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Negens
Published on 10/05/09 at 07:17
Korean manufacturing.
Channel 24 frets mahogany 3 rooms, ebony fingerboard, pearl reference.
Jumbo frets.
The handle is stuck, but extends into the crate with a bevel to improve access to acute.
Sperzel Locking Tuners
Mahogany body, maple table (As Les Paul)
Through-string, and bridge-type Tune-o-matic.
2 volumes (a micro), a pitch correction, push-pull splitter to the microphones.
Syemour duncan pickups, custom 59 in sleeve with custom custom bridge.
Black transparent varnish beautifully.
Etched micro caches (but quickly lose their gold plating)
3-position selector.
The nut is plastic, it's a shame, it could have been graphite.
UTILIZATION
The handle is great like all the sleeves Schecter.
Profile a little in C, between Gibson's slim type 60 and Fender.
The guitar is very well balanced, lighter than SheDevil Schecter (which is all mahogany). Of course much lighter than a Les Paul, because much less thick.
Access to acute is really easy. Fender a chamfer on the back so the body can accommodate her belly.
Holding agreement is exceptional. And changing chords with Sperzel is happiness!
Only drawback to the series C1 Redundant: The 3-position selector in the wrong place. In the neck position, if we play a rhythmic chords, you can hit the switch and move inappropriately middle or bridge position.
It sounds good vacuum, the more fat than C1 SheDevil. Connecting so beautiful
SOUNDS
It is extremely versatile. I play everything from blues to metal, to the cold-wave, progressive, funky plans, some jazzy progression, and it fits all.
I played on a Fender Dual Showman red knobs, a Peavey Bandit 112, a Vox Pathfinder, a Marshall Valvestate, a Marshall AVT-50, a Marshall JCM 900, a Fender Twin Reverb, a Fender Deluxe Reverb, and it passes well on all the amps except the AVT-50 (But hey, this amp, I want to say much wrong ...).
Microphones in non Splitter:
In the bridge position, the sound is a little more right than on the Gibson Firebird studio that I had a bit more modern, yet rich in overtones, powerful, slamming the least SheDevil. The solos go perfectly.
In rhythm, it can make very heavy. The metal does not scare him too but it's not his favorite. Why it lacks sharp treble and the bass is too creamy. She third against his own in the solos, with enough fat and a lot of character to allow expression.
.
In neck pickup, there is the typical Les Paul sound: I type the solo of Another Brick in the wall is stunning! it is even almost better than my ex Gibson Firebird Studio, a little more cozy. And distortion is very fat, full bass, and it is enough to make the doom metal.
Intermediate position is particularly difficult to place anywhere, I use very little of that position, except for certain plans rock crunch. Playing with the volume buttons, you can approach the sound to Santana, fluted.
With the microphones Splitter:
Do not expect to find a Fender, you will not. We have more slam, and it sounds more rock in the British distos. It is a way that I can not find uninteresting. I like it for the crunch whether micro or severe acute for the stoner rock, post-rock, slamming rhythms more or less "big fish in the teeth".
Middle position, one can even find a P-90 side.
Whatever the position, she excels in blues.
A defect: The pitch correction that is effective only from the three quarters of its course, with a feeling of all or nothing. a replacement as soon as possible by another knob (But you have to choose because of the push-pull)
OVERALL OPINION
I use it for 6 months.
The specifics I like most:
+ Violin making
+ Handle
+ The look
+ Sound
+ Versatility
The specifics I like least:
- The pickup selector out of position
- The pitch correction in the race non-progressive
I can not count the number of guitars that I have passed into the hands, but yes, I've owned many testéet, really. I was not really looking a type of guitar, but my first Schecter made me fell in love with the brand, and when I had this 30th anniversary, it was love at first sight. All that gave me my Gibson Firebird studio, with full bonus.
on the other hand, if you want the sound or typed Vintage Fender, the guitar is not ideal. Here, we sailed into the Gibson sound.
For the metal, it is better to look elsewhere because it has too many serious fat and creamy, and acute shortage of cutting edge.
For that, I use a Fernandes Revolver Pro 81, more suitable
The quality / price is more than good, including when it was new ones.
With experience, it is of course a choice I would do. I dropped my Gibson Firebird studio for her.
