Guitar buying guide: which guitar to choose to start?

Emblematic of almost every musical style, the guitar has become today the most widespread instrument across all continents. And there’s a reason for that... The guitar is affordable, easy to get started with to quickly play some good riffs, collectible for all enthusiasts, and customizable thanks to the many effect pedals available on the market to create a unique sound.

So if you want to dive into the guitar adventure or if you’re simply looking to get your next six-string, this guitar buying guide is made for you. We’ll explain its history and guide you technically through the main families of instruments to know which guitar to choose, whether it’s classical, acoustic, electroacoustic, or electric.

An instrument with multiple origins

Si la guitare classique telle qu’on la connaît aujourd’hui, avec ses six cordes, sa caisse de résonance et son manche sur lequel sont posées des frettes, connaît un vrai développement à partir du XVII^e siècle, elle doit son origine à de très nombreux instruments à cordes pincées dont les racines remontent jusqu’à l’antiquité, tels que la lyre, la harpe, puis le luth et la vihuela en tête. Déclinée sous différentes versions approximatives pendant un siècle ou deux, elle finit par trouver sa forme quasi définitive grâce à un luthier espagnol, Antonio de Torres, considéré comme le père de la guitare classique « moderne », qui réalise ce qui deviendra un véritable standard au cours des années 1850.

En parallèle à cette révolution, un luthier allemand, Christian Frederick Martin, s’en va tenter sa chance aux États-Unis où il ouvre un petit atelier de lutherie en 1838 à Nazareth, en Pennsylvanie, après avoir résidé quelque temps à New York. Il y développera le barrage en X (X-brace system), là aussi à partir des années 1850, système qui permet de rigidifier la table de la guitare pour mieux résister à la tension des cordes, surtout celles en acier qui deviennent de plus en plus populaires à partir de la fin du XIX^e siècle. Les guitares Martin restent la référence incontournable en la matière.

Vibrations and resonance

The guitar’s operation revolves around two main axes: the strings generating vibration and the body acting as a soundbox. The body, especially on acoustic models, is made up of a top and a back (the front and back of the guitar), connected by sides (the guitar’s edges). On the top is a rosette allowing sounds, amplified inside the soundbox, to be projected. The neck has a headstock that holds tuners and a nut (the small piece at the base of the headstock with slots where the strings pass), as well as a fingerboard along the rest of its length. On this fingerboard are frets (small metal bars) that define notes. The strings are fixed on one side to the headstock via the tuners, which allow tuning by tightening or loosening them, and on the other to the bridge, the piece placed on the guitar’s top.

Each string has a particular diameter and tension that give a different open note when played. When you pluck the strings, they emit vibrations at different frequencies depending on which string(s) are played and where your fingers are on the fingerboard. These vibrations are transmitted to the soundbox which then amplifies the sound. Strings are made up of two parts: the core at the center and the winding around the core for the thicker strings. If classical guitar strings have a nylon core, those of other acoustic models (mainly folk guitars) are metal. The sound will therefore be different, as will the playing comfort. Of course, the arrival of electricity to this instrument somewhat changed the way sound is reproduced and evolved the way of playing. We’ll come back to that later.

A question of size

It’s complicated (and very expensive) to make the perfect custom guitar. Yet, every human being is different. It’s hard to imagine a full-size six-string adult guitar in the hands of a charming little kid. That’s why there are several guitar sizes designed to fit almost every body type. Children therefore have their own adapted guitar size!

Two factors must be taken into account: the size of the body and the scale length. The scale length corresponds, simply put, to the distance between the nut and the bridge, the zone where the string vibrates. And to be more precise, you actually have to double the distance between the nut and the 12^th fret to get the “true scale length”. For children, the scale length will be shorter.

So there are several types of guitars. Let’s start with the adult guitar: this is the 4/4 size (adult from about 1.60 m). It’s based on this size that guitars for children have been designed:

• ¼ size: for children around 1 m 20 (6 years old).
• ½ size, also called Requinto: for children around 1 m 30 (7 years old).
• ¾ size, also called Cadette: for children around 1 m 40 (10 years old).
• Size 1/8: the guitar for very young children, between 3 and 5 years old, for 1 m to 1 m 10.
• Size 7/8, also called Senorita: a guitar for older children aged 10-12 years, about 1 m 50 tall. This size is very popular with many women looking for a guitar slightly smaller than the 4/4.

