?

Fit and Finish

Talk about vintage mojo! The first time I saw this amp in a local shop, I was stunned by its looks. With its vintage-style front panel and dark brown cloth grille, and tweed covering with chrome-plated corner protectors; what’s not to like? Weight-wise, at 40 lbs, it’s not light, but it’s also not a behemoth that you can’t lug easily into a gig. And don’t let the small size of its cabinet fool you: It’s quite resonant, but more importantly, its size doesn’t make it unweildy in the slightest. Simply put, the Classic 30 just plain looks great!

How It Sounds

In my test, I used a Squier Classic Vibe Tele 50’s, a Custom Shop Strat, and a Les Paul Standard. I always start out all my tests with the amp clean, and playing finger-style. No matter what guitar I used, the cleans were absolutely spectacular. I love EL84 cleans. They’re sparkly and chimey, and the Classic 30 simply delivered that EL84 clean goodness! The single coils sounded chimey as expected, but I totally dug the cleans with the LP! Adding a bit of grease with the reverb brought out the  lush, deep tones of the Les Paul nicely. I believe the reverb is a digital reverb, but who the hell cares? It sounds incredible! I guess that’s the point I was trying to make above. If something works well, it doesn’t matter what it’s made of.

As far as overdrive is concerned, as its name implies, the Classic 30 isn’t going to get you modern high-gain overdrive tones, but there’s tons of overdrive on tap. Once I dialed in the Pre and Post volume control balances, I was able to get nice overdrive tones that weren’t at all harsh, no matter how hard I pushed the amp. Since I was in a shop, I didn’t get a chance to record clips, but here are some clips from Peavey:

Clean

Clean, Reverb

Channel 2 Flat

Channel 2 Preamp

Channel 2 Boost

As you heard, great tones out of this little beastie. Even completely dimed, you don’t get over the top overdrive, but for classic rock and blues, this is a GREAT amp. That Blue Marvel 12″ speaker works great in this cab!

Overall Impressions

At $599, this amp looks and sounds as good as many boutique amps I’ve played. I love this amp, and it’s definitely going to be added to my amp collection. 🙂 I didn’t get to try out the effects loop, but I love the fact that it has one. It just adds to its versatility. If you’re looking for a vintage-style amp for a great price, this is definitely an amp to consider!

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Click to enlarge

Click to enlarge

Fishman SA220 Solo Amp

Summary: Compact and weighing in at just 25 lbs., the SA220 Solo Amp is an ideal PA solution for the solo acoustic guitarist/vocalist, but it’s versatile and loud enough to be used as a PA for a band (if you have a couple of them).

Pros: It may not have the Bose name, but I’d put this up against the L1 Compact system any day. With built-in, independent, 3-way EQ, and a variety of other features, if you’re a solo acoustic artist, you owe it to yourself to check this unit out! I got it set up in less than a minute!

Cons: None

Features:

  • Drivers
  • – Six 4″ mid-woofers, patented dual gap, high excursion design, neodymium magnets (200W)
    – One 1″ neodymium soft dome tweeter with level control (20W)

  • Auxiliary Stereo Input with Level control
  • Four Digital Reverb effects with master level
  • Balanced XLR D.I. outputs for both channels and main mix
  • Independent effect loops for Channel 1 and Channel 2 (OMG!!!)
  • Unique Monitor I/O for improved on-stage ensemble monitoring
  • Mute with remote footswitch input
  • Tuner Output
  • Ships with Stand and padded Carry Bag (w/ wheels)
  • Dimensions: 41.5″ H x 5.6″ W x 6.6″ D
  • *Weight: 25 lbs without Stand, 35lbs with Bag and Stand

Price: $999 Street

Tone Bone Score: 5.0 ~ Talk about ease of use! As I mentioned above, I got the SA220 set up in less than a minute! And my Yamaha APX900 sounds absolutely killer through this, not to mention the great clarity of the vocals. This is a winner, folks!

