The 3 most convenient guitars you can buy (plus bonus section for metalheads)
You have probably heard many guitar players say that a certain brand and model of guitar is their "go-to instrument" for every type of music they do.
Personally, I don't believe there is any one single guitar that covers every style of music, and this is why I own more than one guitar, because if just one guitar did it all, I would have no need for others.
What's a "convenient" guitar?
A convenient guitar is one that's built with good electronics, allows for many tone types, has a predictable sound with no surprises, and most importantly is reliable. A reliable guitar is one where it plays and sounds exactly how you would expect each time you play it, and provides years of faithful service without needing any repair.
Here are the 3 most convenient guitars you can buy:
1. Fender Stratocaster Standard HSS with a maple fingerboard
Yes, I'm specifically referring to the Mexican-made Fender Stratocaster Standard HSS and not the American model, because the MIM (Made In Mexico) version is less complicated, and I'll explain why in a moment.
The MIM HSS Stratocaster is the most versatile and reliable Stratocaster Fender makes, and has a price point that most people can afford.
I specifically recommend a maple fingerboard because it will outlast the rosewood fingerboard version. This is also why I don't recommend a Squier Stratocaster Standard HSS because it does not have a maple fingerboard option. This is not to say the Squier Strat Standard HSS is a bad guitar, but the maple fingerboard does make a big difference if you intend to keep the guitar for a long, long time, as maple fingerboards are basically zero-maintenance (other than standard wipedowns when changing strings).
In addition, the HSS Strat does everything possible a Strat can do in this price range. The humbucker in the bridge rocks out and you can get metal tones out of it easily, and the mid-position and neck single-coil pickups can do all the rest including country, jazz, blues and other good clean tones.
If you want a Strat that will last basically forever (assuming you properly maintain it), the MIM Standard HSS is what you want from Fender. The maple fingerboard is easier to clean and will outlast the rosewood, and the vintage-style 6-screw bridge has more reliability compared to the 2-post bridge. It is true you do lose some height adjustment ability by using the 6-screw over the 2-post, but ultimately the 6-screw will outlast the 2-post over time because it has 6 points of being connected to the wood instead of just 2.
It is true that you can buy an electric solid-body guitar with a piezo pickup in it which will give you the acoustic sound - but - it will never sound as good as a true acoustic with acoustic-specific strings on it.
The best solution is to play an acoustic-electric that feels like a solid-body electric, and the best choice for this are super-shallow-bowl guitars from Ovation.
The particular Ovation guitar I recommend with a super-shallow body is the CC48 model. It's reasonably priced, looks great, projects great, has excellent electronics and best of all is super-easy to play.
An electric guitarist's biggest complaint about acoustics is that they're big, bulky and annoying to play. That's not the case with an Ovation shallow-body. It will play very similarly to your electric and is very easy to maintain. This guitar is the one where you will say, "Wow! An acoustic-electric that's NOT annoying to play! Cool!"
Here's another advantage: The Ovation is very stage-friendly. It's easy to carry around and its electronics sound great through PA systems at clubs and pubs. Also, the Ovation plugs in and sounds great direct to a mixer board, requiring only minor EQ adjustments (if any). This guitar is great for the home studio or stage, and is truly a go-to, go-anywhere, very convenient guitar.
3. Squier Classic Vibe Telecaster '50s
I'm not a Telecaster guy and most people who read my blog regularly know this. However that doesn't take away from the fact that everyone at some point needs a Telecaster. And it just so happens the most versatile, most convenient "true" Tele at a price that's right is the Squier CV Telecaster '50s.
Eventually at some point I'm going to get a Tele (even though I admittedly hate the body style) because there are sounds the Tele makes that no other electric guitar can - particularly in the clean-tone department. The ridiculously large fat angled overwound single-coil in the bridge combined with the "super-glassy" mini-single on the neck makes for some seriously good tone. I'd even recommend this Tele to heavy metal players for recording clean-tone tracks, because you simply cannot get a Tele sound out of a humbucker guitar no matter how hard you try. When you want your clean tones to "sound like glass", one word: Telecaster.
Because the Squier CV 50s Tele has a maple fingerboard (meaning it will last a good long time) and the exact configuration that makes a Telecaster sound like it's supposed to, this is basically the only Tele you'd ever need.