Growing popularity

Alors que la guitare classique d’Antonio de Torres évoluera peu, la folk de Martin va influencer d’autres artisans. Entre la fin du XIX^e siècle et le début du XX^e, de plus en plus de luthiers se mettent à réaliser des guitares. Un de ceux qui marqueront les esprits n’est autre qu’Orville Gibson et ses guitares Archtop qu’il réalise à partir de 1905. Il s’agit de modèles à la table bombée (et non plate comme c’était le cas jusque-là), dont la conception solide permet d’utiliser des cordes acier tendues sans faire souffrir la lutherie en l’absence de barrages. Leur aspect évoque celui des violoncelles, avec leurs ouïes en plus des caisses bombées. Ces modèles ont aussi la particularité de projeter un fort volume. Ils ont été très appréciés des jazzmen à la recherche de guitares capables de les faire entendre au beau milieu du volume sonore dégagé par un orchestre, alors que les premières guitares électriques n’existaient pas encore.

Après la musique classique, alors que le jazz est de plus en plus écouté et que le blues arrive en pleine lumière avec le développement des enregistrements phonographiques, la guitare devient un instrument encore plus apprécié. Certes, la maîtrise de la six-cordes ne s’apprend pas du jour au lendemain, mais son côté nomade, facile à emporter avec soi et jouable en tout lieu, en fait un instrument de musique dont la popularité va en grandissant. Une popularité qui prendra de l’ampleur avec l’électrification de l’instrument à partir du milieu du XX^e siècle.

Which classical guitar to choose: the foundation of learning

The guitar in its simplest and stripped-down form remains undoubtedly the acoustic guitar, whether classical or folk. The base for those who want to hear a pure sound without electronics, except for electroacoustic guitars which can be very useful in certain circumstances. And of course, the best guitar to start with for those discovering the instrument in conservatories.

Although some specific styles adopt models designed to sound in line with a particular register (like flamenco), the classical guitar remains an instrument that has changed little and keeps the same characteristics for ages. Its sound projection remains discreet, fingerstyle playing is facilitated by the softness and feel of nylon strings, all with a seated playing position taught to all beginners: the guitar body resting between the legs, supported on the left leg (for right-handers) and the neck raised upwards to have more amplitude and especially to keep the back straight to avoid long-term pain.

Beginners will appreciate the Yamaha C40 4/4, a serious guitar that won the title of "Best String Instrument" at the 2011 Music Industry Awards ceremony held in London. Certainly, this guitar, quite easy to handle, does not deliver the warmest sound in creation, nor the greatest sustain (that is, the duration of note resonance), but it remains exceptionally reliable and offers excellent value for money.

The learning classical guitar that became a worldwide standard

For nearly three decades, Yamaha's C series has established itself as a reliable entry point to classical guitar. The C40 has accompanied hundreds of thousands of guitarists at their beginnings thanks to a simple idea: offering an instrument consistent, solid and accurate, capable of providing a reassuring playing experience from the first notes.

The playing comfort is typical Spanish guitar: softer nylon strings and a wide neck that facilitates finger placement. The craftsmanship is proven, with a spruce top, meranti back and sides, a rosewood fingerboard and bridge.

Its 4/4 size generally suits adults from about 1.60 m tall, while remaining very pleasant for working on posture. This is the model most often found in the hands of conservatory students and in music schools.

The percussive grain of flamenco, at a study-level price

The Flamenco 3F is part of Alhambra's student line, with a clear philosophy: to offer a flamenco guitar that is accessible, reliable and expressive. Its typically flamenco light aesthetic, combined with a design focused on responsiveness, makes it an excellent entry point into the world of cante and baile.

Its solid German spruce top gives it a quick response, clear note definition and bright highs. The attack is sharp, the tone percussive and the projection generous: exactly what rasgueados demand.

The comfort is geared towards fast playing, with a supple feel under the fingers designed for agile movement on the fretboard. It’s aimed at beginners and intermediates who want a first guitar dedicated to flamenco (compás, rasgueado, alzapúa, picado), but will also suit classical players curious about a more lively touch.

