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I have 2 of these I need to repair. I've owned various GCB95s since the mid 90s, but I was more of a vox guy until they came up with the mini when I was building a touring/studio board... I also suck at wah, but you have to have some wahs. Anyway, I like the vox sound better if you get a good one (I'm talking about 90s ones and more recent clyde RIs), but into some amps the crybaby has the stuff, with a long fx chin it definitely rules, the vox is too gainy and growly in the mids for some boxes after it. Anyway, the downside of these whether you like the sound or not is that the pad that contacts the dpdt switch that engages the wah at the toe wears out easily and switch is also weak so if the pad doesn't die the switch gives in first. Lower quality product that vintage, vox or cool guy brands like buddha (bud-wah rocks). I have yet to wear out my mini but I've barely used it, the gig didn't happen and it just sits there, but I assume it's not as durable as a vox or something more esoteric or unique. This guy's best attribute is that you can replace it at any guitar store anywhere in the world if it fails at soundcheck.

The Valeton GP-100 was the multi-effects unit I used during the first recordings of my Visual Kei project and also in my early live performances. It offers a wide range of effects, amp models, and drive options, making it a versatile choice for players who want to explore different sounds without spending a fortune.

One of its strongest points is the variety of amps and effects available, along with the ability to load external IRs, which helps achieve more realistic cabinet tones and expands its tonal flexibility.

My biggest complaint is the expression pedal implementation. Activating effects such as wah-wah requires pressing the pedal with considerable force, which can be frustrating and inconsistent during live use. This design choice often interrupts the playing experience and makes real-time control less intuitive than it should be.

Overall, the GP-100 is a capable entry-level processor with plenty of features for practice, recording, and small gigs, but the expression pedal prevents it from reaching its full potential.

I've owned the guitar for around a year now. The multiscale design provides very good string tension and tuning stability. The thin c-shaped neck makes the wide fretboard easy to adjust to for a first time eight-string player. For stock pickups the Schecter Diamond Heretics provide great clarity and a tight sound on high-gain tones for most genres. I've wanted to play an eight-string for some time to play songs from guitarists like Tosin Abasi and Misha Mansoor. Overall, this is an exceptional instrument for anyone looking to transition into the world of extended-range guitars delivering premium features, great tone, and excellent stability without a massive learning curve.

This is the eighth synthesizer I bought. Not my number one recommendation as a first synthesizer because of 2 reasons. One it's very expensive. Two it's a re-issue of a very old synthesizer and therefore extremely limited. On the other hand it has a very simple and intuitive layout that many later synths are based on. Because it can't store sounds you are forced to create every sound from scratch. Meaning that you will learn synthesis very quickly. On top of that, it has a great sound. It sounds fatter than basically any other synth that I know of, but it still remains musical and pleasant to the ear. Unlike for example the MS-20 which sounds much cheaper and can get totally gnarly (which has it's own use). I bought this synthesizer because even though I owned 5 analogue synths (and 2 digital) I often reached for a Model D vst and I was a bit embarrassed by that. I tried to recreate the sound of the Model D vst's on my Subsequent 37, and I can get great sounds out of that one as well, but it just can't do every sound the Model D can. It misses the third oscillator and it sounds too flat. The Model D is also nice to look at and a joy to work with. Very inspiring.