From low-gain American tones to high-powered gain machines, this collection of plugins can cover nearly any tone you can dream of.
Thanks to modern technology, you can chase the sounds in your head with a rather minimal setup. Each of the 10 guitar plugins listed below offer unique features, a wealth of options, and—maybe most importantly—less chiro visits.
Neural DSP Archetype: Petrucci
As one of the company’s most comprehensive plugins, it features four amplifiers, a pre-effects section with a wah, compressor, and four stompboxes, and a post-effects section with rack-design stereo chorus, delay, and reverb.
$169 street
Universal Audio Friedman Buxom Betty
This plugin aims for an exact representation of the original EL34-powered amp. It includes 100 recording chains, a host-syncable vintage delay unit, and preamp and power amp bypass.
$149 street
STL Tones Tonality: Andy James
Developed from Andy James' signature guitar sounds, this plugin suite uses advanced modeling algorithms to provide real-time simulations of his amps. You can also employ an 808 emulation and James’ signature preamp pedal.
$119 street
Softube Amp Room
Softube's professional audio guitar and bass platform offers a wide range of precisely modeled amplifiers, cabs, pedals, studio effects, and more, as well as several IR Producer Packs.
$149 street
Blue Cat Axiom
A fully customizable amp simulation based on Blue Cat's Destructor, this software has a flexible routing system with two parallel amp simulation channels, input and master sections, and more than 70 built-in effects.
$199 street
bluecataudio.comWaves GTR3
This collection of amps comes with Fender, Marshall, Mesa/Boogie, and Vox plugin models, in addition to over 30 different cab simulations and 25 stompboxes, including distortion, delays, and modulation.
$129 street
Native Instruments Guitar Rig 6 Pro
Here’s a setup that offers a range of classic vintage tones and modern high-gain sounds, and artist presets from Yvette Young, Vernon Reid, Pete Thorn, Zola Jesus, and Eric Krasno.
$199 street
IK Multimedia TONEX
TONEX is a standalone application that allows users to create, play, and share 400 of their own Tone Models of amps, cabinets, combos, and pedals. It comes with 40 amps and 20 pedals.
$149 street
ikmultimedia.comLine 6 Metallurgy Collection
Using this collection of Metallurgy’s Modern, Thrash, and Doom plugins, you can select a variety of high-gain tones drawn from the company's HX line of amps and cabs.
$199 street
Overloud TH-U Eric Gales Expansion Pack
One of the most astounding blues guitarists of his generation, Eric Gales, has collaborated with Overloud on this plugin that emulates his live rig. It includes three amps, three cabs, and 15 effects.
$59 street
Two extra-affordable versions of quirky instruments from Fender’s late-1960s-to-mid-1970s period deliver unexpected—and out-of-the-ordinary—playing pleasures.
High style on the cheap. Excellent construction for this price class. Nice feel under the fingers.
Pickups can sound brash.
$349
Squier Affinity Starcaster Deluxe
fender.com
The years 1969 and 1976—which bookend the releases of the original Telecaster Thinline and Starcaster—mark a strange period for Fender. They don’t signal a lost era as pre-CBS purists might insist. But there’s no doubt Fender was firing more wildly at an increasing number of moving targets—from shifting musical sands to improving import competition.
But if the very late 1960s and early/mid 1970s didn’t yield design icons on the order of the Stratocaster or Telecaster, they were a creative time for Fullerton. Few models represent that spirit—and Fender’s fluid state—quite as well as the Telecaster Thinline and Starcaster. The first was an evolution of Fender’s first solidbody executed by Roger Rossmeisl, the visionary designer behind the Rickenbacker 330 and Fender Coronado. The second was an altogether new design that, in quintessentially ’70s Fender style, managed the unlikely (some might say unholy) marriage of Jazzmaster and Gibson ES-335.
But as the ultra-affordable Squier incarnations of the Telecaster Thinline and Starcaster reviewed here prove, the folks at Fender of the late ’60s and early ’70s are entitled to a hearty last laugh: These designs are timeless and appealing enough to be around half a century later. And even in these inexpensive versions they offer genuinely interesting, stylish, and highly playable alternatives to other instruments in their price class.