Of course, to complete your setup, nothing beats a good gig bag (you have to protect your precious guitar!), a footrest to maintain the ideal playing position and especially a tuner to always get the right note. You’ll find all this in the accessory packs, for just a few dozen euros.

That’s all folk! Steel-string acoustic guitars

When you leave the pure classical guitar world but stay in the acoustic realm, the choice is wide, very wide, and allows you to tackle many styles, from folk to pop, including variety and even many traditional styles updated for today. While classical sizes can vary, the format and shape of other acoustics change depending on the types of folk guitars and the styles they excel in.

Thus, there are the Dreadnoughts (the most common format, created by Martin with nice bass), like the Cort Earth 70 whose sound is relatively warm and open at the same time, which is very pleasant for a guitar at a very reasonable price. In the same spirit, the EKO Ranger 6 is a Dreadnought with a wide and deep body generating generous bass, powerful mids and smooth highs.

The vintage-inspired dreadnought that gets straight to the point

Designed as a tribute to the great vintage-inspired folk acoustics, the Cort Earth series takes up the fundamentals that have proven themselves: simple and effective lutherie, recognized woods and playability designed to last.

The dreadnought format provides generous projection and solid bass, ideal for accompaniment as well as strumming. The solid spruce top gives a precise attack and a nice sound openness, which improves over time. The back and sides in African mahogany (okoumé) bring warm mids, a round and musical sound, perfect for fingerstyle playing.

The Open Pores satin finish offers a natural feel under the hand, promotes resonance and limits weight. Versatile, it suits both beginners looking for a serious first folk guitar and intermediate players: pop, folk, acoustic rock, country and singing accompaniment.

The Concert and Grand Concert are closer to the classical guitar format, which results in a nice balance between all notes and proves practical for picking. These folk guitars can be heard through a small orchestra during a solo without producing a very high volume.

The Auditorium and Grand Auditorium have a body that brings them closer to the Dreadnought, with a balanced note volume, somewhat like the Concert and Grand Concert. We can mention the Lâg T88A Auditorium, made entirely of tropical khaya, that is African mahogany (except for the fretboard), whose emphasized mids make it easily audible among other instruments.

The Auditorium balance, between strumming and picking

With its Auditorium format and natural glossy finish, the T88A Tramontane fits into a current folk approach: lutherie designed for versatility, comfortable feel and sober aesthetics.

The Auditorium format offers an excellent balance between playing comfort, projection and precision. The solid Engelmann spruce top provides a quick response and definition that increases as the instrument breaks in. The khaya back and sides deliver warm mids and a harmonic foundation that highlights chord voicing.

The khaya neck is equipped with a dual-action truss rod, for good stability and easy adjustments allowing you to adapt the action to your playing. Plenty of body to accompany with a pick, while retaining the clarity needed for arpeggios and dynamics.

More expensive but essential, the famous Little range from Martin has been offered in several versions, including the LXK2 Little Koa which, contrary to what its name suggests, is not made of koa (a kind of acacia) but has a koa finish, the material used being a composite that makes this guitar an all-terrain model that fears neither camping nor cool nights outdoors, and delivers a detailed sound.

Acoustic variations

Of course, there are different acoustic guitars, if only to satisfy all tastes and different playing styles, or simply to explore different sounds. You need to get familiar with each specific feature to know which guitar to choose.

While nylon strings were once exclusively reserved for classical guitars, some folk guitar makers have nevertheless decided to adopt them, in order to get a more classical sound, precisely, but above all a more comfortable playing experience. The Cort CEC-1 Natural Open Pore is one of them and approaches, in its design and playing feel, a classical guitar. At Ibanez, the AEG50N plays the card of excellent finish and modern comfort, with a very pleasant balanced sound. These two models have the particularity of having a cutaway that greatly facilitates playing on the highest frets.

Fans of gypsy music also have their own type of guitar, called gipsy. This is the case with the Altamira Manouche M01T which takes up everything that makes these models special: a design halfway between classical and folk with a reduced rosette, metal strings (very tight in this case) and a floating bridge. With that, you’re set to practice for hours and discover the world of Django Reinhardt’s gypsy jazz.

