My journey from finding "the one" guitar to amassing a collection (still on-going)

[Antiproduct]

Youtube video spam not allowed anymore, NGDs not allowed anymore, discussions not allowed soon™. Let the bots spam their CBD gummies again, dead internet theory let's go...

Let the man buy his guitars and document them. At the least it's some activity, at most it's informative for people searching for a versatile (super) strat

 

[LunatiqueRob]

The Schecter California Class has arrived and it's an instant favorite! It has its flaws but the TOANS and that transparent sky burst over quilted Maple that looks like ripples on an ocean/swimming pool on a clear summer's day--just WOW.

NGD/Review: Schecter California Classic (Transparent Sky Burst)

I almost didn't get this one because I prefer 24 frets and a contoured neck-heel and forearm. But I liked the tones I heard on YT as well as the unique pickup switching system. I also like Schecter as a brand in general, and this being MIJ and competing against the likes of Ibby Prestige line...

www.sevenstring.org

I said I'll post a summary of all that I have learned in this journey thus far, and here it is.

First, I have to show the latest version of this image:



To those who will be thinking, "I told you so," I will shake your hands because in some ways, you were right. While the idea of a "do-it-all forever guitar" is a nice, it's only possible for a limited range of guitarists who have singular and narrow goals and needs. For someone like me who plays a wide range of styles from jazz to djent, AND also very picky and specific about what I like and willing to accept, AND have enough disposable income to allow a decent collection of instruments, it was never going to work, if only because the temptation to own more than just one great instrument is too high. I don't NEED some of these guitars, but I enjoy having them and playing them. If my situation ever changes and forces me to have just one guitar, I could do it. But bare minimum, I would prefer one steel string acoustic, one nylon string acoustic, and one do-it-all electric with tones of switching options like a Variax, or an Ibby with the Dyna-MIX switching system, or even just an HSH super Strat with coil-split/tap (or in the case of the Schecter California Classis, the unique HSS with coil-tap for all three pickups).

One thing I used to get hung up on was the sitting position ergonomics of a guitar, but thanks to support stand products like the Performaxe, NBNarrow, and NeckUp, I don't have to care anymore as they can get pretty much any guitar into ergonomic sitting position that rivals Strandberg or Klein. This was a real blessing because it opens up so many more possibilities instead of just ergonomically designed guitars (which are few and far between). This also meant I was hit with far more G.A.S temptations, and the result was, as y'all have witnessed, an insane buying spree that started in June and is finally starting to taper off now. I really only have the Dean Gordon Virtus Headless custom build left, and I think maybe I might replace my JTV-69 Variax with the JTV-89 F version if I ever come across one in Blood Red and in good shape, unless I can get the JTV-69 to be rock solid tuning wise. The Floyd Rose on the JTB-89 F should by default be more stable.

That brings me to tuning stability. After owning so many guitars and thoroughly testing them, it became clear that guitars with rock-solid tuning stability, regardless of if they're hardtail or tremolo or double-locking, is the exception and not the rule, and the guitar as an instrument is all kinds of compromise compared to many other instruments that don't have this problem. It's incredibly annoying to spend more time tuning than recording (and thank god I don't gig anymore or that's another headache). Out of all my guitars, I think the only one that's been truly rock-solid has been the Schecter KM-7 S FR. I've had other Floy-Rose and Ibby Edge trem guitars, and that KM-7 is just so reliable. I can dive-bomb a whole country and it'll stay in tune. There were some Ibbys and Strandys that had good stability too. The Abasi Legion with the Gotoh 510 was very stable, although I've had problems with it on other guitars. The PRSes have been pretty stable too. I finally broke down and got a guitar with aftermarket Evertune mod, for those times when I just don't want to deal with that shit.

I used to care a lot about having stainless steel frets, but at some point, I just said fuck it, because I will have enough guitars even after thinning the herd at the end of the journey that I would probably never have to worry about it. If I only had one or two guitars, I would be more concerned. I do feel like SS frets should just be the standard in the entire industry once we get past a certain budget--maybe starting around $800 or something, or even lower, since there are brands that have SS frets on far cheaper models--like entry-level models in the $300 range.