Squier Affinity Starcaster Deluxe
Though collectors would have ultimately pounced on the semi-hollow Starcaster for its rarity (they were made for only four years), Radiohead’s Jonny Greenwood elevated the profile of the instrument when it was far from fashionable. More recently, blink-182’s Tom DeLonge, who now has a stripped-down signature Fender version, did much to popularize the shape. The Affinity Starcaster Deluxe is closer to DeLonge’s signature guitar, in both form and function, than Greenwood’s vintage specimen or, for that matter, Fender’s import reissue from the 2010s, or Squier’s own Classic Vibe version. Most critically, the Affinity version uses a standard humbucker with the shape and construction of a PAF rather than the Fender Wide Range, as well as a streamlined control array.
Casting Skyward
The Squier humbucker is more compressed, midrange-y, and less airy than both a Fender Wide Range pickup and the humbuckers in a contemporary Epiphone 335s—guitars which are at least $200 more than the Affinity Starcaster (not coincidentally, perhaps, in the ballpark of what a pretty nice set of PAF replacements would cost). But it’s worth spending time with the Squier humbuckers before you think about an upgrade. They are charming in their own right. By itself, the bridge pickup can be a little brash, particularly if you use a heavy touch with a pick. Lighter attack and amp tone attenuation goes a long way toward taming its more spiky tendencies, enhancing touch responsiveness, and getting glassy tones to sing a bit more. The neck pickup needs a very different treatment. I needed to bump the treble on an already bright AC15-like amp to extract the kind of tone spectrum you’d expect from a PAF, though it was quite round and chimey once I got it there. Cool sounds are here, you just may have to work for them a bit. The combined pickup setting is the sweetest sounding of the three. It also generates the sounds that communicate the most semi-hollow resonance and personality. All three settings would benefit from rangier pots. They have a pretty steep curve and limited useful range. Rolling the volume back just a few clicks, for instance, results in a fair bit of treble loss, and there’s not much variation to play with once you move through the first third of the control’s range.
Get Yer Head Straight
Curiously, Fender opted for a Stratocaster-style headstock rather than the less-ornate version of the original Starcaster headstock profile used on the standard Affinity Starcaster. While it looks sharp and balanced, it’s hard not to miss the unusual headstock shape that helped make the original Starcaster so completely different. None of this, of course, has any bearing on the Starcaster’s playability, which is really nice. The jumbo frets make active, expressive finger vibrato moves feel natural, which is nice given how the pickups and semi-hollow tones encourage you to linger on notes and use bluesy bends and phrasings.
The Verdict
One of the Indonesia-built Affinity Starcaster Deluxe’s nicest surprises is the overall quality of the construction. The neck joint is tight, the fretwork is free of sharp ends, and the finish is pretty. The pickups could be a little airier, and the smaller PAF routs probably preclude installation of Wide Range pickups, which begs a question: Would you rather pay 80 bucks more for a Squier Classic Vibe Starcaster, which offers Wide Range-sized pickups, independent volume and tone for each pickup, and a more vintage-correct headstock? I’d probably be inclined to lean that way. But considering that most affordable semi-hollows from Epiphone and Gretsch are at least $100 to $200 more, the Affinity Starcaster Deluxe is a value star with ample style that sets it apart.
Squier Affinity Telecaster Thinline
If you don’t have much bread but crave a Telecaster, the Squier website is like cruising a little paradise. As of this writing, there’s 25 ways to satisfy your jones—all for less than $500 and as inexpensive as $199. But few combinations of good looks and price stand out quite like the Affinity Telecaster Thinline. The elegance of Leo Fender and George Fullerton’s original body profile and Roger Rossmeisl’s modifications (in particular, the cresting wave pickguard) add up to a balanced whole rather than a mess whipped up by too many cooks in the kitchen.
But the Thinline is more than a style exercise. It’s a true semi-hollow with center-block construction like an ES-335 or, for that matter, the Starcaster. As a result, the Affinity Thinline is crazy light, weighing less than seven pounds. There is some downside to this lack of body heft. The guitar is prone to neck dive unless you’re wearing an especially grippy strap. But because it’s so comfortable in every other respect, you tend not to notice once you have the neck in hand.