Gypsy rhythm in the tradition, in Thinbody format

Inspired by the aesthetics of small-mouth gypsy guitars, the Altamira Manouche M01T RN stands out with its Thinbody 45 mm body: a slimmer format that favors ergonomics, while retaining the percussive spirit and quick response sought in gypsy jazz.

The solid European spruce top offers a lively attack, precise projection and nice dynamics for pick playing. The small O-shaped soundhole focuses the midrange, ideal for melodic lines and gypsy jazz rhythm.

The back and sides in rosewood combined with an ebony fingerboard provide sustain, definition and a real high-end feel. The case is included. It excels in gypsy jazz, swing, acoustic jazz and rhythm accompaniment.

A touch of electricity: electro-acoustic guitars

As you may have already noticed with the Taylor GS Mini or the EKO 12-string, some guitars are not just acoustics but electroacoustics. Generally, they have a piezo pickup that captures the vibrations from the saddle, and it goes through the processing of a built-in preamp which has an equalizer that varies in quality depending on the model. A jack output allows you to connect to a amp specialized in electro-acoustic, or to a mixing console.

At the entry-level, you can mention the EKO Ranger 6 CE Natural. You have in your hands a dreadnought folk guitar with a cutaway that you can play plugged in or not, for less than 200 euros. Another brand specialized in electroacoustics, since it was the first to develop this type of instrument starting in 1978, Takamine released the GD11MCE-NS, a cutaway dreadnought in mahogany with excellent playability.

The electro-acoustic workhorse, simple and effective

Takamine has built a solid reputation thanks to its guitars designed in contact with artists from around the world, and the reliability of its electro-acoustic systems. The G series reflects this know-how in a range designed to offer a wide choice of models, with particular attention paid to playing comfort.

The dreadnought with cutaway format combines a large sound volume and easy access to the high notes. The construction mostly in mahogany provides a warm and round base, ideal for accompaniment.

It is stage-ready thanks to the Takamine TP-4T preamp with built-in tuner. A reliable electro-acoustic, easy to handle and versatile enough to work at home as well as play amplified in pop, folk and rock.

The 1960 icon reissued with Gibson Custom

Introduced in 1960, the Gibson Hummingbird marked history as the first acoustic model with square shoulders in the Gibson catalog. Becoming a visual and sonic landmark in modern music, it accompanied artists with very different universes, from the Rolling Stones to Radiohead.

This Inspired by Gibson Custom reissue takes up all the iconic vintage look: engraved pickguard, multi-ply binding and open book headstock. The lutherie is all solid, with a thermally aged solid spruce top, and solid mahogany back and sides.

The traditional X-bracing carved in quarter-sawn spruce ensures solid projection, generous lows and a nice balance in strumming as well as picking. It is stage-ready thanks to the L.R. Baggs Element Bronze VTC system, and comes with a hard case.

Legends in the making

The electric guitar will undergo a revolution that will radically change its destiny and firmly establish it in the history of amplified music: the solidbody format (solid body). The first model recognized as such is the Frying Pan made by Rickenbacker in 1932. More precisely, it was an instrument made from a single block of aluminum, reserved for fans of Hawaiian music, a style that was clearly influential since it connects here with the spirit of Lloyd Loar's early work. Almost ten years later, in 1941, the brilliant guitarist and inventor Lester William Polsfuss, aka the famous Mr Les Paul, tinkered The Log, from an Epiphone body and a Gibson neck. Once again, Gibson, to whom the prototype was offered, was hesitant and did not want it. It would take another ten years before the real first Les Paul was released. Finally, after some faltering in the 50s and a production halt in the 60s, the Les Paul was finally mass-produced by Gibson starting in 1968. The SG (still a Gibson) appeared in the meantime, in 1961, to replace the Les Paul. Both guitars eventually appeared together in the catalog.

