luiskleiser

Simple but great. Incredibly well built. Great mahogany body; comfortable neck and everything hand made. Wonderfull P90 Amber pickup, quite warm. Despite the simplicity, lots of tones in this rock machine. It can handle almost anything, from country to classic rock or punk rock. Feels like a vintage junior.

It needed some adjustment; it wasn't well set from factory. Rock machine that bridges tele tones to SG kinda tones. Really good for classic 70's rock, southern rock and Americana. Open chords sound beautiful in this; think of Tom Petty. Excellent minihumbucker pickups, especially the neck which is warm but not muddy at all. I put 11-56 in this and still feels soft and playable. Came with a great case to protect your investment. It was my main live guitar for 4 years and it is still my main studio guitar.

From factory, it was almost a useless guitar. It wouldn't stay on tune and the pickups were too hot for my taste. After replacing the pickups, changing the tuners and adjusting the truss rod I started to feel that it was a really nice guitar for gigging. The neck is thick but feels great; the volume knobs really clean up the guitar without making it sound muddy. I love the finish as it actually helps the wood to breathe and it makes the guitar look like an old SG. I broke the neck twice, and when repaired it actually stayed in tune better. To sum up a nice SG to tour with without spending much and without being afraid of beating it hard.

One of these in which you wouldn't change a thing. Everything works perfectly and sounds great. Handmade in Europe with the best materials. Great looking and those p90's really cut well through the mix. It can be nasal and think or punchy and agressive. Stays in tune forever, no matter how much you bend the strings. It does not have a vintage tone but it definitely sounds classic. One of the best single cuts I've ever played.

Well, a tele with no single coils does not seem to be a tele and this one does not sound like a regular tele. This one is more a rocking machine than the classic twangy 6 string a tele usually is. In spite of the two humbuckers, it does not sound like a les paul either. It is brighter and does nor have that thick tone les pauls are known for. This reissue does not have the original Wide Range pickups, and it has quite a unique tone. The bridge pick up sounds powerful and defined, more like one of those Seymour Duncan Phat Cats. It's just lovely and takes gain quite well. The neck pick up can sound a bit muddier; jazzy sometimes and with less output. From my point of view this is the negative point of the guitar together with the pots (no treble bleed here). Changing pots and the neck pick up, you have a beast that actually will sound as good as you can play. Nice thick neck as well and really good wood used here. Would I buy it again? definitely!! but mind the mods and find it second hand and well beaten. This thing loves to be taking to the extreme.

I've owned other Japanese and Classic Series Teles; I've played American Standards as well and this is by far my favourite. You can play anything with this. It can be as twangy as you want to play country, roll the tone knob down a bit and add some overdrive and make it rock. From Tom Morello to Keith Richards, everything is here. The four way switch can give you plenty of tones. I love the stock pickups and the neck feels great. Any cons? well, it doesn't come with a case but regarding tone it is perfect to me. Hard to find a better tele for less money. Yes, it comes from Mexico and so do Tacos and both are great.

This Korean made one is one of the best 335 copies I have ever played. It was my first guitar and I never sold it. Great wood and excellent quality. If it had binding on the neck it would be as good as the expensive versions you're thinking about. The neck is quite comfortable and has very flat radius which makes it excellent for slide licks. Anyway, you can play whatever you like on this. From jazz to punk rock; it will do the job well. Weak points? Electronics and hardware. Original pickups and pots are and sound cheap. The bridge and tuners will get rusty and ugly with time. Changing pickups, knobs, bridge and tuners you have a really well built guitar but bear in mind that you'll have to invest and upgrade those to have the sound you're thinking of. After that, it goes from 3 stars to 5.

This Japanese copy of the classic Gibson black beauty is very much like the real deal. In terms of construction you get a heavy mahogany body (over 10 ponds! mind your back) with beautiful binding on both sides and on the headstock. The Orville logo and inlays on the fretboard are engraved as they should be in the finest quality instruments. It has a comfortable and fast C shape neck with a flat radius rosewood fretboard. It looks and feels like a high quality instrument. The golden hardware is excellent; vintage style tune-o-matic bridge and accurate tulip tuners. Electronics are great as well. The tone and volume knobs are really functional and get you a lot of tones. The guitar does not lose any treble frequencies when rolling the volume down. Pickups are just great; they have a vintage PAF tone hard to find in modern and more expensive instruments. They do not have tons of output, but they sound fat and yet defined as a Les Paul should do. They might be too fat for some tastes but to play classic rock and blues they really provide awesome crunchy and overdriven tones. The neck pickup give you f*** awesome lead tones! It stays on tune forever. I've played 2 hour shows without having to tune, no matter how much I bent the strings. I've played Gibsons that are way more expensive and I do prefer this Orville in most cases. Gibsons however come with binding in the neck and a nice case, this Orville does not and it is fair to say it. Mine is a 1990 version from the Terada factory; all stock and I wouldn't change a thing. Well, perhaps I would love it was a little lighter but I am not in the mood to play chambered Les Pauls. On the good side, put this on your shoulder and save the money from the gym!