Quest for Twang
The neck itself is maple with an additional maple fretboard cap, but the satin finish certainly takes satin to the extreme end of its definition. Though smooth and comfortable, it feels just a touch too close to unfinished for my tastes—a condition that will no doubt be remedied by many more playing hours. There are no complaints about how the guitar feels as a player, though. The action is fast and low, there’s no fret buzz, and the intonation is dead on, making this the first guitar in this price class I’ve encountered in a long time that didn’t need a significant bit of additional setup work. Even more impressively, the Thinline is tuning stable. Poor quality tuners and poorly cut nuts are often obstacles to tuning stability on inexpensive instruments. That’s not the case here, and the Thinline held up to heavy-handed, Who-’65 strumming without flinching.
The pickups deliver quintessentially Telecaster sounds, but with a twist. Whether it’s the semi-hollow construction, the ceramic pickups (Telecaster pickups are generally alnico), or a combination of factors, the Thinline has discernibly softer attack and transients than a good upmarket version, which results in a squishier low-midrange. This means a little less honk in your honky-tonk, but it makes the Thinline a lovely jangle machine—particularly in the bridge position. And if the neck pickup seems to broadcast particularly soft transients, with a bump in top end and mids from your amp, it’s a lovely vehicle for soul ballads and mellow vocal accompaniment.
The Verdict
To a dyed-in-the-wool Tele head, the Affinity Telecaster Thinline might come across as a little spongy. But it’s a fantastic guitar for rhythm work and throwing a cheap, secondhand Boss SD-1 overdrive in the mix made the Thinline snarl and rip. At $299 before tax, it’s hard to imagine a cooler inexpensive path to twangin’ and more.
Squier Affinity Series Starcaster Deluxe Semi-hollowbody Electric Guitar - Sienna Sunburst
Affinity Strat, Sienna SunburstSquier Affinity Series Telecaster Thinline Electric Guitar - 3-color Sunburst with Maple Fingerboard
Affinity Tele, 3-Color SunburstDunlop Pays Tribute to Eric Clapton with Special Edition Cry Baby Wah
Eric Clapton Cry Baby Wah is a limited-edition pedal with GCB95 sound and gold-plated casting. Portion of proceeds donated to Crossroads Centre for addiction treatment. Available exclusively at Guitar Center.
In 1986, Mr. Clapton first started working with the late Jim Dunlop Sr., and he became one of our first and most important Cry Baby artists. We are honored that our company’s relationship with the legendary guitar player continues to this day. With this special limited edition Eric Clapton Cry Baby Wah, we’re paying tribute to Mr. Clapton’s 60-year legacy. Featuring the benchmark sound of the GCB95 Cry Baby Standard Wah, this pedal comes with a distinguished gold-plated casting befitting one of rock ’n’ roll’s living giants.
A portion of the proceeds from the sale of each Eric Clapton Cry Baby Wah will be donated to the Crossroads Centre, a not-for-profit organization founded by Mr. Clapton to provide safe and supportive addiction treatment and a road to recovery. If you wish to contribute a further donation, please visit crossroadsantigua.org.
The Eric Clapton Cry Baby Wah is available now at $299.99, exclusively from Guitar Center in the United States and from select retailers worldwide.
Eric Clapton Cry Baby Wah Highlights
- Pay tribute to one of rock 'n' roll's greatest legends
- Special limited edition• Benchmark sound of the GCB95
- Distinguished gold-plated casting
- Portion of proceeds donated to Crossroads Centre for supportive addiction treatment and recovery
PG's Nikos Arvanitis talks to the funk-guitar master about his musical influences, go-to gear choices, the pros of teaching, working in the studio versus the stage, and future plans for Jamiroquai.
As a youngster in the 1970s, Rob Harris was unusually fixated with music, spending hours watching bands on TV programmes. At the age of 7 and after much badgering from Rob, his father finally retrieved the guitar (an old Hofner) out of the loft space for him, and so began Rob’s lifelong musical journey.
After growing up in the Middle East from age 4 to 12, Rob and his family returned in to the UK in 1983 and he soon began studying with a great local guitar teacher named Colin Medlock. This was to continue for several years and was to shape a strong musical foundation in Rob’s guitar playing.
At the age of 14, Rob began gigging with local bands in the Cambridgeshire area and soon developed an interest in a variety of musical styles, listening to an eclectic range of artists and tirelessly researching and studying those who had played guitar on said records. This furthered the ongoing development of his musical skills, studying song craft, creating parts and hooks and writing lyrics. It was only natural to then take the step to working with producers and artists as a session guitarist.