Another thing I thought about a lot, is how the need for guitars with multiple tunings or different pickups can be simplified to fewer by using pedals or plugins like Keystone Exchanger, Boss GP10, Blue Cat's Re-Guitar, Digitech Whammy/Drop, etc. Some people will say those products will affect the tone, but it's highly doubtful anyone can hear the difference in a full mix. Potentially you can do it all with just one Variax and its alternative tuning feature, or if not using a Variax, one standard tuning, one drop tuning, and then use pitch shifter and pickup-simulators. The only reason I haven't gone that route is really because I just like having more guitars to play with, but I would be fine with using those products to get the tones/tunings I want if I could only have one or two guitars.

One thing I lament about my journey thus far, is how much I wanted to like PRS, and in some ways, I really do, but ultimately I just can't get over the lack of ergonomic considerations for the upper-frets access. That lower horn carve not even clearing the penultimate fret on 22-fret models will impede me from playing certain phrasings on songs I'm practicing, and that's just not okay for me. I do love the aesthetics and the tones of the PRS models I had, and I wish they would do something about that lower horn carve, but since PRS bodies are far more alike than they would ever be different, I don't think it'll ever happen, which is too bad, because I would love to have at least one PRS. On the 24-fret models it's much better since you get full access to at least 22 frets comfortably, but my Ibby RGT1220PB has similar enough tones to the PRS SE Standard that I've got my 85/15 S-ish tones covered.

The one guitar I wish I could have kept was the Ibby j.custom RG8870. It's just the nicest guitar in many ways. But it was $3K+ and I knew there were other guitars out there that cost a lot less but can sound and feel similar, and for that price I can have two, or just one and save some money. If money was no object I would totally keep it.

During this journey, I was forced to up my game in guitar repair/modding out of necessity. That Ibby RG5170G was a complete mess since the previous owner just royally fucked it up, but it was also $1K off, so I put in some elbow grease and fixed it up. I fixed the badly leaning trem posts, the crooked neck, the shitty setup, and it's now one of my faves.

One thing I'm glad I was vigilant about, was to record every new guitar that shows up in my studio, playing the exact same phrases, in all possible pickup positions and switchings, so I have a comprehensive tone library I can easily compare different guitars and pickups and wiring. This forces me to be as objective as I can when assessing and comparing tones. I also have a separate project file where I have a backing track of a song that's in a style I play the most (jazz fusion), and then have all the guitars play the same solo over the backing track in the pickup positions I would normally use for that type of music (neck pickup, humbucker or single-coil), and then I can also compare them in the context of a full mix. This was a good exercise because the guitars that sound great in isolation might not be the best choice in a full mix, and vice versa, so it forced me to be even more objective in my assessments and decisions.

Part of me kinda regrets starting the Dean Gordon Virtus Headless custom build. It's gonna end up costing close to $5K, and although it's like an ultimate guitar that has all the tone options (I'm doing a 5-position blade super switch with 2 banks, so that's 10 tones), with pickups I prefer, in an ergonomically designed body that also looks very cool, but I'm not so sure if I really need all that, since in the months after paying the down payment, I've bought and sold a bunch of guitars and I feel like I could have gotten all I really needed in much cheaper guitar(s). The original plan was to have it replace basically all my electric guitars (except the acoustics and the Variax), but I really enjoy having different nice guitars from different brands, and maybe that is a better approach than one ultimate guitar. Maybe my feelings will change once it's finished and actually in my hands.

To date, not a single one of the guitars I own is perfect for my subjective needs and taste. All of them have things I wish could be changed. Maybe the Dean Gordon Virtus Headless custom build will be "the one," but until I get it in my hands, I won't know for sure.

 

[Stiman]

I enjoyed your journey. I like hearing what you like and not like about different guitars.

GAS is one hell of a drug...

PS: I recently got into PRS and the SE Custom 24 I have (with upgraded DiMarzio Illuminators) is now my #1.

 

[Robslalaina]

I like your NGDs too, especially the details on forearm contours and neck heels that confirmed lots of the suspicions I had from looking at pictures of the Govan Charvel or NX Bodens for instance.

an insane buying spree that started in June and is finally starting to taper off now

Wth do you still have on your radar at this stage?

Part of me kinda regrets starting the Dean Gordon Virtus Headless custom build. It's gonna end up costing close to $5K, and although it's like an ultimate guitar that has all the tone options (I'm doing a 5-position blade super switch with 2 banks, so that's 10 tones), with pickups I prefer, in an ergonomically designed body that also looks very cool, but I'm not so sure if I really need all that, since in the months after paying the down payment, I've bought and sold a bunch of guitars and I feel like I could have gotten all I really needed in much cheaper guitar(s).