Year over year, I play between 100 to 150 gigs a year, with about half of them as a solo acoustic act. My solo gigs have consisted mainly of my weekly restaurant gig, but I do lots of weddings and special events throughout the year as well. Of late, the restaurant I gig at moved my act outside in a public patio area as the weather is gorgeous.

To make a long story short, even though the restaurant has a decent PA system, I ended up bringing my own PA last week, which was the first week we did the outdoor show. That worked pretty well, and my PA has a great sound. But it also made me realize that the old mixing board, and big 300 Watt speakers was just too much gear to haul around. Even if I ended up using the restaurant’s PA, which is a nice one, I’d still have to lug the board and speakers and stands down from the office upstairs. Enter the Fishman SA220 Solo Amp.

Plug It In and Go!

I finally received my SA220 today after having to wait for a couple of weeks for it to arrive (had to be ordered). So when I got home, I knew I had to try it out to see how it sets up, and of course, to work out kinks before I gig with it. There’s nothing worse than fighting your rig or sound DURING a gig – especially when you’re solo.

The guys at the shop assured me that Fishman’s claims of easy setup were true. I am now a believer! I had the SA220 set up in exactly 42 seconds!!! That didn’t include hooking up my pedal board, guitar, and microphone, but I had the system on its tripod stand and plugged into power, ready to go, in that short amount of time. That just blew me away! Plus, everything you need to get up and running fits into a single carrying unit that consists of two bags: One for the array/PA, and one for the tripod that buckles to the main bag. Talk about convenience! Fishman really had the solo artist in mind when they built this!

How It Sounds

For my audition, I just plugged my guitar into the SA220 directly, and hooked up my microphone. All I can say is that the sound is spectacular! I was actually concerned about the bass response of the unit, but apparently Fishman distributes the bass response among the six main mid-woofers. It may not get boomy with the bass, but the sound is absolutely rich, and vocals are clear and full. Normally, I use a DI to go into a board – and will probably do the same with this unit, but my guitar sounded clear and natural and full plugged in directly without those annoying high-end transients and flattened tone that is so annoying with plugged in acoustics. Admittedly, the ART system in my Yamaha APX900 has quite a bit to do with that, but Fishman really knows how to condition sound.

At first, I had a bit of a problem with feedback, but setting the phase switch and tweaking the anti-feedback knob (it’s a variable frequency notch filter designed to subdue a resonant peak – just turn it to where the feedback gets reduced or eliminated – very cool), and attaching the rubber sound hole cover on my guitar took care of the feedback problem.

Luckily no one was home when I tested the SA220. I set it up outside so I could see how it performed. Damn! Even with just 220 Watts, the SA220 is LOUD!!! I had the Master volume set at around 10 am, and that will be enough to fill the large patio space I’ll be playing in tomorrow! It’s not a stretch to say that the SA220 can cover a lot of venues.

As far as listening angle is concerned, the SA220 disperses the sound incredibly well! Even at extreme angles, where I was almost even with the array, the sound was clear with good volume. Of course, narrower angles are better, but this unit will have no problem playing in the open space I’ll be playing.

Talk About Bang for the Buck!

The sound is great, but I have to tell you, I was ready to get the Bose L1 Compact, which is a great unit, but the mere fact that if I wanted more EQ control and other features, I’d have to spend another $499 really soured my taste for the unit. On the other hand, Fishman has packed all sorts of features into the SA220 that make it hands-down the better value. Independent 3-band EQ for each channel, phase and anti-feedback control, 4 types of digital reverb, a mute switch (that is REALLY handy!), independent balanced XLR outs to go into a board, and my favorite feature: independent effects loop for each channel! You just can’t argue about with what comes built-in on this unit!

Overall Impression

It’s hopefully obvious that I love this unit! For me as a solo artist, it’s a true game changer! It’s light and versatile, and the sound is spectacular. What more could I ask for?

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Dynamics. It’s what separates a mechanical  and boring piece from something that can move an audience to tears. In this episode, Doug talks about the incredible dynamics of the Dumble Overdrive Special.