Meanwhile, another genius tinkerer focused on how to make a solidbody guitar easy to mass-produce. His name was Leo Fender. He thought of cutting the body from a piece of wood, screwing in 2 pickups and a neck to save time. It was 1950. The guitar, first named Esquire, then Broadcaster, took the definitive name Telecaster in 1951. Success followed. Fender repeated the feat in 1954 with what would undoubtedly become the most famous electric guitar in the world, the Stratocaster. Yet the Stratocaster had only a mixed success at first: guitarists, not used to having a pickup in the middle position, tended to hit it while playing and therefore preferred the Telecaster. The rest is history.

Fender Jaguar, Mustang, Jazzmaster, Gibson Explorer, Flying V, but also Gretsch, Rickenbacker... The electric guitar became an object of cult, driven by the success of rock, then booming. From 50s rock’n’roll to the smokier Woodstock rock at the end of the sixties, it found itself in the hands of those who would become idols for several generations.

The hollow bodies and semi hollow were not put aside for all that. Highly prized by jazz and blues players, they also have their defenders in rock. We remember big names like B.B. King, Chuck Berry, Alvin Lee, Brian Setzer, George Benson, Dave Grohl, George Harrison or Chet Atkins...

New players

The 80s and 90s helped many brands emerge and carve out a place alongside the biggest. Ibanez, Jackson, Music Man, Schecter, ESP, Cort, Charvel and many others took advantage of the interest in the electric guitar to make their mark. They created models that attracted fans of fast, flashy playing, based on tapping and other colorful techniques (they are called shredders), as well as new currents whose roots are often anchored in metal. You find, for example, Superstrat-type guitars (with a double pickup at the bridge, a Floyd Rose type bridge...) that keep the comfort and playability of the Stratocaster but with more powerful pickups and often some ergonomic improvements. Steve Vai, Joe Satriani, Paul Gilbert, Marty Friedman, John Petrucci... all put their names on signature models released during this period, with brands other than the pioneers so far appreciated.

The advent of new technologies also forced gear to adapt to its time. Tube amps turned into increasingly connected guitar amps, digital effects proliferated... but the guitar, apart from a few innovations (mainly on the electronic side and sometimes on the materials used), keeps everything that makes its charm and identity for decades: a neck, a body, strings. The rest is just a matter of contact with its player and long hours spent refining your style while wearing in the finish, establishing a unique relationship with this instrument always ready to follow you wherever you go. Demanding for sure, but offering so much joy in the end.

Unmissable trendy icons: which electric guitar to choose?

I'm looking for a Stratocaster

The Stratocaster has brought together unforgettable names under its banner like Hank Marvin, Buddy Holly, David Gilmour, Eric Clapton, Ritchie Blackmore and Jeff Beck (in the following decades, the list grew with Stevie Ray Vaughan, Yngwie Malmsteen, Eric Johnson)… But the most iconic of all will undoubtedly remain Jimi Hendrix. Although he owned several different six-strings, he will forever be the man with the Stratocaster, whether he played it feverishly or let it burn on stage. Enough to make you want to play this guitar that embodies comfort, ultimate ergonomics and versatility thanks to its three single-coil pickups.

You can have a piece of legend with the Fender Player II Stratocaster, direct heir to the standard Mexican version, with some changes like its pickups that are a bit more modern and sharper than before.

The plug and play Strat, designed for today’s guitarists

The Stratocaster is one of the most iconic designs in the history of the electric guitar, appreciated for its ergonomics and sound palette. The Player II fits into this lineage with a decidedly modern approach: an optimized neck comfort and lutherie details designed to chain riffs without resistance.

Playability is modern and fast: modern C profile neck, satin urethane finish on the back, 9.5-inch radius fingerboard with rolled edges and 22 medium jumbo frets.

On the sound side, the trio of Player Series Alnico V single-coil pickups and the 5-position selector cover everything from crystal clear clean tones to more biting attacks. The 2-point synchronized tremolo and curved steel saddles ensure smooth response and good stability.

The Pacifica versatility, beefed-up version

The Pacifica 120H is a modern take on the Pacifica 112V, designed for guitarists who want a reliable and straightforward platform. With its two-humbucker setup and fixed bridge, it reinforces the Pacifica range’s DNA of versatility and efficiency.

The two Alnico V humbuckers deliver a powerful, warm sound that’s very usable in rock, pop and blues. The Push/Pull Split function expands the palette by approaching clearer, snappier tones, for bright rhythms and funkier sounds.