If you're wondering why I recommend the Squier CV Telecaster over the Squier Affinity Telecaster, it's because it has better hardware - particularly the vintage-style tuners which have super-smooth operation, and the upgraded pickups that give more of that classic Tele sound to them. It's totally worth the extra money because said honestly, you don't need to upgrade a thing on the CV Telecaster. It's that good.
What would be the deciding factor between the Squier CV Tele and the Fender Standard Telecaster (Mexican made)? It basically depends if you want the vintage-style 3-saddle setup of the CV or the 6-saddle of the Fender. If you really feel the 6-saddle version is more to your liking, then get the Fender. Otherwise, get the Squier CV.
** BONUS SPECIFICALLY FOR HEAVY METAL PLAYERS **
THE TWO MOST CONVENIENT ELECTRIC GUITARS FOR METALHEADS
You didn't think I'd leave you guys out, did you?
I know what you want. You want an electric that has big fat bottom end humbucker sound on the bridge position, smooth lead tones on the neck position and a lightning-fast flat neck, right? Right.
First - and I'm being dead serious here - you really do need a Telecaster for your clean tones when recording. See the Squier CV 50s Tele above.
Second, you need two electric guitars with very specific configurations. One must be a "hardtail" with absolutely no vibrato system (meaning no "whammy bar") whatsoever because they're easier to set up, play and stay in tune better, and the second to have a quality vibrato system for "divebombing".
Before I list off the guitars that will work for you, here's a few tips.
Floyd-Rose "Licensed" SUCKS
There is a huge difference between Floyd-Rose Original, Floyd-Rose Special and Floyd-Rose "Licensed". Any FR system that states "licensed" is junk, and you will break it in 2 years or less with normal guitar playing. Even if you're gentle with the FR-Licensed system, it simply isn't built to last.
Avoid the gold
I made mention of this here, but I'm going to say it again, do not buy a guitar with any gold on it anywhere, because that will be the first thing to tarnish and look like absolute crap in less than a year.
Stick to chrome or black hardware.
It is typically true that USA-versions of metal guitars completely suck compared to Korean and Japanese
I do not recommend shopping for USA-built "metal" guitars whatsoever because they will fall apart. Why? Because the construction processes are crap.
In the metal guitar department, the quality of build is in this order from worst to best: Chinese, Korean, Japanese. If you want top quality, you buy Japanese. If you want mid-grade to upper-mid-grade, you buy Korean. If you want cheap, you buy Chinese (and said honestly, some metal guitars from China are pretty respectable these days).
USA can build Strats and Telecasters all day and build them well, but not metal guitars.
Here are the 2 metal guitars I recommend.
I recommended this guitar very recently to someone because he was asking what the best under-$500 value was for a metal guitar - and the RG350DX is it.
The RG350DX comes with Ibanez's "EDGE" tremolo system and is guaranteed to outlast any FR "Licensed" crap. The HSH pickup configuration will give you everything you want tone-wise (except Strat and Telecaster sounds) and the build quality is there. The neck on this thing is also ridiculously quick for soloing. Furthermore, it just looks good.
While most other metal guitars will break and go in the dumpster in less than 2 years, this Ibanez will last a good long while. The guitar sounds and plays exactly how you would expect a metal guitar to perform. It's a true metal player's guitar at a price that won't put you in the poorhouse. And you'll love that EDGE trem system as it is very reliable and will last and last.
2. B.C. Rich Masterpiece Mockingbird
This is your "hardtail" metal guitar. Contrary to its name, it's actually quite affordable. It's weighted right so there is no neck diving, and the unique angles give it a decidedly "metal appearance". The red color is called "Dragon's Blood". Need I say more there?
Also, this guitar gives the impression that the neck is long. That's an optical illusion as it has a 24-5/8" scale, meaning you can race up and down the neck with no problem at all. String-through means the sustain is there and the pickups are fairly good (although you might want to change them).
The only crappy part about the guitar is that yes, it's a veneer top (meaning "photo finish"), but who cares? The price is low, so go ahead, buy one and headbang to your heart's content with it.
This hardtail will allow you to thrash around on stage with no problems whatsoever. Note the positions of the knobs and how they're pushed back on the body, meaning it's very unlikely you'd hit them by accident when really banging on this guitar. Also, the shape makes it very comfortable sitting or standing when playing it. Note that the top of the body is carved, meaning you can play this thing for hours on end without your forearm getting irritated.