This is the last video in the series of Doug Doppler on the Dumble Overdrive Special, but it’s not the last. I’ve got many more “Doppler on…” videos to come, so stay tuned!!!

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Some people may scoff at the diminutive Fender Champ 600. After all, it’s only 5 Watts and has a tiny 6″ speaker. But those naysayers may be missing the point about the Champ or any super-low wattage speaker for that matter. It’s not meant to be a performance amp; though you can certainly hook it up to an extension cabinet, and it’ll do just fine in a small venue – hey! I do that A LOT. But the secret behind the beauty of this little $149 wonder isn’t on the stage, it’s in the studio.

I’ve heard feedback from various people that they get frustrated with this amp because it’s missing certain features. Let’s face it folks, with a single volume knob, no tone control, and not much gain on tap, it would be easy to dismiss this amp as nothing more than a toy. But it’s no mistake that its venerable sibling, the Champ, has been a mainstay in professional studios for decades. It’s all in how you make use of what it has to offer.

First off, let’s establish what I think is the most important thing when recording this amp: The Champ is really good at creating your base tone, and that’s all that it should be used for. It’s up to you to shape it. Keep that in mind, and you’ll get more than a lot of mileage out of it. So let’s look at some key factors when recording with the Champ:

  • The Champ is naturally bright because of its small speaker. So microphone placement is absolutely critical. If you want to get a bright, twangy sound with lots of treble content, place your mic head on in the center of the cone, or just off center to avoid getting those treble “pops.” If you want less treble response, move the mic off-center, nearer to the edge of the speaker cone. I’ve found that the richest sound comes from angling the mic at about the same angle as the speaker cone, placed right at the outer ring about an inch off the grille cloth. The EQ response is a lot flatter there, and makes it easy to dial in your EQ in your DAW.
  • Even cranked in the high input, and even with humbuckers, the most breakup you’ll get is about “dirty blues” overdrive. But that’s why we have overdrive and distortion pedals, right? I’ve found that Tube Screamer and TS-type overdrive pedals work great with the Champ, though my Holy Fire distortion can make the Champ serve up some whoop-ass if dialed in just right.
  • Looking for Fender cleans? The Champ does raw Fender cleans – and quite well. Again, it’s all about mic placement when recording cleans with the Champ. My favorite is angled as I described above.
  • Do yourself a favor and replace the stock tubes with NOS tubes. I’ve never been a big fan of Groove Tubes (though I know some people like them). But with a great NOS pre-amp tube (I’ve got a ’59 GE long plate), and a solid NOS 6V6 (mine is a ’53 GE 6V6), you’ll immediately tame the harshness of the amp. In fact, I’ve never seen a need to replace the power transformer or the speaker because of this $50 investment.

So with those points in mind, go and record. What you’ll get after you’ve played around a bit is a great, raw guitar tone. But your work isn’t done yet – or it could be if you’re satisfied with the raw tone. Personally, I like to add filters and effects in production to make the recording sound like it’s coming from a much bigger amp. Yes, boys and girls, you can make it sound MUCH bigger!

A Word on Amp Modeling

One thing that I have also done with the Champ is to record a purely clean rhythm tone, then run it through IK Multimedia’s Amplitube plug-in to essentially “re-amp” my guitar. You can get some amazing guitar tones with the Champ when it’s re-amped through this software.

My Champ 600 Recording Process

A couple of people have asked me how to record the amp, so I thought I’d share the process I employ:

  1. First, it starts with the guitar. Am I looking for a single-coil or humbucker tone. The cool thing about the Champ 600 is that what you hear when you play through it is your raw guitar tone. There’s no EQ so you have to establish that on your guitar. Simple enough.
  2. Then I’ll determine whether or not I want to track with effects. Usually, I’ll only track with overdrive or distortion. I leave all the modulation effects to production.
  3. Next, I place my mic head, dead-center on the speaker, then record a chord progression and perhaps some quick lead licks.
  4. Then I’ll move the mic off-center and repeat the same thing I played with the mic centered.
  5. Finally, I’ll angle the mic as described above and repeat the same progression. More likely than not, I’ll use this position because I like it the best, but different guitars actually sound better with the mic positioned dead-center.
  6. Once I decide what mic position I’ll use, then I’ll record the track.
  7. Once I’m finished, it’s time to apply EQ, filters and modulation effects. I like to use a hi-pass filter on most recordings with Champ to “tame” its natural edginess.