Well...I bought mine around 20 years ago and it has survived hundreds of gigs without flight case and thousands of hours of practice. I even found it once floating in our practice room after a flood. It is alive and kicking as good as the first day. I would say it sounds even better. It makes every head sound really good; with lots of bottom end and the perfect amount of mids to be heard without making your ears bleed. The fact that is angled is a good point for me, as I can listen to what I am playing way better when I have the speaker a few metres away from my butt on stage. It moves lots of air and will make your guitar sound as it is. I'm sure it will be with me for at least another 20 years. It's loud, looks good and sounds awesome...can it get any better?

Well, lots of vintage phase tones in this one. Very versatile. You can have a long slow waves or get leslie like tones. My unit does not make any nose or sucks tone in any way; I am almost sure it is true by-pass. You can operate it with an AC adaptor or with a battery (it it will last forever). The battery access is simple and easy too. Built to survive the next crisis in Chernobyl. It does not get a 5 star because of three things: 1.- The unit is quite big; like an old Big Muff. You really need a big pedalboard to make this one fit. 2.- The AC adaptor input is not a standard one but a mini jack. 3.- The first time you turn it on in a session it needs a couple seconds to start working, as if it needed some warming up. After that it works normally. I usually turn it on a few minutes before starting a gig to make sure it will operate correctly. Due to this three things, it seems to be more convenient for studio sessions than for gigging, but that's up to you. Great pedal, a classic must have.

Well, this thing can make your amp sound like a great plexi. You have all those legendary tones here. The internal switches allow you to choose between super lead, super bass mode or a mid cut. When I tried it alone first I loved the way the super bass mode sounded, but when playing with the band it did not cut so well though the mix using humbuckers, mini humbuckers and P90s. I switched into the super lead mode and voila! there was my tone!! The pedal has tones of gain, I would not recommend it to get crunchy sounds. It does not clean up so well rolling your guitar volume down; at least with my settings (gain and volume around 11 o'clock). This is why I do not give the pedal a 5 star. It's built like a rock; no noise, super compact and really transparent (respects your amo EQ really well). I use it with a 1960's fender bandmaster clone and with this pedal I can get the best of both worlds. It may not be the best but it definitely does the job for me and I do not think I will ever sell it or remove it form my pedalboard. Great Marshall classic tones for around 150 bucks?? I'm in!!

I just love it. I bought it to use it as a booster but when I started adding gain with the fists I realized that it could be an awesome overdrive pedal. You can use it as a clean boost setting the fists to zero and adding volume, it has plenty of output for any situation. But to me the fun was adding gain. It is incredibly responsive to your pick attack so it can go from clean to distortion just depending on how you hit the strings. Think about weezer's blue album distorted tones, but you can also get great crunchy tones or Neil Young kinda wall of sound (ragged glory album for instance) It works really well when playing slide guitar because notes come out clean and full of harmonics. By itself, it does not have enough gain to become a lead guitar tone pedal, but mix it with any overdrive and you'll get it. Beware: its a booster...it will just give you more of what you have, so if you don't like the sound of your amp this will not make it better. It is extremely respectful to your tone and it does not have a Tone control. The pedal will enhance what you already have. I happen to love my amp and with this I get wider possibilities. Definitely one of my favourite pedals

How can something so cheap provide so much joy? 1.- It's tiny, so it doesn't get much space on your pedal board. 2.- Respects 100% the tone of your guitar and it's true bypass 3.- It has PLENTY of output (I never pass mine beyond 9 o'clock). 4.- Use it for leads, to push your amp, to balance different outputs when changing guitars live (single coils vs humbuckers, for instance)...It will do the job and won't let you down. 5.- It has a great "hold" feature. Step on it and leave your foot on to boost a riff and lift to go back to your volume. It can also turn on and off the traditional way, but this is a great way to boost a few notes without having to turn it on and back off again. I've had other boosters and sold them all. This one is a keeper for sure!

Built like a rock, no noise, plenty of range and has a great vocal sound on the sweet spot. Nothing fancy here, very simple features but what else do you need? A keeper.

If you want to get those classic tremolo tones this is your pedal. Nothing fancy, nothing modern but it will do the job well and will make your tone proud. Works well both with clean and overdriven tones, does not make a noise and will last forever. What else?

I've tried some others, but I've always been happy with this one. Easy to use, it does all the delay types I've ever needed. If you need reverse, loops, shimmer, modulations....this is not your tool. This just makes a great replica of your signal and repeats it as fast and as long as you want it with excellent sonic quality. More than enough for me.