Lastly, the guitar has a "wow" appearance to it. I guarantee no other metalheads you know have this guitar simply for the fact they didn't know it existed. Other guys have the plain-looking black guitars, but when you break out the blood-red Mockingbird, you'll get noticed.
So there you have it, metalheads. Grab an Ibanez for the wicked soloing and divebombing, and grab the Mockingbird for your thrash-around hardtail guitar.
And yes, again, for clean-tone recording you really should get a Telecaster. Yeah, I know, that guitar "isn't metal", but in the studio nobody cares. You have to play what works. The Ibanez/Mockingbird/Telecaster combo will deliver it all for you.
The 5 types of guitars you should never buy
There are some guitars that exist where the day after you buy them, you know you've made a mistake. I'm going to list 5 of them below.
1. Any guitar with an acrylic body
These guitars are commonly known as "see-through" because you can literally see right through the transparent material. The acrylic will usually be "ice" clear, red, blue, orange, yellow or green. An acrylic-bodied guitar is one of the worst you could ever own. Why? Three reasons.
- Acrylic does absolutely nothing for tone or sustain no matter what anyone says.
- The body is unbelievably heavy. Even heavier than a 1970s Les Paul. It's absolutely required to wear a well-padded guitar strap if you dare play one standing up.
- No guitar player has ever said that they prefer an acrylic body. That has never happened in the history of electric guitars, and never will.
Do not buy an acrylic-bodied guitar. Stay away from these things.
While not all Steinberger Spirit guitars are in the squared-off "broom shape", most are.
Is the Spirit a good guitar? Yes it is. Does it sound good? Yes it does. Does it play well? Again, yes. So what's the problem? It looks like an unfinished toy. The Spirit guitar has never been able to shake this stigma. As good as the guitar is (and it truly is good), people just never got used to the design.
If you want something from Steinberger that's cool, get the Synapse Demon instead. It's headless, but could very well be the ultimate metal baritone guitar with it's 28-5/8" scale length, EMG pickups and monster crunch-ability.
The Bich 10-string (and yes it is pronounced the way you think it is) is just one seriously weird guitar. I will give credit where it's due as it is innovative. I will also give credit that in a natural finish, it looks sexy as hell.
As an instrument however, this thing is a nightmare to figure out. With factory stock 10-string Bich, you'd think that with all those switches and knobs that it was some guy that built it in his garage and took the guitar way too far, but no, that's the "standard" layout for the 10-string version.
What do all the switches and knobs actually do? They are: Master Volume, Rhythm Pickup Volume, Pre-amp #1 Volume, Pre-amp #1 On/Off, Pre-amp #2 Volume, Pre-amp #2 On/Off, Phase Switch, Pickup Selector, Six Position Varitone, Dual Sound Rhythm Pickup, Dual Sound Lead Pickup and Master Tone.
Who the hell would remember all that? I couldn't. Don't buy one of these.
All guitar players not familiar with the Esquire all say the same thing upon first seeing one:
"Hey, cool Telecaster! Why is it missing the neck pickup?"
Yeah, that pretty much sums up the Esquire. If you thought the Telecaster was as simple as an electric guitar could get, the Esquire has even less to it.
From a historical point of view, yes the Esquire came first before the Broadcaster which became the Telecaster and that's why it exists. Yes, Fender still makes the Esquire. No, they're not Custom Shop order only. You can buy a "plain" one (as if it could get any plainer) new right now. Should you? No, you shouldn't. You'll always be thinking, "Geez, I should have bought a Telecaster..."
Get a Telecaster instead.
5. Any double-neck guitar
The double-neck guitar has always been a very, very stupid idea. They are extremely heavy, difficult to play, usually sound awful, take forever to string up, are a serious annoyance to maintain, and the list goes on and on.
The only purpose for the double-neck is that it looks cool on stage, and that's it because as a studio guitar it's horrible.
Just about every guitar company has built a double-neck and continue to churn these pieces of crap out once every few years as special models, mainly because hardly anyone ever buys one and guitar stores have a very difficult time selling them. Anyone who does buy one of these monstrosities usually only uses it on stage to basically say, "Hey, look at me! I'm playing a double-neck!" Whatever. And yeah, it does get attention, but that's its sole purpose in life, and that's what makes it worthless as a real instrument.
(And what attractive guitars should you be buying? See this.)
Can't get your guitar to sound right in a YouTube video? I know what your problem is
If you ever wondered why you just can't get your guitar to sound like it's supposed to when recording a YouTube video, the answer is simple. It's an answer that many guitar players absolutely refuse to accept as true, but it is true.