Here are some clips that I put together based upon the process above (I skipped recording head-on, off center):

Clean (Squier Classic Vibe Tele 50’s)

1. Mic head-on, dead-center

2. Mic angled along speaker cone, 1″ off the grille cloth.

Recording #2 with Graphic EQ, Chorus, Parametric EQ, Delay, Reverb, and Hi-pass filter applied

Overdriven with Tube Screamer for Extra Drive (Gibson Nighthawk 2009)

1. Mic head-on, dead-center

2. Mic angled along speaker cone, 1″ off the grille cloth.

Recording #2 with Graphic EQ, Flange, Delay, Reverb, and Hi-pass filter applied

It’s amazing what EQ, filters and effects can do to the recording! And it really didn’t take that much work to dial in the final version of what I wanted to ultimately print!

Finally, here’s a song I wrote and record awhile back (sorry for the over-abundance of bass). If I remember correctly, I used four guitars in six parts in that song (Epiphone Explorer, Gibson ES-335, MIM Strat, PRS SE Soapbar II), all recorded with the Champ – and with the stock speaker no less!

Rock on!!!

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This is a hotly debated topic, and there are great arguments for or against using one. I’m of the former group and have used attenuators to great success over the years. To demonstrate how useful an attenuator can be, I put together a quick video. Here you go:

I wanted to be as non-technical about the usage of an attenuator because there are so many attenuator designs on the market. So I kept this video at a fairly high level. I’ll get into more detail in the next video when I discuss the Aracom PRX150-Pro.

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So you’re thinking about taking the leap and buying your first electric guitar? Choosing a guitar, amp, and pedals doesn’t have to be as intimidating as it might seem. There are a few things you’ll want to consider and keep in mind though.

What are your goals?

In other words, what types of music do you want to play? The type of guitar and amp you get will largely depend on the type of music you want to play. If you can identify, the types of music you’ll be playing, this can help you narrow down what types of guitars you might buy.

For example, if country is your thing, you might want to get a more twangy type of sound, so you would look at something like a Telecaster. If you’re a rocker, to get a really fat and dark type of sound, you’ll want to look at a Les Paul or an SG with some humbucker pickups. If you’re into metal, you’re going to want to be focusing more on your amp and effects pedals to get a hi-gain distorted sound. And then, if jazz is more your thing, you might want to look at a semi-hollow body guitar like an Epiphone Dot to get that darker, warmer sound you’d except from jazz.

In all reality, one electric guitar is not just limited to play one style of music, but guitars generally have different tonal characteristics, so identifying the sound you’re going for can help narrow down your options too.

What’s your budget?

Before you even start looking at buying guitars, it’s really important you set some sort of budget. What can you afford? When it comes to buying guitar gear, the sky is the limit, so having a budget gives you a bit more focus in what you’re looking at and eliminates a bunch of options.

It’s been my experience with guitars that more often than not, like most things, you generally get what you pay for when you consider the quality (there are always exceptions). A $100 dollar guitar is most likely going to play, sound, and feel much different than a $500 guitar. Generally, the cheaper you go, the quality tends to be poorer (e.g. doesn’t stay in tune, poor action, fret buzz, poor electronics, etc.). You don’t need to shell out a ton for your first electric guitar, but you also want something that will be inspiring to play and won’t give a lot of trouble down the road either.

You’ll not only want to consider the guitar in your budget, but you’ll also want to consider your amp and effects pedals (e.g. distortion, delay, reverb, etc.) as well.