The vintage Hardtail fixed bridge guarantees good tuning stability, a sharp attack and simplified maintenance. The alder body brings tonal balance and the good dynamics that make the series’ reputation.

You can touch the legend with your fingertips with an accessible “official copy”, the Squier Classic Vibe ’50s Telecaster in its most famous finish, butterscotch blonde with black pickguard, available from the very first models produced in the early 50s. Even more affordable, the Woodbrass TL100 follows the recipe to seduce beginners, but not only… everyone else!

The ’50s twang, with modern playing comfort

The Classic Vibe '50s Telecaster fits the spirit of the very first Telecasters: a simple, effective design, and an immediately recognizable sonic identity. It emphasizes vintage codes while maintaining accessible and current playability.

The pair of Alnico single-coil pickups designed by Fender reproduces the expected sharp attack, twang and clarity. Comfort is modern, with a thin C profile neck and a 9.5-inch radius fingerboard, ideal for chaining chords and bends.

Vintage authenticity is here with the 3-saddle string-through-body bridge, the headstock and nickel hardware. It excels in country, blues, classic rock, indie and pop.

The essentials of a Les Paul, no extras

For years, the Les Paul Studio has been Gibson’s answer to players who want the core of the model: serious craftsmanship, a set neck and a rich sound, while focusing on performance rather than decoration.

You get the mahogany body with maple top and set-neck that bring sustain and the Gibson feel. Comfort is modern, with Ultra Modern weight relief and a SlimTaper neck profile for fast playing.

Two Burstbucker Pro pickups and push/pull volumes let you switch from a powerful humbucker to clearer single-coil tones. Glossy nitro lacquer finishes and soft case included. It excels in rock, hard rock, blues, pop and metal depending on the amp.

I choose an SG

An alternative to the Les Paul, lighter and more manageable, the SG made its legend in the hands of Angus Young, Tony Iommi, Frank Zappa, Robby Krieger, Pete Townshend, Jerry Garcia, Sister Rosetta Tharpe, Cream-era Eric Clapton and more recently Derek Trucks. This guitar made the heyday of distorted music and inspired some brands that modernized its shape to better suit more aggressive styles like metal (ESP Viper for example). Still at Epiphone, the SG Tribute Plus follows the home recipe at a contained price, with clean craftsmanship that can serve as a base for an even more performing guitar after pickup changes. At EKO, the DV-300 Red is an even more accessible entry to the double cut shape.

SG DNA in an accessible version, with real gain reserve

Inspired by the legendary Gibson SG, the SG Tribute Plus follows the essential codes that marked rock history: a carved mahogany body, a thin, sharp silhouette, and a classic look enhanced by a flamed maple top.

Comfort is immediate thanks to the mahogany neck with a 60s SlimTaper Rounded C profile and a shaped heel that eases access to the high notes.

Two Epiphone 650R and 700T ceramic magnet humbuckers provide a big, powerful and balanced gain reserve. The LockTone Tune-O-Matic bridge and LockTone Stop Bar tailpiece ensure reliable intonation and good tuning stability. Ideal for rock, blues and hard rock.

The jazz box spirit, at an unbeatable price

Introduced in the early 2000s, the Ibanez Artcore range has become a reference for those looking for a hollow body guitar that is both accessible and well made. The AF55 fits this tradition: a fully jazz box aesthetic and excellent playability.

Its true hollow body delivers warm tones, ideal for jazz, blues and vintage rock. The two Infinity R humbuckers provide a precise and tight sound, with clarity that remains clear even with more gain.

The glued Nyatoh neck and the Gibraltar Performer bridge with low saddles offer a comfortable action, while the VT06 tailpiece helps keep tuning and sustain notes.

The Gretsch spirit of the 50s-60s, Bigsby included

The G5420T is part of the Electromatic Classic Hollow Body series, designed to capture the Gretsch sound and style inspired by the 50s and 60s with a straightforward and effective approach. Its refined arches, multiple bindings, f-holes and slim headstock make it an excellent entry point into the brand’s world.

The laminated maple body includes a trestle block bracing for more stability, attack and sustain, while limiting feedback. The FT-5E Filter'Tron pickups deliver generous punch, Gretsch brightness and better note definition.