Channel 24 frets mahogany 3 rooms, ebony fingerboard, pearl reference.
Jumbo frets.
The handle is stuck, but extends into the crate with a bevel to improve access to acute.
Sperzel Locking Tuners
Mahogany body, maple table (As Les Paul)
Through-string, and bridge-type Tune-o-matic.
2 volumes (a micro), a pitch correction, push-pull splitter to the microphones.
Syemour duncan pickups, custom 59 in sleeve with custom custom bridge.
Black transparent varnish beautifully.
Etched micro caches (but quickly lose their gold plating)
3-position selector.
The nut is plastic, it's a shame, it could have been graphite.
UTILIZATION
The handle is great like all the sleeves Schecter.
Profile a little in C, between Gibson's slim type 60 and Fender.
The guitar is very well balanced, lighter than SheDevil Schecter (which is all mahogany). Of course much lighter than a Les Paul, because much less thick.
Access to acute is really easy. Fender a chamfer on the back so the body can accommodate her belly.
Holding agreement is exceptional. And changing chords with Sperzel is happiness!
Only drawback to the series C1 Redundant: The 3-position selector in the wrong place. In the neck position, if we play a rhythmic chords, you can hit the switch and move inappropriately middle or bridge position.
It sounds good vacuum, the more fat than C1 SheDevil. Connecting so beautiful
SOUNDS
It is extremely versatile. I play everything from blues to metal, to the cold-wave, progressive, funky plans, some jazzy progression, and it fits all.
I played on a Fender Dual Showman red knobs, a Peavey Bandit 112, a Vox Pathfinder, a Marshall Valvestate, a Marshall AVT-50, a Marshall JCM 900, a Fender Twin Reverb, a Fender Deluxe Reverb, and it passes well on all the amps except the AVT-50 (But hey, this amp, I want to say much wrong ...).
Microphones in non Splitter:
In the bridge position, the sound is a little more right than on the Gibson Firebird studio that I had a bit more modern, yet rich in overtones, powerful, slamming the least SheDevil. The solos go perfectly.
In rhythm, it can make very heavy. The metal does not scare him too but it's not his favorite. Why it lacks sharp treble and the bass is too creamy. She third against his own in the solos, with enough fat and a lot of character to allow expression.
.
In neck pickup, there is the typical Les Paul sound: I type the solo of Another Brick in the wall is stunning! it is even almost better than my ex Gibson Firebird Studio, a little more cozy. And distortion is very fat, full bass, and it is enough to make the doom metal.
Intermediate position is particularly difficult to place anywhere, I use very little of that position, except for certain plans rock crunch. Playing with the volume buttons, you can approach the sound to Santana, fluted.
With the microphones Splitter:
Do not expect to find a Fender, you will not. We have more slam, and it sounds more rock in the British distos. It is a way that I can not find uninteresting. I like it for the crunch whether micro or severe acute for the stoner rock, post-rock, slamming rhythms more or less "big fish in the teeth".
Middle position, one can even find a P-90 side.
Whatever the position, she excels in blues.
A defect: The pitch correction that is effective only from the three quarters of its course, with a feeling of all or nothing. a replacement as soon as possible by another knob (But you have to choose because of the push-pull)
OVERALL OPINION
I use it for 6 months.
The specifics I like most:
+ Violin making
+ Handle
+ The look
+ Sound
+ Versatility
The specifics I like least:
- The pickup selector out of position
- The pitch correction in the race non-progressive
I can not count the number of guitars that I have passed into the hands, but yes, I've owned many testéet, really. I was not really looking a type of guitar, but my first Schecter made me fell in love with the brand, and when I had this 30th anniversary, it was love at first sight. All that gave me my Gibson Firebird studio, with full bonus.
on the other hand, if you want the sound or typed Vintage Fender, the guitar is not ideal. Here, we sailed into the Gibson sound.
For the metal, it is better to look elsewhere because it has too many serious fat and creamy, and acute shortage of cutting edge.
For that, I use a Fernandes Revolver Pro 81, more suitable
The quality / price is more than good, including when it was new ones.
With experience, it is of course a choice I would do. I dropped my Gibson Firebird studio for her.