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bbiibbii58
Published on 10/25/06 at 09:52
Korean. 24 frets, mahogany body with maple veneer (no table mass) wavy, mahogany neck glued and abscense heel, rosewood fingerboard, black net around the instrument, black hardware.
EMG, 2 double coils, one in 81 acute and 85 in a grave. 3-way switch, 1 volume micro and a general tone.
ORIGINAL Floyd Rose tremolo (not a "licensed from ...") and Grover.
The handle type and not too late (Ibanez), not too thick (Gibson), it is close to a template Srate the current, but with frets allow somersaults digital moult.
Instrument very well finished as a whole, no clear default, the Koreans have very serious progress in the art of violin-making industry. It must be said that these Schecters back in the States after making adjustments for depth and variety of adjustments, and are re-shipped to customers around the world then.
UTILIZATION
The neck is super comfortable and really suits all types of games. I had other C1 in the hands with a friend (Classic, Exotic and 30th Anniversary) and I can say that it is a constant on these models, which are all very easily playable.
Access to acute is beyond reproach because of the junction body / handle, no bead is no embarrassment to get into the highest notes. The cutaway allows generously sized to pass all hands. Trapping normal stomach, and no groove for the right forearm (or left for lefties), since the table is curved (carved).
It weighs a little weight anyway! It is the antithesis of a balsa Parker of Prussia Burmese coated carbon spacial or Ibanez Sabre to 120 grams even with his flycase cast!
But it is good to feel the instrument vibrate against you when you attack, we feel that the guitar "live" as soon as you play! We do not blame him when to be weighing a few "significant" and this will not however hold a gig in 2 hours.
The instrument is very well balanced, the form of C1 stratoïdesque has proven more than once, it does not sting the nose and does not rise unnecessarily.
Do you get a good sound easy? ... Well see "sounds"
SOUNDS
I was very rétiscent to use EMG because of the "coldness" that characterizes them (supposedly), and very used to my Dimarzio space that I was getting some practice if not mastery ( ToneZone in acute PafPro in grave - that are excellent at passing pickups).
I had a kit in the past on a strat S/S/81 'that I was not at all. I felt the sound was artificial, without attack, without dynamic, no color saturated, and too light on its rights with excessive brightness. So I went back to a passive Seymour Duncan kit, for a change of DiMarzio.
I complained EMG blindly, without thinking once it was my guitar that was worth not worth it, because with Seymour Duncan (Little59 / SSL2 / Jeff Beck and a simple format with blocks apparent - I forget the name! The JB Jr I think ...) for sure it sounded more "traditional", but I still almost the same feeling - appeared later on that shot - coldness, excessive brightness plain, flat and its distortion, with a soft attack on serious and middle pickups (JB Jr was more dynamic and nervous and just plain "squeaking" in distortion).
And then I discovered the C1 Hellraiser FR with the microphones and then eventually their immense possibilities and potential.
What must be understood with EMG active circuit thanks to their built-in preamp and microphone in each is that they have a dynamic +, the higher harmonics of the notes and therefore better defined, because of the band bandwidth they can provide more extensive than those of traditional passive pickups (the best known of them).
There are no more brilliant or colder means just (finally) frequencies that were not used to hearing so far with DM or DS for example. They are also much more sensitive to the quality of a violin that can not be the passive pickups that mask the weaknesses of more bad scratch. So sorry, edges equip entry-level guitars with EMG, it does a disservice to the microphone, or guitar.
Sure, it sounds not strat'54 or PAF59 (and we understand why), but have a look closely at the guitarothèque Mark Knopfler, where you will see the mix with Paul'59 Pensa Shur increase in EMG, no exploits he's not quite the guy active pickups, right?
And what about Zack Wilde, David Gilmour, Steve Lukather, Larry Carlton (not sure, but still), Kirk & James, Gary Moore, Lee Ritenour, N'Guyen Li (orth?), Bill Frisell, etc ...