This is exactly why I'll never get a custom build. So many production guitars out there that cover most of what I need. Plus yeah, having different guitars is just cool, inspiring, you name it. Still, why most guitarists can't be content with a single guitar, like a saxophonist with a single saxophone, or horn player with a single horn, is a mystery to me. Perhaps it just depends on your profile as a musician.

 

[LunatiqueRob]

I like your NGDs too, especially the details on forearm contours and neck heels that confirmed lots of the suspicions I had from looking at pictures of the Govan Charvel or NX Bodens for instance.


Wth do you still have on your radar at this stage?


This is exactly why I'll never get a custom build. So many production guitars out there that cover most of what I need. Plus yeah, having different guitars is just cool, inspiring, you name it. Still, why most guitarists can't be content with a single guitar, like a saxophonist with a single saxophone, or horn player with a single horn, is a mystery to me. Perhaps it just depends on your profile as a musician.

Thanks!

Forearm contour is one of those things I feel like all guitars should have and I hate how conservative a lot of guitar players are. Old traditional designs lack our modern understanding of human physiology and ergonomics, and are quite uncomfortable to play compared to modern designs, yet guitarists still want faithful recreations of old designs that are objectively worse on their bodies and harder to play. It's for this reason I would never be interested in models like the Les Paul, because it's just not ergonomic--not just the lack of forearm contour, but also the lack of good upper-frets access. When players have to rotate the guitar to be more vertical in order to access those highest frets, it's just a bad design. Old styled Teles with no contouring is another example, but at least there are plenty of modernized Teles now like that Charvel I bought. Les Pauls don't seem to get that modernization treatment at all.

What else is on my radar? Well, in terms of needs, I don't have any left as all my bases are covered well at this point. But in terms of curiosity, I have always wanted to try brands like Suhr and Anderson, just because of their reputation. I can't imagine them being notably better than j.customs, Prestiges, MIJ Charvels and Schecters, and Aristides. Even some of the import models like the Abasi Legion and some of the Strandbergs I've had have been impeccable. Having superior fit and finish is not important to me at all, because I play guitars instead of admiring them with a magnifying glass. I care far more about the tones, the ergonomics, and the reliability. I'm curious if the Suhrs and Andersons actually are superior in the areas that matter to me. Somewhat related to guitars, is my GAS for a really nice fretless bass like the Rob Allen, or a Marcustico, or Safran Semi-Acoustic. They are so expensive though, and I would only get one if I have money to burn.

I think guitarists (and bassists) tend to have multiple instruments is because the designs can be wildly different in both function and aesthetics, and play a wider range of genres of music. A horn player going through a product catalog of horns, and they'll all look very similar and have almost identical features, and the genres of music the horn player will play is going to be much narrower in range. Similar to guitar and bass players would be synth/keyboard players, because their chosen instrument can also vary wildly in design and feature--in fact I would say more so than guitars, which is why a serious synth player can easily fill an entire room with everything from vintage analog synths, to modern digital/analog hybrids, to digital synths, to modular monstrosities, to grooveboxes, to keyboard workstations, to rackmount synths, to drum machines, to a ton of softsynths on their computer and iPad.

 

[Neon_Knight_]

Forearm contour is one of those things I feel like all guitars should have and I hate how conservative a lot of guitar players are. Old traditional designs lack our modern understanding of human physiology and ergonomics, and are quite uncomfortable to play compared to modern designs, yet guitarists still want faithful recreations of old designs that are objectively worse on their bodies and harder to play. It's for this reason I would never be interested in models like the Les Paul, because it's just not ergonomic--not just the lack of forearm contour, but also the lack of good upper-frets access. When players have to rotate the guitar to be more vertical in order to access those highest frets, it's just a bad design. Old styled Teles with no contouring is another example, but at least there are plenty of modernized Teles now like that Charvel I bought. Les Pauls don't seem to get that modernization treatment at all.

The Les Paul and Telecaster designs were probably extrmely groundbreaking upon their creation / released, but like you, I will never have any interest in owning either.
I'd be interested to know what you consider to be a "modern" design though, as the RG is over 36 years and I love the ergonomics, contours & upper fret access etc. I wouldn't want a tilt-joint, but Ibanez had the sense to replace that with the AANJ after only 7 years (the slimmer J. Custom AANJ variant really is wonderful!). I'm yet to try a guitar that I find to be objectively better for me in terms of ergonmics and playability.
Even if I set aside my aesthetic dislike of ultra-modern headless guitars, the lack of double-locking tremolo is a big step backwards from my requirements. If that's what you mean by "modern" then I'll pass.