The Bigsby B60 vibrato provides the iconic tone and look, perfect for subtle and musical vibratos. The Classic C maple neck and laurel fingerboard with a 12-inch radius make bends easier.

A sum of details

Beyond body cuts and electronics, the neck profile and width can influence your choice when buying your instrument. Indeed, there are several neck profiles, which correspond to the shape behind the fingerboard, where your thumb or palm rests. Again, Fender and its Stratocaster pretty much set a standard with the so-called “C” profile, fairly thin and versatile, the very example of comfort that suits everyone. Of course, other profiles are also produced in large quantities like the “U”, thicker and appreciated by rhythm players, or the “V”, a bit narrower in the middle and favored by blues players because they can more easily place their thumb on the fingerboard. Gibson necks are a bit rounder and thicker. But they vary over the years: for example, 50s Les Paul necks are thicker than those from the 60s. ESP developed the so-called “Thin U” profile while Ibanez created the Wizard and Jem in collaboration with Steve Vai during the 80s. These necks are much thinner and flatter, which favors fast playing and is highly prized by lead players. Some necks have very particular profiles made to order for certain guitarists (Clapton, Van Halen…).

These profiles go hand in hand with the radius. This is the curvature of the fingerboard, expressed in inches. The bigger the number, the flatter the fingerboard. Early 50s Fenders had a 7.25-inch radius. Today, the brand’s standard is closer to 9.5 inches. This type of radius, more curved, favors chord playing, whereas a flatter one helps develop scales more easily. Gibson averages 12 inches. Ibanez, Jackson and ESP quickly go up to 16 inches on more modern guitars. And since some want the best of both worlds, compensated radii have been developed, with a more curved section at the top of the neck (near the headstock) that becomes progressively flatter as you approach the lower frets, the highest notes.

The wood of the fretboard can also have an influence, just like the gauge of the strings you use. So, a maple or ebony fretboard tends to deliver notes that are a bit clearer and snappier, whereas rosewood is a bit darker. The higher the gauge (diameter of your strings), the more detailed, powerful and sustained your notes will be. But they will also be harder to play and will put your fingers to the test. The different materials used to make these strings have evolved over the years to create truly high-tech products. Today, beyond the now essential steel strings, you’ll find various alloys to gain sustain or definition, and even "coated" strings, meaning wrapped in a special membrane that helps fight accelerated wear and corrosion.

You’ve got it: the ideal electric guitar can seem hard to find, between the body shape, pickup configuration, neck profile and string gauge. But the market and its wide selection are there to help you get closer to the truth, and above all to the immense pleasure you’ll get from playing for hours on end with your future favorite instrument.

Guitarists you should have listened to

Jazz, blues, funk

• Albert Collins
• B.B. King
• Charlie Christian
• Django Reinhardt
• George Benson
• John Lee Hooker
• John McLaughlin
• Nile Rodgers
• Prince
• Wes Montgomery

Classical, flamenco

• Al Di Meola
• Alexandre Lagoya
• Manitas de Plata
• Paco de Lucía

Pop, rock

• Andy Summers
• Carlos Santana
• Chuck Berry
• David Gilmour
• Eddie Van Halen
• Frank Zappa
• Jeff Beck
• Jimi Hendrix
• Jimmy Page
• Joe Satriani
• Pete Townshend
• Ritchie Blackmore
• Robert Fripp
• Slash
• Stevie Ray Vaughan

Methods and sheet music to improve

Learning an instrument, and perfecting playing techniques, requires a strict methodology and continuous learning. In this field, various publishers compete with ingenuity to offer methods accessible to everyone depending on age, level and musical style. Combined with willpower and time, these educational books will allow you to improve at your own pace and comfortably from home.

• Carisch — Je m’accompagne facilement à la guitare + audio, by Laurent Huet.
• Coup de Pouce — Acoustic guitar method for beginners vol. 1
• Hal Leonard — Méthode de guitare vol. 1, with online audio.
• Lemoine — Je deviens guitariste vol. 1, by Thierry Tisserand.
• JJ Rebillard — La guitare facile, method for children.