The reason your guitar - no matter what it is - sounds like crap when recording a video for YouTube is because you're using an amplifier.
If it is just you, on your own, recording videos in your bedroom like so many other guitar players do on YouTube, don't use an amplifier to record with. Ever.
Remember, an amplifier's purpose is to amplify, as in to project volume, as in to be loud. And it's most likely true your amp is all-analog with no digital circuitry. And no, placing a quality microphone in front of your amp will not help you. It doesn't matter how good the microphone is or if you position it perfectly at the corner of the cone of the amplifier's speaker. You will still sound like crap because you don't have the super-expensive mixing board to get control over that sound. If your intent is to run a studio, then sure, buy the super-expensive mixer. Otherwise, don't bother.
For those of you fortunate enough to have an amp with digital circuitry, the "line out"/headphone jack works very well when feeding that into a computer. Why? Because it's probably true that the line out/headphone signal is modeled, as in cabinet-emulated, and that serves well when feeding that audio signal into your computer. But even then, the tone just doesn't sound right.
What you need, simply put, is a good digital all-in-one guitar signal effects processor. And by "all-in-one" I mean a rack unit or pedal that does multiple things. Amp head simulation, cabinet simulation, distortion, overdrive, delay, chrous and reverb.
Most of you who read this know I use the DigiTech GSP 1101, and it's not cheap. I bought it because I like rack unit effects - HOWEVER - you can get very close to what the 1101 can do using much cheaper pedal-based versions.
If your goal is to sound good when recording your video, I recommend nothing but DigiTech rack units and multi-effects pedals because the price is right and they get the job done right the first time. In addition, they are easier to use compared to software. Yes, you can get software to emulate everything, but it's ridiculously difficult compared to the DigiTech multi-effects units. With the DigiTech stuff, you will get "that sound" you want in literally just a few minutes. No other pedals involved, no amps, all digital.
I'm going to list all off all the DigiTech the multi-effects pedals here, from cheapest to most expensive. If you can afford the mid-grade range, go with that. But if you're on a really tight budget, then just go for the cheap ones. Believe me when I say that even with the cheapest model, you'll get the best sound for your YouTube videos.
- DigiTech RP55
- DigiTech RP70
- DigiTech RP90
- DigiTech RP155
- DigiTech RP255
- DigiTech RP355
- DigiTech RP500
- DigiTech RP1000
Rich's Recommendations
If you already own a distortion pedal you like, the RP55 will be fine because it doesn't have any distortion effect.
If you need distortion effects (especially for classic blues overdrive and distorted metal tone), but don't require a built-in rocker-style pedal for volume and wah control, the RP70 and RP155 will work well here.
If you need a pedal that basically does everything and will get the absolute most for your money, you want the RP255.
Which models have USB recording? RP155, RP255, RP355, RP500 and RP1000.
Do these pedals work well through a mixer? Yes, they all do.
Why do I recommend the RP255 and not the RP355, RP500 or RP1000?
There's not much the 355 has that you could actually use compared to the 255. It is true the 355 has more amp simulators, more cabinet simulators and more effects. But the likelihood of you getting full use out of all of that stuff will probably never happen. You're better off with the 255 because of this.
The RP500 and RP1000 I don't recommend because they're specifically made for rough stage use, and that's why they have the big metal stomp switches on them instead of plastic. Those units are what you would take if you were going on tour. If all you're doing is trying to get better sound for your YouTube videos and play local-only gigs, you don't need the huge 500 or 1000 model. Also know that the big floorboard models are very annoying to use in a home studio. You need the smaller stuff because it's just more convenient.
"I've heard I need a tube amp and all-analog stuff to get that perfect tone. Do I?"
No, and this especially true when it comes to recording videos for YouTube. Your computer is DIGITAL. If you record using nothing but ANALOG you will get tons of what's known as white noise (similar to a tape hiss for those of you who remember cassettes).
When playing LIVE, then sure, I can see the use of having tube-type stuff and analog effects. But for your computer recording? No. Tube-type stuff and analog effects are annoying to record to the computer and always have been.
