gary_dizon

My Custom was a little different. It was all mahogany without a maple top. Binding on the top and bottom and it was a Norlin period that rocked. The neck was mahogany and the ebony fretboard gave the guitar brightness. This was a guitar with sustain and clarity and worked for any genre of music.

I had a flip flop white to blue to purple. The guitar was very flexible. I loved the Seymour Duncan Pickups and the Original Floyd Rose with the Floyd Rose Trem-setter. This kept the guitar in tune really well.

This is a "B" serial number maple body super strat. The guitar originally came with 2 Schaller single coil pickups with a Floyd Rose spaced Alnico 5 humbucker in the the bridge with a 3 way selector that could have the coils tapped, in parallel, and series. It is a heavy guitar with a rosewood fretboard and 22 frets. It can get the classic Stratocaster tones, but also can get that heavy humbucker sound. The original Floyd Rose is reliable and stays in tune. Upgraded the bridge with a heavier brass block & stainless steel screws and there is a significant change to quality of the tone.

It is a stratocaster type guitar with a Floyd Rose, Bill Edwards Locking Nut, and EMG Pickups. I have upgraded the pickups to EMG 89 in the bridge, SA in the middle and an S in the neck position. The Afterburner preamp allows the guitar to have 20 db boost. Performance guitars are well crafted and hand carved. The neck on my guitar has a flat spot that is perfect for the thumb in scalar runs. The necks have NO dead spots and the guitar stays in tune. This is a warm guitar even with a original Floyd Rose Bridge and EMG active pickups.

The neck is a compound radius ebony fretboard reverse hockey stick neck with dot inlays that curve from the sixth string to the first string back to the sixth string with 24 jumbo nickel silver frets. The bridge pickup is the Vivian Campbell Seymour Duncan Full Shred Humbucker and the middle position is a Seymour Duncan JB. This was the first guitar with a compound radius mass produced. The body is mahogany and the upper horn has enough carve to fret all 24 frets without issue. The body is smaller and this guitar is Gibson 24 3/4 scale unlike the other guitars that were Fender scale at 25 1/2 scale. The neck was shallow and the guitar had one master volume and one 3 way switch. The guitar was later phased out when they started to make the Pro-Axe which was actually less successful and less popular.

This was a super strat guitar that was supposed to be the signature model for Eddie Van Halen. Kramer originally started with aluminum neck guitars like Travis Bean and started to make wood guitars that featured the Rockinger Tremolo and Schaller Pickups originally. Later, they started to feature the Original Floyd Rose Tremolo and had Eddie Van Halen as an endorsee. The original guitars had Fender Strat shaped headstocks which were later copyright infringing to Fender. Eddie Van Halen hated the Rockinger tremolo and they started to feature Floyd Rose Tremolo bridges and later Seymour Duncan Pickups. The original humbucking pickups were spaced like Gibson guitars which have a narrower string width spacing than Fender guitars. Eddie slanted the pickup to make the polepieces match up to the strings. The original Pacer Specials had the humbucker parallel to the Floyd Rose bridge. The original necks were wide and had 1 3/4 or R5 spacing. Later models had R2, R3, or R4 which were 1 5/8 or 1 11/16 widths. The original guitars were maple bodies.

Kramer originally manufactured aluminum neck guitars and decided to diversify. The original guitars had Fender Strat shaped headstocks and the 4 models that were released were from the Pacer series. The Pacer Imperial is a 2 humbucker guitar with a strat shaped body that was originally released with a Rockinger Tremolo bridge. Some guitars featured the ESP Flicker bridge. The other guitars that were released shortly were the Pacer Special, Pacer Standard, and Pacer Custom. The Pacer Imperial had a side mounted output jack with 1 volume and 2 tone knobs with a 3 way selector. The guitars later came equipped with Floyd Rose Original tremolos as standard. Eddie Van Halen was not a fan of the Rockinger tremolo and preferred the Floyd Rose. To secure the endorsement, Kramer started using Floyd Rose and later Seymour Duncan as standard. The original pickups were Schaller pickups. Kramer later released the Carrera or Pacer Carrera which was the sleek upgraded body with deeper cutaways, Black finish, black hardware, no dot inlays on the fretboard which had the same features as the Imperial - 2 humbuckers, 1 volume, 2 tone knobs, 1 - 3 way selector. The gold font decal is the only color except for black on the guitar. Floyd Rose later invented a sustaining pickup similar to an E-Bow that was released as a Kramer Pacer Imperial platform.

This is a great sounding amp with active EQ with a semi parametric mid EQ. The low end is amazing. I have the head instead of the combo. It has the 7027A power tubes.

I got this amplifier in the late Eighties/early Nineties. The channel switching is great and also this has push pull knobs to change the equalization. You can get a great saturation and also drop the power with a switch. The effects loop is great and the XLR out works well. The speakers were great and also have no breakup at lower volumes.