So we can get a lot of things with his microphone, and with ease, at least for anyone who will bother!
He must know what kind of results you get with this type of microphones: definition, precision and dynamic (bass players have more quickly understood that we guitarists enclosed in precepts vintagesques Aging sometimes - normal for the vintage will say you ...). The interaction with the violin is important!
I approach a lot of different styles and after many tests, and with my sound system, I can say that:
the distos are sharp and powerful, sustain galore and ultimately beautiful tonal palette with a full and rich, British or US distos, bold and biting (shred, neo-metal, fusion jazz-rock, metal, period, ...).
The clean sounds are clear to be, it looks like the spring water mounting a Saturday morning around 10 am in a valley at 1800 meters on June 22 with a good weather! You add the chorus and you got the birds that come to drink, you put the delay, and that the butterflies that come to turn ... And if it's too bright, cutting tone and slightly increases the gain of 35%, even in clean, jazzy sound that ...
But beware: in some amps clean sounds it must touch the level of input gain on pain of soon to overload the lamp or transistors (adverse tested me on a Marshall Valvestate, who lived a few still ...). These microphones have very standard output levels (less than 81 the Tone Zone for example) but very little impedance: "it unless forced" to return to the preamp stage, so tendon ducts circulate better in a little heavy effects rack.
My gear is:
- Stereo power amp marshall 9200 all-tube (4 x 5881 per channel)
- A preamp. marshall JMP1
- A preamp. Mesa V-Twin
- A multi effects Boss GX700
- One cabinet 4x12 "fabrication by me.
- A V-AMP2 Berhinger
In conclusion: it sounds serious!
OVERALL OPINION
I've had three months and I am delighted. This is the best guitar I could afford: Ibanez RG550 upgraded DiMarzio, Ibanez also upgraded SZ520QM DM (good guitar), Ibanez (and yes again ...) S-Prestige 1625TKS also upgraded DM Epiphone Sheraton II (another world).
I love everything about this instrument and have no regrets. Price / quality ratio very good. I would do this chosen without hesitation, and I will perhaps soon to buy the same version fixed bridge.
EMG, 2 double coils, one in 81 acute and 85 in a grave. 3-way switch, 1 volume micro and a general tone.
ORIGINAL Floyd Rose tremolo (not a "licensed from ...") and Grover.
The handle type and not too late (Ibanez), not too thick (Gibson), it is close to a template Srate the current, but with frets allow somersaults digital moult.
Instrument very well finished as a whole, no clear default, the Koreans have very serious progress in the art of violin-making industry. It must be said that these Schecters back in the States after making adjustments for depth and variety of adjustments, and are re-shipped to customers around the world then.
UTILIZATION
The neck is super comfortable and really suits all types of games. I had other C1 in the hands with a friend (Classic, Exotic and 30th Anniversary) and I can say that it is a constant on these models, which are all very easily playable.
Access to acute is beyond reproach because of the junction body / handle, no bead is no embarrassment to get into the highest notes. The cutaway allows generously sized to pass all hands. Trapping normal stomach, and no groove for the right forearm (or left for lefties), since the table is curved (carved).
It weighs a little weight anyway! It is the antithesis of a balsa Parker of Prussia Burmese coated carbon spacial or Ibanez Sabre to 120 grams even with his flycase cast!
But it is good to feel the instrument vibrate against you when you attack, we feel that the guitar "live" as soon as you play! We do not blame him when to be weighing a few "significant" and this will not however hold a gig in 2 hours.
The instrument is very well balanced, the form of C1 stratoïdesque has proven more than once, it does not sting the nose and does not rise unnecessarily.
Do you get a good sound easy? ... Well see "sounds"
SOUNDS
I was very rétiscent to use EMG because of the "coldness" that characterizes them (supposedly), and very used to my Dimarzio space that I was getting some practice if not mastery ( ToneZone in acute PafPro in grave - that are excellent at passing pickups).