Use a DigiTech RP multi-effects pedal, and you'll be able to get great tone and post your videos fast. Go the all-tube route with microphones and all that other crap, and you'll spend hours "tweaking", not get what you want and eventually give up out of frustration. Remember, you're not a recording engineer. You're just a player that wants good sound for your videos in the fastest, easiest way possible. Use a digital multi-effects pedal to get it. It will work. How do I know? Just see any of my videos and ask yourself if it sounds good. If you said "Yes!", go digital. You'll be glad you did.
5 easy ways to tell if an electric guitar is junk or not when in the guitar store
If you buy enough electric guitars, at some point you run into that "played and sounded great in the store, but then played and sounded like crap when I got it home" scenario. This happens to a lot of guitar buyers, and yes I've had it happen to me a few times. And remember, this can happen with any guitar regardless of how cheap or expensive it is.
Fortunately there are a few really easy things you can do while in the guitar store to determine whether a guitar is junk or not.
1. Bring a pocket flashlight
Ever notice that most guitar stores have dim lighting? There's a reason for that.
A standard trick many guitar stores do is purposely make the surrounding lighting dim so you can't see imperfections on a guitar. All lights are using pointing at the walls and not the floor, making it difficult for you to see finish scratches, body dents and other obvious issues.
Bring along a pocket flashlight and shine the light over every inch of the neck and body while sitting down with the guitar and inspecting it. If this makes the sales staff nervous and they try to distract you, that's a huge red flag that there's something wrong with the guitar they don't want you to see.
Which type of pocket flashlight is is the best? The higher the lumens, the brighter the light. Go for the one with the highest lumens rating and you'll get the brightest light. For example, if your pocket flashlight has a 1,000 lumens rating, trust me, that thing can throw some serious light. And they're not that expensive.
What's the bare minimum lumens rating that's any good? 100. Personally, I keep my minimum to at least 300 lumens, but a 100 will do the job if size of flashlight is a concern.
2. Look for obvious mismatched components
If from the pickups in the guitar there's one that looks newer than the others, that's a red flag because the guitar has been modified.
If from the knobs there's one that doesn't match the others, that's a red flag.
If from the pick guard screws there are some that are different than the others (remember, they're all supposed to be the same size), that's a big red flag because it means the guy who owned it before didn't even put it back together correctly after his "modifications".
If from the bridge saddles one or more doesn't match the others, that's a red flag because the set is mismatched and put together poorly.
3. Crank up the distortion to check for "scratchy" knobs
The easiest way to tell if the volume and tone pots are OK or not is to plug in the guitar, turn up the amp, add distortion, but don't play. Cycle through the knobs turning it from 0 to 10 and back again several times, and do the same for the tone knobs. You will instantly hear if the pots "scratch" at all. If they do, you know there's a problem and you shouldn't buy it.
Another thing you can do is the same test after lightly plucking the B string, because sometimes "scratchy" pots can't be heard unless there's some signal going through the pickups.
4. Check for hairline fractures at the nut
A cracked nut is one of the biggest reasons anyone trades in a guitar, because once that happens, a players just trades in the guitar in instead of repairing it.
Hairline fractures of a nut are especially difficult to see if the nut is black, and this is one of the instances where your flashlight will come in very handy, because you probably won't be able to see the crack without it.
Do new guitars sometimes have cracked nuts? It's rare, but yes it sometimes happens.
A note specifically concerning Les Paul style guitars: They are more likely to have nut issues compared to Strats specifically because of the way the strings are mounted after the nut. On a Strat guitar, the direction of the string after the nut is straight. On a Paul guitar, the direction is angled, and it's a very well known fact that causes greater nut stress. This is a big reason to always examine the nut closely on a Paul guitar before buying it.
5. Check for clicks and creaks
Sit down with the guitar unplugged. Do a 3-fret bend on the B string, then the same on the G string, then the same on the D string.
If you literally hear (and may even feel) the guitar clicking, creaking or making cracking noises, don't buy that guitar. The neck is either installed improperly, or something in the bridge isn't set up right, or the nut has problems.
If you hear "kinking" noises, that may just be old strings and you'll hear that come from the headstock end of the guitar. But if there are click/creak/crack noises from the body side of the guitar, just put it down and don't buy it no matter how bad you want it.
On guitars like Squier Bullet Strats, the click/creak/crack noises, should they be present, are almost always caused by the fact neck pocket was not cut correctly from the factory. And even with neck securely tightened at the bolt plate, this is an issue that can never be fixed. Remember however that this is not a universal problem with the guitar. Both my China-made Bullet Strat and Indonesia-made Bullet HH do not have any click/creak/crack issues whatsoever.