What else is on my radar?

Have you tried a Prestige S yet? It would be a shame to write Sabers off based on an Indonesian model

 

[Marked Man]

How do you find time to play music with all this obsessing about guitars and specs and stuff?

This thread makes my head spin just glancing at it because it's just page up page down of wall of text about guitars and coil splits and lower horns and this and that and that and the other and...

I only play guitars that I'm not 100% happy with. Why would I even need a "perfect" guitar? I can make music perfectly well with guitars that aren't perfect.

Excellent questions. There are some people out there who seem to find their primary satisfaction from chasing gear perfection or talking about it with other people.

I enjoy chasing tone as much as the next guy, but I'm glad I got into the songwriting/recording process early and also playing the other essential rock band instruments in pursuit of songs. Just had to teach myself a good chordal arrangement on synth for a song I was working on yesterday. Nothing makes me happier than having an original song come together, then expanding on the arrangement and saving the solos for last, just before perfecting the mix. I can't go around in circles just worrying about which guitar to use. I sound like ME on basically any guitar. I remember when I first started playing and shred was all the rage, I wanted to have the fastest neck money could buy and felt that a traditional Gibson would hold me back, etc. But after I had been playing a few years, I realized my hands made the difference (and an excellent setup).

That said, for an all around ultra high performance, world tour worthy guitar, I don't think you can really beat an EBMM JPX:

If you can't find success with it, YOU suck. Same applies if you were playing a basic Fender Strat. Make yourself the key, not your gear.

 

[LunatiqueRob]

The Les Paul and Telecaster designs were probably extrmely groundbreaking upon their creation / released, but like you, I will never have any interest in owning either.
I'd be interested to know what you consider to be a "modern" design though, as the RG is over 36 years and I love the ergonomics, contours & upper fret access etc. I wouldn't want a tilt-joint, but Ibanez had the sense to replace that with the AANJ after only 7 years (the slimmer J. Custom AANJ variant really is wonderful!). I'm yet to try a guitar that I find to be objectively better for me in terms of ergonmics and playability.
Even if I set aside my aesthetic dislike of ultra-modern headless guitars, the lack of double-locking tremolo is a big step backwards from my requirements. If that's what you mean by "modern" then I'll pass.


Have you tried a Prestige S yet? It would be a shame to write Sabers off based on an Indonesian model

Ibby RGs do have good ergonomics, and I don't think 36 years is too old to be considered modern. Maybe not quite ultra-modern but modern enough to have remedied the really old designs with modern improvements like the ones you mentioned. The AANJ is indeed very good and one of the best (and I think other brands basically followed their example in that area?). Set neck/neck-thru will feel smoother but in terms of access, not much improved over the AANJ.

The ultra-modern designs like Strandberg, Aristides H series, and others like them, while don't have a locking nut, they technically do lock right above the nut so it's about the same, and for designs with locking saddles, it's as close as you can get to a Floyd-Rose-like trem system on a headless. To me, Aristides H series' is my idea of a great ultra-modern design. It has a neck-thru and great upper-frets access with nothing that would get in the way, and doesn't have that polarizing Endurneck that some people dislike. It has the lower body corner carve that makes sitting position very ergonomic, which is one of the most important hallmarks of an ultra-modern ergonomic design IMO. Your average musician is confined to the bedroom studio far more than they are out there gigging, so sitting ergonomics for a guitar should be top priority. I do prefer tuners on the headstock though as they're a lot more comfortable and easier to use than headless tuners. The Abasi guitars could have been great since they have headstocks and that lower body carve, but that single cut is so awkward to play in the upper-frets and limits your fretting hand's angle. The Emi fixes that I forgot to mention that is a guitar I still suffer GAS for, except I wish they would release an HH configuration for it with the voicing switch for single-coil, because I prefer that to just single-coil at the neck and no option for humbucker tones. But maybe I would end up getting one any when/if it seems like my finances can handle another very expensive high-end guitar after the Dean Gordon Virtus Headless custom build. I mean, I do really like the Schecter California Classic and it's an HSS configuration. But it's also because with the tone rolled halfway down, the neck single-coil sounds almost like a PAF with nice warmth and body. If the Emi's tone control can do that for the neck single-coil, I would be extremely tempted. I have guitars where the tone knob doesn't do what I hope they could do, so I'll need to look into the Emi's tone knob specification.