The half back is a great cabinet. The top is open and it is a big open combo sound with high wattage speakers. The bottom part of the cabinet is closed and the low end response is tight and also focused bass. The midrange is clear and the clarity of the speakers is crisp. There is no distortion with the high wattage speakers.

This is a Dual Rectifier without the ability to change to 6L6's power tubes. The 2 rectifier tubes can make this spongy or sag. The tone is pretty impressive. The clean tone is pretty spanky. The amplifier has the ability to be 50 watts or 100 watts and using the clean channel with 100 watts and the dirty channel at 50 watts is pretty impressive. The solo function makes this amplifier have 4 different levels for sound. This amplifier does what hot rodded Marshalls were meant to do.

Loved this. I programmed all 128 presets.

I love this amplifier. The clean tone was amazing. The distortion was over the top. This is an atomic bomb compared to other amplifiers.

This is a classic tube amp tone. I love the 7591 power tubes and tube rectifier.

This is a wonderful amp for clean. The distortion sound isn't that great. The chorus is great. The Vibrato is pretty amazing. The Reverb is smooth.

The pedal can do a lot more than just super metal tones. There is the ability to get the scooped midrange, but the boosted midrange can drastically change your tone when you change the frequency for the mids.

The compressor is underrated and is very clean. It isn't as punchy as the Boss CS-2. It is very musically. The pedalboard is so functional. I wish I still had this pedalboard. This effects loop was great and the Tube Screamer is the classic version that has a great tone. I would use the loop with another distortion, flanger, analog delay back to the return. The Chorus has a nice warble, but it isn't an extreme chorus. It gets closer to a subtle range. It was very analog sounding and the master button was so functional.

This was the pedal that I loved to use to amp up the sound with my Tube Screamer. The grittiness and gain worked. It was a part of my sound.

There are two speeds, fast and slow. This is a nice sounding effect with a Fender Tremolo to a DeArmond depth. This is a good pedal live. You can adjust the frequency and amplitude with your toe.

The tremolo can go from a hard tremolo to a gentle warble. There is a drop in volume when using a stock Boss Tremolo. I have to adjust the level to compensate. There isn't a drastic change in the inherent tone.

This has the ability to strum all strings and verify tuning on all strings. The only downfall is that I use non-standard alternate tunings. This is functional during the day.

This is my go to pedal. I have had it for years. I used to use a Korg DT-1 Pro. The only con for this is playing day festivals. The LED isn't bright enough to be visible during the day.

I love the tap built in. The attack can change for crisp to dark with the bite. It is brighter than a Carbon Copy and darker than a DD5.

I love this. This is where it started for me. The wah has a great vocal quality. I do not have it modified to be true bypass & lose a lot of signal when off.

I love this Volume wah. The volume section is active. The range is great and functional. The Wah is adjustable on the side. The wah isn't throaty. It is a shaft sound.

This is a great pedal. The parametric EQ can boost or attenuate any frequency.

This is a great modeling delay that can cover analog, tape, 2290, digital, dynamic, reverse, and modulated delays. The looper is functional and works well. I need to use the Tone Print more...

The delays sound great. The tone is warm and lush and completely functional with the light for tempo. The rate and depth gives more texture. This is one of my favorite analog delays of all time. The tone is very pleasing. The light makes it easier to perform live.

This name is misleading. This is not a super high output pickup. This is a scooped midrange variation of a PAF.

This is my "go to" pickup. There is enough brightness in the bridge position. The midrange gives this pickup depth and substance. The bass is thick enough without getting muddy. This is my preferred output, not too hot with enough sustain.

The output is balanced and it is a rude version of the classic PAF tone. This was modeled after Billy Gibbon's 1958 Gibson Les Paul Standard named Pearly Gates. Billy gave a friend a car so she could go to California and seek fame and fortune. She drove to California and sold the car and sent him the money. He used it to buy the guitar.

This pickup is articulate. There is a brightness that isn't overtly bright. This is clear and there is enough bass and mids.

This is a clear pickup. The pickup is even. The output isn't too hot and also has good sustain.

This pickup is essentially the Seymour Duncan Custom pickup with an Alnico 2 magnet and wound on a larger bobbin to mirror the strings to the polepieces. This is "F" spaced or a Trembucker pickup where the polepieces line up to the strings for a Fender or Floyd Rose spaced bridge. The low end is substantial. This is not a screechy pickup. The midrange is defined and has a little throatiness. The treble frequencies are solid for harmonics and cutting through a mix. This is not a brittle sounding pickup. It is like a hot-rodded version of the the hot-rodded PAF. There is more warmth to the Custom Custom or Custom 2 pickup than the original Seymour Duncan Custom pickup. This is a well rounded pickup.