On guitars like Epiphone Les Pauls, click/creak/crack noises almost always come from the bridge, because a traditional Tune-O-Matic style bridge does "travel" (even on Gibson models), meaning it moves and at times will not stay put. This is fixable with the simple installation of a new bridge with set screws to eliminate the traveling issue. However, you are better off finding a Paul that doesn't have a bridge-travel issue, because why buy a guitar if it needs extra money spent right after you buy it just so it's playable?
A quick checklist specifically concerning STRATOCASTER guitars
I'm a Strat guy as most people know (both for Squier and Fender), so I'm fairly educated on how to spot problems with them, be they new or used.
Pickup movement
Pinch a single-coil pickup between your fingers and rock it back and forth. It should barely move or not at all. If it easily gives way and can be rocked back and forth with almost no effort, the mounting springs are worn out - OR - the springs were replaced with tubing and it has worn out.
Push a single-coil pickup down towards the pick guard. If it sinks in easily, once again the tension springs are bad or it has tubing that wore out.
Whether a Strat is new or old, the pickups simply shouldn't move. Yes it's true they will always have some give to them, but if the movement is really obvious, that's a red flag that someone "modified" the underside with an "improvement" that obviously didn't work at all or was installed completely improperly.
This one's easy. Examine the strap buttons. If the screw is sticking out, immediately point this out to a sales guy and request a screwdriver to tighten it. He'll let you.
If the screw won't tighten, the hole is stripped. Fortunately this is an easy fix as all you have to do is full the hole with wood putty, let it dry and set, drill a small pilot hole smaller than the hole itself and screw the original screw back in. It doesn't matter what the putty color is as the button itself will cover it easily.
The second way to check for a stripped strap button hole is to pinch the button with your fingers and attempt to twist it. If it moves easily, the hole is probably stripped.
You can use this as a bargaining maneuver to knock the price down of the guitar, because if the strap button hole(s) are worn out, that's extra repair you have to perform on the guitar after it's bought.
Remember: Traditional strap buttons on Stratocaster guitars are not supposed to move at all.
Check the back of the headstock for exposed holes
Again, this one is very easy. Look at the back of the headstock. See any exposed holes? That means the tuners were swapped out and it's most likely true the "cheap" ones were put back before the guitar was traded in.
This can be used as a bargaining maneuver to knock the price of the guitar down.
Check for cracked tremolo block
This specifically applies to older Squier Strats, although on rare occasion some Fenders suffer from this as well.
The only way to examine a tremolo block is to take off the back plate. Shine your flashlight in there and look for stress cracks on the block. If you see any, they will be easily visible right where the claw springs meet the block, and that tremolo block is junk and will need replacement.
Older Squier Strats have this happen often because they're made of zinc and not stainless steel or brass. It is an easy repair - BUT - you may have a difficult time locating a block that actually fits correctly as the American blocks usually never fit the Squier models.
If repairing the bridge system concerning the block, you may be better off buying a whole new bridge system, because after all, it's cheap and actually costs less than just the block itself.
Check for slanted bridge screws
I've seen this happen on brand new Squier Stratocasters in particular, and it's a very easy thing to miss. This particularly applies to bridges mounted with 6 screws on top (typically labeled a "vintage bridge" setup) and not the two-point bridge.
Look at all 6 screws. If there's any screw head that's not flush to the bridge and is slanted or leaning slightly, don't buy that guitar because the screw was not installed properly. It's not an easy fix either because you have to take the whole bridge off, fill the hole with the bad thread with wood putty, let that dry and set, drill a pilot hole and attempt to get the screw to thread itself straight on reinstallation. I say "attempt" because most of the time it simply won't thread straight and the same problem will come back again.
Why are slanted bridge screws a problem? Because it can cause creaking/clicking noises when bending strings or using the tremolo bar. Every time you bend hard using either method, the bridge will move slightly and make noises you won't like at all. In addition, it can cause finish cracks and chips over time where the bridge is mounted to the body.
Why I never got into Les Paul guitars
When I was a kid just starting out on guitar in the very-early 1990s, the Strat was the guitar. None of the guitar stores ever featured the Les Paul at the time. You never saw them in the glass case that some guitar stores had. Most of the time, all you ever saw there were premium American Stratocaster guitars.