The early 90’s was when Rob really began to flourish, recording and touring with The Pasadenas, Gary Numan, Mark Owen, Alphaville eventually joining the band Jamiroquai as a member in 1999 which continues to this day. Rob has played and co- written on the albums Funk Odyssey, Dynamite, Rock Dust Light Star and has most recently played on the band’s 2017 release Automaton and embarking on a global tour with the band in the April of the same year.
His credits also include: Beverly Knight, Kylie Minogue, Anastasia, Lighthouse Family, Don Airey (Deep Purple), Katy Perry, JP Cooper, Era, Gabriella Aplin, Will Young, Julian Perretta, Duke Dumont, Paloma Faith, Robbie Williams, Lego Batman (Soundtrack), Louisa Johnson and The Ministry of Sound’s Stripped Album, Kanye West, to name but a few.
Rob currently lives in Cambridgeshire where he records and teaches in between tour dates at his well-equipped studio. He also spends much of his time giving masterclasses and hosting educational workshops to music students and guitar enthusiasts, across the globe.
If you want to escape from the pressures of modern life, go pick up your guitar. Now. You’ll be glad you did.
As I write this, we’re a few weeks away from the election, and I’m feeling as nervous as a cat in a dog park. No matter how you’re voting, there’s a good chance you feel the same way. These are complex times.
But we have a source of respite that many do not: We play guitar. Lately, I’ve made it a point to carve out an hour or so nightly to play through some of my band’s current repertoire to keep the dust off between shows and to explore some fresh sonic options to work into songs. The practice is paying off musically, but that’s not the biggest benefit. I’ve noticed, after I shut down my amps and pedalboard, and put my guitars back on their stands, that I feel better. About everything. For that hour or so, I am simply lost in the joys and mysteries of playing guitar. Things start to reveal themselves, new ideas tumble out of my fingers, and suddenly I’m in a place where anxiety can’t get to me and my mind is largely clear. It’s a safe zone where I’m not judging myself or others, and I’m relaxed and present. It’s a place where polling numbers and attack ads, family members with difficulties, and other concerns don’t even exist. And while it may be temporary, it is also beautiful.
I’m certain many of us have the same experience when we’re playing at home or onstage. And if you’re reading this while voices in your head are nattering with worry, I suggest you immediately go plug a guitar—the one that plays like melted butter—into your favorite amp and play a little melody, or your favorite set of chord changes, or even a nice campfire chord. I’d be surprised if you don’t soon feel the sensation of tension trickling out of your spine.
This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight. Under the weight of the world, it is often possible to temporarily forget guitar playing’s curative power, or be distracted from it, and that is why I am reminding you.
"This is the great gift of guitar playing and music in general: Its ability to transport us to another place—that zone of safety and delight."
For me, and I’m sure this is not just my experience, music has always been a refuge—a special thing that makes my heart fill with peace, joy, and wonder. I recall watching Johnny Cash on TV as a child, listening to his spoken stories and the tales in his songs, and feeling like I was being swept through time and space, to places and eras full of exciting people and things. It stretched my imagination and worldview, and made it seem that life’s possibilities were endless. I still cherish that feeling, and listening to, for a couple examples, Tom Waits, Pink Floyd, Merle Haggard, Lucinda Williams, Son House, Kevin Gordon, Coltrane, and the Messthetics, still delivers it. And the next step, playing music and writing songs, makes me feel like an occupant of a small corner of their universe, and that’s a place I cherish.
I’ll mention safety again, and pardon me if this gets too personal. Many of us, after surviving the pandemic and the last decade of turmoil, do not feel safe. Having grown up in a household with a physically and verbally abusive father, where a blow could come at any time without reason or warning, that’s long been an issue for me. And when the news of the latest mass shooting, for example, is fresh in my brain, I tend to map out places to hide or flee when I’m at a concert or a mall or a large public gathering. Maybe that’s just my problem, but my gut—and what I hear from others—tells me it’s not.
Oddly, one of the places I can feel safest and happiest is onstage, whether performing solo or with my band, when everything is flowing and the music is in my veins. And that’s the magic of guitar and music again. It’s given me a place to be in the world that I love and that makes me feel complete. If you get that feeling from playing and listening to music, don’t let anything get in its way. Sometimes, in these times, that can be challenging, but the first step to your personal oasis is simple: just pick up that special guitar and plug in.