It’s important that you see your first electric guitar purchase as an investment. I think one of the fears is, “What if I shell out all this money and then end up not sticking to it?” Even if you do end up finding out that guitar is not really for you, if you’ve made a good investment, you can always make a good part of that money back in resale. You might want to consider buying used too. Check eBay, Craigslist, and your local newspaper’s classifieds.

All to say, what can you afford? Set your budget and stick with it.

Gear Recommendations

So you’ve thought about your goals and have set a budget. Now what? It’s time to start looking at some gear. You have to keep in mind there are literally hundreds of options for a beginner’s set up, so recommendations are going to vary person to person. For my recommendations, I hesitate to suggest you something so dirt cheap that it’s going to cause you grief later down the road, but I also realize you don’t need to break the bank either.

I’ve divided these recommendations up into three categories depending on the type of music you want to play: country/pop/blues, rock/metal, and jazz. And then, within those categories I’ve given a couple different price categories depending on your budget. Also, keep in mind that a lot of these guitars aren’t restricted to play only the music in their category. For example, I know a lot of guys who will play an Epiphone Dot in a rock setting.

Country/Pop/Blues

  • Epiphone Special-II GT ($199.99)
  • Epiphone Les Paul 100 ($299.99)
  • Fender Standard Telecaster ($499.99)
  • Fender Standard Stratocaster ($499.99)
  • Gretsch Electromatic ($699.99)

Rock/Metal

  • Dean Vendetta XMT ($159.00)
  • Epiphone Explorer-GT ($199.99)
  • Epiphone G-310 SG ($249.99)
  • B.C. Rich Metal Master Warlock ($299.99)
  • Epiphone Les Paul Studio Deluxe ($399.99)

Jazz

  • Epiphone Dot ($399.99)
  • Ibanez Artcore AF75 ($399.99)
  • Gretsch Electromatic ($699.99)

Now, choosing an electric guitar is only half the battle. You’re going to need an amp or a multi-effects processor. Some amps are “combo amps” which means they have some effects built in to them (e.g. distortion, reverb, chorus, delay, etc.). These are definitely worth looking at for a beginner.

Another thing to keep in mind is that a lot of country, blues, and rockers can often use a amps built in overdrive and gain channel to get a distorted sound, but if you are playing metal, you probably need to look at some sort of hi-gain distortion pedal in addition to your amp.

Amps

  • Fender 25R Frontman Series II Combo Amp ($99.99)
  • Vox Valvetronix VT15 Combo Amp ($169.99)
  • Line 6 Spider IV 75W Combo Amp ($299.99)
  • Vox Valvetronix VT50 Combo Amp ($379.99)
  • Peavey Classic 30 Tube Amp ($599.99)

Sometimes players will opt out of getting an amp and just getting a multi-effects processor unit that has amp models and effects built in to one box. This might be a great option for your first guitar.

Multi-effects Processor Units

  • DigiTech RP255 ($149.99)
  • Line 6 Floor POD Plus ($199.99)
  • DigiTech RP355 ($199.99)
  • Line 6 POD X3 ($399.99)

This is just a starting point. The best thing to do is to go into the store and play as many different guitars and play through as many different amps as you can, or if you can’t play very well, bring someone along who can or knows a lot about guitars so you can get their opinion and hear what it sounds like.

So let’s recap. It’s important to think through your goals and your budget. Thinking through these things really eliminates a lot of your options. You don’t have to spend a ton on your first guitar, but do think of it like an investment. Your guitar is only half of the equation so don’t forget about an amp or a multi-effects unit. And lastly, there’s nothing like going into a store with a friend and trying out as many different pieces of gear as you can.

All of you guitar veterans out there… what would you recommend to a beginner player getting their first electric guitar?

Brett McQueen is a full-time music student, guitar player, songwriter, and blogs in his spare time. Brett is passionate about teaching free guitar lessons for beginners so other guitar players can take their playing to the next level and reach their goals.

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