The Gibson Les Paul was considered the "old guy's guitar" and nobody wanted it. Nobody except old guys, that is. Now it's true that Appetite for Destruction had been released in 1987 by Guns 'N Roses, and the lead guitar player Slash was seen playing his Les Paul guitars very prominently in all GNR music videos - but - the sound everyone wanted in the early 1990s was grunge, punk and metal. Grunge and punk guys played Strats, Jags and Mustangs. Metal guys played basically anything but Gibson and stuck to brands like Ibanez and Jackson instead because they were much better suited for the job (and still are).
It was in the later 90s that players really started buying up all those old Fender guitars from the 60s because grunge brought back that whole "earthy" garage-band sound. This was way before anyone had the idea of "relic'ing" a guitar. People just wanted those old Strats, Mustangs and Jags because everyone had their fill of 80s glam crap, wanted to go back to the the old stuff, and did.
After vintage Fenders started getting a lot of recognition, the Les Paul naturally followed, but I never got into them for very specific reasons.
Why I don't like Gibson Les Paul guitars
1. The body shape cuts into my ribs
I don't like the Les Paul body shape for the same reason I don't like the Telecaster, that being the rear of the body is hard-edged. No contour cut like the one on Stratocaster body exists on a traditional-shape Les Paul body.
2. Overpriced to an insane level
When the Paul tripped over the $2,000 mark, that's when it got insane because that's more than most homeowners pay for annual taxes on their property each year. The guitar is simply not worth that much no matter what anyone says.
The price of a USA Gibson Les Paul Standard is so high that it's actually offensive.
3. I don't like a guitar I can't thrash
I'm a hard player, and I know for a fact I'd snap the headstock right off a Gibson Les Paul just playing like I normally do. All it takes is one wild bend on the G string and *CRACK!*, busted headstock.
Why would the headstock break? Because it's well known to be the weakest part of the Paul guitar, even on brand new ones. The #1 guitar repair is fixing busted Paul headstocks. Ask any luthier.
I have zero interest in buying a $2,500 guitar only to discover it can't survive a bend I can do on a $119 guitar easily.
The only Paul made by a Gibson company that can handle my playing style is the Epiphone Prophecy Les Paul. But I'd hate playing it because it's a "metal guitar" with overcomplicated electronics and a super-flat 14-inch radius fingerboard. No way would I be comfortable playing that. Metal guys love that guitar, but as I just said, I don't do metal guitars. I may play that style from time to time, but I greatly dislike any guitar specifically designed for that genre of music because, well, they suck.
4. I'm not interested in experiencing "Expensive Guitar Buyer's Remorse"
The Gibson Les Paul is the granddaddy of all electrics where you absolutely do not get what you pay for.
As a collector, sure, the Paul is worth the price tag if you buy it, play it only 2 hours a year, keep it for 10 years and then sell it for twice the price. That I can understand.
But I'm not a guitar collector. As a player I need a machine I can use and abuse. And the Paul definitely is not it.
If I owned a USA Paul, I would break it in less than a year just from playing the crap out of it. There are Paul owners who say "a Les Paul is forever". Well, those guys must play very lightly or barely play at all because I can certainly prove easily a Paul is not "forever". Before the end of the first year owning the Paul, I can guarantee you I would break something on it. Then the rumbling pangs of regret would set in. "Geez, I just broke a $2,500 guitar.. um.. now I'm sad."
Whenever anyone has let me play their Les Paul, I can see the nervousness in their eyes because I'm actually playing a guitar how it was meant to be played - but you obviously can't do that with a Paul because they can't handle it. Whenever a Paul is in my hands, I have to constantly keep reminding myself, "Okay.. this is a Paul. Have to be careful with this fragile stupid thing.. man this sucks! Someone give me a Strat..."
Tip: Never let me play your Paul, because I'll probably break it. And then you would be sad. And probably never talk to me again.
5. I see nothing but an overpriced toy when I see a Gibson Les Paul electric guitar
When I see a Paul, I don't think, "Wow, I've GOT to have that!" That thought has never crossed my mind any time I've ever seen a Paul guitar. Nowhere in my brain is any lust for a USA-made Gibson Les Paul Standard. Or any other Gibson Les Paul model for that matter.
There was a time in history when the Gibson Les Paul was the "working man's guitar". Well, Gibson lost that title years ago because a working man can't even afford one now.
Pauls are the guitars I see in guitar stores that are only for cork-sniffer types.