I haven't had the chance to try a Prestige S yet, but that Premium S I was really good and looked amazing with the poplar burl blue burst. The main reason I returned it was because the trem arm angle was badly designed and the body was too thin to be used with any of my support stands for sitting position. I could have brute-force bent that trem arm so it won't hit the controls, but there was nothing I could do about that thin body. If I didn't care about sitting ergonomics, I would have kept that S.

 

[LunatiqueRob]

Excellent questions. There are some people out there who seem to find their primary satisfaction from chasing gear perfection or talking about it with other people.

I enjoy chasing tone as much as the next guy, but I'm glad I got into the songwriting/recording process early and also playing the other essential rock band instruments in pursuit of songs. Just had to teach myself a good chordal arrangement on synth for a song I was working on yesterday. Nothing makes me happier than having a song come together, then expanding on it and perfectly the mix. I can't go around in circles just worrying about which guitar to use. I sound like ME on basically any guitar.

That said, for an all around ultra high performance, world tour worthy guitar, I don't think you can really beat an EBMM JPX:

If you can't reach success with it, YOU suck. Same applies if you were playing a basic Fender Strat. Make yourself the key, not your gear.

Do the more expensive JP models still use the same trem system as the Sterling models? The Sterling JP Majesty I had was terrible in tuning stability and when I looked into solutions, I found tons of online discussions about the problem and a video showing what's causing it.

As for the chasing gear vs practicing/recording thing, I already answered that question in a subsequent post. I probably practice more than most people who visit these forums--a minimum of one to two hours a day and up to seven hours a day on my days off from work, and I also compose and record songs. I used to be a professional songwriter and composer for film/video games, so I'm no stranger to being productive as a musician. These days I don't do music professionally anymore but I do still teach music. I juggle(d) multiple creative careers (art, music, photography, game development, writing, directing) so I'm extremely efficient in time-management and can probably do it better than most here. The gear hunt journey has not slowed me down one bit in terms of productivity. The time other folks use to binge Netflix and scroll through social media and go down the algorithm rabbit hole of YouTube, I use it to research and buy/sell gear.

 

[Marked Man]

I like your NGDs too, especially the details on forearm contours and neck heels that confirmed lots of the suspicions I had from looking at pictures of the Govan Charvel or NX Bodens for instance.


Wth do you still have on your radar at this stage?


This is exactly why I'll never get a custom build. So many production guitars out there that cover most of what I need. Plus yeah, having different guitars is just cool, inspiring, you name it. Still, why most guitarists can't be content with a single guitar, like a saxophonist with a single saxophone, or horn player with a single horn, is a mystery to me. Perhaps it just depends on your profile as a musician.

One of my first questions to such people is, how many great songs have you written with all those guitars? Any? Would another guitar make any difference?

 

[Neon_Knight_]

Ibby RGs do have good ergonomics, and I don't think 36 years is too old to be considered modern. Maybe not quite ultra-modern but modern enough to have remedied the really old designs with modern improvements like the ones you mentioned. The AANJ is indeed very good and one of the best (and I think other brands basically followed their example in that area?). Set neck/neck-thru will feel smoother but in terms of access, not much improved over the AANJ.

The ultra-modern designs like Strandberg, Aristides H series, and others like them, while don't have a locking nut, they technically do lock right above the nut so it's about the same, and for designs with locking saddles, it's as close as you can get to a Floyd-Rose-like trem system on a headless. To me, Aristides H series' is my idea of a great ultra-modern design. It has a neck-thru and great upper-frets access with nothing that would get in the way, and doesn't have that polarizing Endurneck that some people dislike. It has the lower body corner carve that makes sitting position very ergonomic, which is one of the most important hallmarks of an ultra-modern ergonomic design IMO. Your average musician is confined to the bedroom studio far more than they are out there gigging, so sitting ergonomics for a guitar should be top priority. I do prefer tuners on the headstock though as they're a lot more comfortable and easier to use than headless tuners. The Abasi guitars could have been great since they have headstocks and that lower body carve, but that single cut is so awkward to play in the upper-frets and limits your fretting hand's angle. The Emi fixes that I forgot to mention that is a guitar I still suffer GAS for, except I wish they would release an HH configuration for it with the voicing switch for single-coil, because I prefer that to just single-coil at the neck and no option for humbucker tones. But maybe I would end up getting one any when/if it seems like my finances can handle another very expensive high-end guitar after the Dean Gordon Virtus Headless custom build. I mean, I do really like the Schecter California Classic and it's an HSS configuration. But it's also because with the tone rolled halfway down, the neck single-coil sounds almost like a PAF with nice warmth and body. If the Emi's tone control can do that for the neck single-coil, I would be extremely tempted. I have guitars where the tone knob doesn't do what I hope they could do, so I'll need to look into the Emi's tone knob specification.

