Best Electric Guitar For Pop Rock

Best Electric Guitar For Pop Rock

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Very quickly, picture in your head what a “punk” looks like. Do you imagine a dilapidated hunk of wood, mummified in duct-tape, electronics hanging for dear life? Well, it might surprise you to find that more punk musicians these days are rocking brand-new gear in lieu of “pawn shop specials”.

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Make no mistake, punk hasn’t gone completely posh – there are just so many great ‘econo’ s on the market today. Our picks for this list had to satisfy these factors: a modest price tag, tour reliability, as well as style – for as John Reis of Drive Like Jehu once said: “I am a firm believer that the cooler the piece of gear looks, the better you will sound using it.”

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The recently launched Squier Paranormal Esquire Deluxe (catchy name!) is a dream for punk players. With a single wide-range humbucker and an attractive price tag, it does have that Tom Delonge single-pickup appeal, but of course a powerful wide range humbucker will handle basically any distorted sound you chuck at it.

For a bit of tonal variation, or if you want to poke through with a spikier tone, the pickup selector has been replaced by a rotary switch – this either splits the pickup for a single-coil sound, or bypasses the volume and tone controls for an instant jump back to full whack.

The Broad ‘Tron and the P90 are both great pickups for punk, each with a clear, confident midrange. So it’s good to see both of them here, loaded into an affordable workhorse from Gretsch.

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If you’re a fan of the two-pickup single-cut look but don’t want something as heavy as a Les Paul, this is a great option – and the bolt-on nato neck adds some extra trebly ‘snap’ to the character, even if it does mean upper-fret access isn’t quite as easy. But hey, this is a punk s list. What are you doing up there anyway?

This short-scale student is a great option if you want something straightforward that you can throw about on stage, but will still deliver when it needs to. This HS variation features a set of Player-series pickups, designed to have a higher output level and fuller sound than vintage examples.

The short scale not only means that rhythm playing might be easier (depend on the size of your hands) but also a fun, response playing feel when compared to the higher tension of a full-scale 25.5” Fender instrument.

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Yamaha’s Revstar range has always punched well above its price-point, and that’s certainly the case even at the most spartan end of things. With a rock-solid construction, great-sounding pickups and a certain offbeat style, this set-neck double-cut doesn’t disappoint when it comes to both sound and reliability.

This version of the Revstar also features a passive high-pass filter, if you feel like you need to brighten up a mahogany set-neck with humbuckers – which, if you want to stand out with some abrasive tones, you well might!

Fender’s Noventa range took the brand’s classic shapes, threw out basically all that we knew about them, chucked in a P90 or two and said, there you go. Pretty punk. The Telecaster specifically is the most stripped-back of the range, offering a three-saddle hardtail and just a single pickup in the bridge position. No other distractions! Even the classic Telecaster control plate has been cut down to accommodate just a volume and tone control..

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There’s a reason the P90 is so common on single-pickup instruments, too: it’s a versatile thing, offering just as good jangly cleans as it does all-out distortion.

Fancy a single-P90 instrument, but don’t want to go down the Fender route? Or even the Les Paul Junior route? Enter the Epiphone Coronet, a revival of one of Epiphone’s first-ever solidbody electric designs. It’s an odd looking thing, with its two dramatic cutaway horns and symmetrical pickguard – great if you want to stand out.

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Construction consists of a mahogany body and set neck, paired with a 12” radius Indian Laurel fretboard. The single pickup is paired with some high-quality CTS potentiometers, and the bridge is a compensated wraparound ‘Lightning Bar’ unit.

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Eastwood’s Hi-Flyer Phase 4 sees the company pay homage to the final phase of Univox’s Hi-Flier designs – endearingly referred to by Kurt Cobain as “plywood beasts”.

What you may not notice just looking at the Hi-Flyer Phase 4 is how light it is, a result of the ’s double-cut basswood body, which just for its looks – is a definite feature. The Hi-Flyer Phase 4 sports a noticeably skinny, bolt-on maple neck that’s built for speed, and stays comfortable even after the longest of sets.

This employs two Phase 4 Humbuckers – which on a clean channel offers jangly tones, and with distortion is harmonically rich and mid-focussed. Controls on the include a three-way switching system, and a pair of knobs for volume and tone. This model also makes use of a Mintech wrap-around style hardtail bridge.

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If this one seems familiar, that’s because it’s an upgrade of the older Jimmy Page model. The ’59XT is, thanks to its pickups, a more aggressive beast altogether. Ramones fans, new wave musicians, and other punk rockers with a flair for vintage aesthetics will find a home for this affordable, retrolicious .

Snobs may scoff at the ’59XT’s chambered Masonite body. But plug the in, crank up the amp, and the rich, fat and velvety tones that it’s capable of will zip the lips of any naysayer.

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Those sounds come courtesy of the ’s unique pickup configuration of a P-90 at the neck and lipstick humbucker at the bridge. Both pickups, which are offset, are aggressive and growling with a musical midrange bump. The lipstick humbucker has also been coil-split, so you can use it as a single-coil, too.

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. But the traditionally-spec’d pickups can be a little too understated for some. Which is why J Mascis’ signature Jazzmaster finds itself on this list – its pickups are closer to P90s, with screw pole pieces providing a thicker and more confident sound.

The tune-o-matic bridge paired with the offset vibrato also provides a little bit more stability, especially if you pick really hard – doing this on a Jazzmaster with a rocking bridge can occasionally jiggle it out of alignment and ruin your intonation.

. There’s a matte black finish across the whole , including the neck and hardtail bridge. There’s a single, raw-nickel-covered humbucker, controlled by a single volume control, although it can be split if you want some single-coil spank. And that’s it – no other bells or whistles! While it’s of course great for metal too with its 24 jumbo frets, its simple swagger makes it a great punk axe too.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.

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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.

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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.

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

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