lucas_smith

My main 7-string guitar is an Ibanez RG7321. Unlike the version shown, mine has a Gibraltar 2 bridge and a different neck wood laminate than the Korean version of the guitar. I have Instrumental SFTY-3 7-string pickups installed in this guitar, hand-wound by a man named Ethan Spaulding who does tremendous work with pickups. The basswood body of this guitar is actually something I enjoy about it. It's very punchy but not as dark as mahogany, which means some of my tones are smoother as well. I never have to worry about this guitar being a problem for any reason- it's set to A# standard and I use Stringoy customs 10-62 on it as such; the Flamed Maple veneer could have a nicer finish to it and the veneer itself would be nicer if the top was thicker but all that aside, this guitar is my workhorse. I own a second RG7321 as a back-up, in solid black, same pickups, but in A standard.

I got this as a gift from my father for Christmas to see if I'd like it. I own a very old version (1997) of this guitar but it looks the same as the thumbnail; however, the bridge is less than desirable compared to trems from Gotoh/Wilkinson, or Paul Reed Smith. I replaced the bridge pickup with a Seymour Duncan SH-5 custom but the amount of treble and the lack of believable sustain on this guitar has made my rating consistently low. It's a cheap guitar, certainly. There's new iterations of the HSS strat on the market for Ibanez in 2017 and I will unfortunately have to replace this guitar with one of them.

There's something to be said about this Schecter. It's the odd one out for me, I am always an advocate for bolt-on guitars. This one however, features a set-thru neck. It's an amalgam guitar in the sense that it features a lot of characteristics that are not common on a lot of their brand, even the hellraiser guitars. Not in the instance of specifics but rather just all together: It features a Hipshot 7 .125mm bridge, a glossy quilted maple top (that is certainly deep enough!), but a trans-finish neck that goes from gloss to satin (along the back), and again to gloss towards the headstock, offset dots with hellraiser cross at the 12-th fret, and most importantly a set of EMG 57h-7/66h-7 pickups (which themselves retail for around 300 dollars). All of these things combined made me want to buy them. The color combination was undeniable and when it came, in person, the only thing I could do was jump up and down with excitement. The biggest upside of this guitar is the depth to its clean tones. The pickups and body wood work in tangent with this. The rhythm tones leave just a little bit more that I want from it, but I feel a change might remedy this (Fluence Moderns anyone?) but it works tremendously on a tube amp like an EVH 5153. All around a sturdy guitar; the only issue I have had so far is maintaining stability with lower tunings (G, and F# respectively), which has caused the neck to acquire a slight warp. Unfortunate.

This is still my favorite guitar ever made.

I have this guitar as shown, with a Gibraltar 2 standard bridge, and some aftermarket mods, namely the Instrumental SFTY3-7 pickups and some Gotoh locking tuners. The guitar cost me so little money that these upgrades actually total what the guitar might cost retail/brand new....it's tuned to A standard and kicks one hell of a punch. I'll be re-finishing it in either solid white, or in a deep blue/bright blue/white swirl.

This is my main bass. I will say right off the bat, my edition is in blue, with a walnut/maple neck and 3-band EQ with volume/blend; it's the best bass I've played in ages just for the fact that it does everything it tries to accomplish but first and foremost does everything that it says it should do. It's not a Warwick or a Lakland, no, but it's perfect for what I use it for. I took up bass less than a year ago, and use this for my current live band. It is for sure a workhorse.

I would recommend this to anybody that is seeking another edge on their own sound as a player in terms of consistency. This little box tears through the hassle of senseless string noise and does so in a very transparent and non-invasive manner.

As stated, the original "tube screamer" sound. Very warm, but very bright. Boosts much of the mids and treble end of my guitar in a way that I really like when it comes to my 6- and 7-string mahogany solidbody guitars.

Pretty much the only tuner I'd ever use on a solid pedalboard at my feet until I switch over to a fully-digital or compressed "tour-ready" assembly. No reason to hate anything about this pedal! It's superb and the readout is extremely clear.

This thing is perfect. Right on par with the MXR custom dynacomp and the TC electronics HyperGravity, it's among my favourite.

I will add as much as I possibly can about this amp when I can. It's actually the best modelling combo amp I've ever played. Smalll downside is the lack of 2x12 configuration, online cohesion with Peavey Revalver (and thus used as a tool for recording directly in place of BIAS FX), out-face to other amp cabinets, and a couple effects are pretty atrocious. Aside from this it is a pleasure to have in my basement!

Enough can never be said about how great this pick is. 1.38 might sound thick, and it is...but most of the tortex picks have a very sharp, percussive noise to them when you scrape against a string when alt picking. This pick does not falter when it comes to that. It pays like butter and doesn't make that slanty noise when chugging into a string like the jazz iii .88s, 1.14s, and XLs do, because of the special cut of the tortex it is made of.