It is definitely one of my favourite overdrives because it has a very organic tone hard to find in other pedals. This will not sound like a tube screamer and does not try to imitate the classic plexi sound, it is just different. On low gain settings you can get the most natural crunch sounds from your amp, so cool it doesn't sound like there's a pedal in the middle. If you roll the gain up you can get up to almost fuzz territory but without having to fight against annoying feedback. It is extremely responsive to your hand, so you can have clean and dirty in your hand depending in how hard you strum the strings. It has a lot of volume to crank your amp but it really cleans up very well rolling down the volume knob. It works very well with other pedals too. I use it sometimes combined with an Xotic SL Drive or a Way Huge Green Rhino; sounds great with both and the possibilities are endless. Any cons? Depending on your amp or guitar you might want a tone control. They have fixed that in the 25th anniversary edition of it. I personally don't need it. To me, it doesn't work well for some lead tones, but there are other pedals for that. This is unique, will sound great and will give you a special tone that will take you away from all those thousands of green pedal imitations. If it is good enough for Mike Campbell and for our surely missed Tom Petty it is definitely good for me.

This one has 6 different kinds of classic reverbs and all of them sound good and wet when working with clean tones. Mi problem with the pedal is when working with overdriven tones. The reverb does not sound defined and it is quite hard to find the sweet spot of depth and tone for me. Sometimes too bright, sometimes too shallow....I never seem to be happy no matter how much time I spend fidgeting with the knobs. The pedal is a boss; you find the same quality and durability you get in any other of their pedals so no complaints on that side. It might be just me, but I am not happy when I use it with overdrives and distortions. For clean tones? a really nice pedal.

Let's start with the cool stuff: it's tiny. That makes it quite suitable for pedalboards. On the good side as well I have to say that it works quite well boosting low end frequencies and that it is very transparent. If you set it all to zero, it does not matter if you turn it on or off and to me that's a good sign. What are the cons? It does not work so well adding high frequencies and the pedal does not have a lot of output. I've have used some other EQ pedals as clean boosters for solos, I do not think this one is good enough to do this. What do I use it for? It is a great tool when changing guitars in live situations. Changing from a les paul to a tele can be a huge difference. This pedal might get a little more output from those single coils, reduce some annoying high frequencies and add a bit more of bottom end. Your tele will still sound like a tele but it will look up face to face to your humbucker equipped guitars. This may not be a Swiss knife, but it is always on my pedalboard to soothe those output and frequency differences between my fave guitars.

Mine was a Made in Japan model in black. Beautiful and quite well made. Fretwork could have been a little bit better, they were a bit rough on the edges but still playable. The stock bridge pickup had lots of unpleasant feedback so I replaced it for a Seymour Duncan STL-1 to give the guitar a vintage vibe and I loved it. You can play anything on this, from country to punk rock. Great for gigging or studio work. It will stay in tune forever and looks great. Why did I get rid of it? The neck was a bit thin for my taste and the radius was not the best to play using a slide. Otherwise it would have stayed with me forever; it is a really nice guitar.

I bought it on line, knowing that it was a Chinese reissue of the original. It was cheap and it look good in the pictures so I went for it...my mistake. The potentiometers were of the cheapest kind, not noisy but unusable. They went from zero to ten; no subtleties. Cleaning up the guitar with the volume knob was impossible without getting a terribly muddy sound. Pickups had a lot of output but you couldn't find any clarity in them. It was hard to hear all the notes in one chord; all I got was a dark unclear sound. The nut was made of the worst plastic and the fretboard started fading after a couple of months. Good points? The headstock was beautiful and the painting job was ok. If you're a beginner and find a good second hand deal on it, it might be ok to buy it. It may be ok to play Stoner rock on it since it's so dark sounding and has lots of bottom end. Otherwise, there are other guitars on similar price range that are way better in every way in my opinion (epiphone, gretsch electromatic; d'angelico...) Perhaps I was just unlucky and I got the one that sneaked through quality control...

Korean copy of the classic Guild S-100. On the good side, the pick ups are simply awesome. USA made DeArmonds with lots of bottom end and able to provide great rock tones. This does not sound as punchy as an SG. The body is thicker so it is slightly warmer than the Gibson model. The knobs, in spite of being Korean made, clean up the drive quite well, not becoming dark and muddy when rolling down the volume. On the downside; the body was a two piece and in the one I had it was very easy to see the union as the grain was not matching at all. It was natural color, so that shouldn't be a problem if you find a color model. The worse thing of the one I owned was that it was really hard to keep in tune no matter how you would adjust it. I do not known if it was because the neck union, the 22 frets or because the wood might not have been well dried but it got out of tune with any bending even using 11-56 gauge. It was quite beautiful, sounded really good, but was hard to use in live situations. That's why I had to let it go.