I had a kit in the past on a strat S/S/81 'that I was not at all. I felt the sound was artificial, without attack, without dynamic, no color saturated, and too light on its rights with excessive brightness. So I went back to a passive Seymour Duncan kit, for a change of DiMarzio.
I complained EMG blindly, without thinking once it was my guitar that was worth not worth it, because with Seymour Duncan (Little59 / SSL2 / Jeff Beck and a simple format with blocks apparent - I forget the name! The JB Jr I think ...) for sure it sounded more "traditional", but I still almost the same feeling - appeared later on that shot - coldness, excessive brightness plain, flat and its distortion, with a soft attack on serious and middle pickups (JB Jr was more dynamic and nervous and just plain "squeaking" in distortion).
And then I discovered the C1 Hellraiser FR with the microphones and then eventually their immense possibilities and potential.
What must be understood with EMG active circuit thanks to their built-in preamp and microphone in each is that they have a dynamic +, the higher harmonics of the notes and therefore better defined, because of the band bandwidth they can provide more extensive than those of traditional passive pickups (the best known of them).
There are no more brilliant or colder means just (finally) frequencies that were not used to hearing so far with DM or DS for example. They are also much more sensitive to the quality of a violin that can not be the passive pickups that mask the weaknesses of more bad scratch. So sorry, edges equip entry-level guitars with EMG, it does a disservice to the microphone, or guitar.
Sure, it sounds not strat'54 or PAF59 (and we understand why), but have a look closely at the guitarothèque Mark Knopfler, where you will see the mix with Paul'59 Pensa Shur increase in EMG, no exploits he's not quite the guy active pickups, right?
And what about Zack Wilde, David Gilmour, Steve Lukather, Larry Carlton (not sure, but still), Kirk & James, Gary Moore, Lee Ritenour, N'Guyen Li (orth?), Bill Frisell, etc ...
So we can get a lot of things with his microphone, and with ease, at least for anyone who will bother!
He must know what kind of results you get with this type of microphones: definition, precision and dynamic (bass players have more quickly understood that we guitarists enclosed in precepts vintagesques Aging sometimes - normal for the vintage will say you ...). The interaction with the violin is important!
I approach a lot of different styles and after many tests, and with my sound system, I can say that:
the distos are sharp and powerful, sustain galore and ultimately beautiful tonal palette with a full and rich, British or US distos, bold and biting (shred, neo-metal, fusion jazz-rock, metal, period, ...).
The clean sounds are clear to be, it looks like the spring water mounting a Saturday morning around 10 am in a valley at 1800 meters on June 22 with a good weather! You add the chorus and you got the birds that come to drink, you put the delay, and that the butterflies that come to turn ... And if it's too bright, cutting tone and slightly increases the gain of 35%, even in clean, jazzy sound that ...
But beware: in some amps clean sounds it must touch the level of input gain on pain of soon to overload the lamp or transistors (adverse tested me on a Marshall Valvestate, who lived a few still ...). These microphones have very standard output levels (less than 81 the Tone Zone for example) but very little impedance: "it unless forced" to return to the preamp stage, so tendon ducts circulate better in a little heavy effects rack.
My gear is:
- Stereo power amp marshall 9200 all-tube (4 x 5881 per channel)
- A preamp. marshall JMP1
- A preamp. Mesa V-Twin
- A multi effects Boss GX700
- One cabinet 4x12 "fabrication by me.
- A V-AMP2 Berhinger
In conclusion: it sounds serious!
OVERALL OPINION
I've had three months and I am delighted. This is the best guitar I could afford: Ibanez RG550 upgraded DiMarzio, Ibanez also upgraded SZ520QM DM (good guitar), Ibanez (and yes again ...) S-Prestige 1625TKS also upgraded DM Epiphone Sheraton II (another world).
I love everything about this instrument and have no regrets. Price / quality ratio very good. I would do this chosen without hesitation, and I will perhaps soon to buy the same version fixed bridge.