I haven't had the chance to try a Prestige S yet, but that Premium S I was really good and looked amazing with the poplar burl blue burst. The main reason I returned it was because the trem arm angle was badly designed and the body was too thin to be used with any of my support stands for sitting position. I could have brute-force bent that trem arm so it won't hit the controls, but there was nothing I could do about that thin body. If I didn't care about sitting ergonomics, I would have kept that S.

When I play an S while seated, it almost feels as though the body isn't there...in a good way. I'm unsure what benefit you get from your support stands, but I certainly don't feel any need to look into one. If the tremolo arm was your only issue, I would have suggested replacing it with a Red Bishop arm.

 

[USMarine75]

PRS with upper fret access? See below…

 

[Xiphos68]

EBMM JP of your choice. Period.

They're all a little different but they lay to waste most guitars.

 

[Hollowway]

PRS with upper fret access? See below…

View attachment 135650

View attachment 135651

What is that? I don't think I've ever seen it before. It's crazy, which means I really like it, haha.

EDIT: Found it. It's the Dweezil custom. And way too expensive for me to buy, lol. I do like how quirky it is, though! One day I'll hit Lotto and get the Orianthi and this.

 

[LunatiqueRob]

When I play an S while seated, it almost feels as though the body isn't there...in a good way. I'm unsure what benefit you get from your support stands, but I certainly don't feel any need to look into one. If the tremolo arm was your only issue, I would have suggested replacing it with a Red Bishop arm.

When I say ergonomic seated position using support stands, I meant ones like this (the Performaxe is not my favorite, but it's a good example that's readily available):

The First-Ever Electric Guitar Leg Rest: Performaxe

Performaxe, the First-Ever Electric Guitar Leg Rest. Increase comfort and practice effectiveness, raise and angle the guitar without strap or footstool.

guitarscientist.com

Sitting down in the normal position with the guitar on the right or even in the classical position with the guitar between the legs are not nearly as comfortable or ergonomic as using something like the support stands.

Here's my

EBMM JP of your choice. Period.

They're all a little different but they lay to waste most guitars.

I already tried the Stering JP Majesty and it had bad tuning stability problem. I think I read somewhere that the EBMM have the same trem system, and that concerns me. Also, their wiring is not as versatile as I prefer.

One of my first questions to such people is, how many great songs have you written with all those guitars? Any? Would another guitar make any difference?

I already mentioned I used to be a professional songwriter and composer for film/games and currently still teach music. This journey started as wanting a great do-it-all guitar, but has evolved to simply enjoying the pleasure of having a number of great guitars, not for need, but just simple pleasure.

PRS with upper fret access? See below…

View attachment 135650

View attachment 135651

What model is that? I don't think it's still in production?

 

[LunatiqueRob]

EDIT: Found it. It's the Dweezil custom. And way too expensive for me to buy, lol. I do like how quirky it is, though! One day I'll hit Lotto and get the Orianthi and this.

There's a green one for sale for only $1K. Not bad at all. You better buy it before I do.

 

[melomanic]

I already tried the Stering JP Majesty and it had bad tuning stability problem. I think I read somewhere that the EBMM have the same trem system, and that concerns me. Also, their wiring is not as versatile as I prefer.

They made a JP model with a low profile floyd: the Music Man JP16 and the Sterling JP160. The Music Man has a 1000 series floyd, while the Sterling has a licensed one.
I have a Music Man 7-string version and it's a really phenomenal guitar. Definitely the easiest to play in my collection.

 

[LunatiqueRob]

Inte

They made a JP model with a low profile floyd: the Music Man JP16 and the Sterling JP160. The Music Man has a 1000 series floyd, while the Sterling has a licensed one.
I have a Music Man 7-string version and it's a really phenomenal guitar. Definitely the easiest to play in my collection.

Interesting. I didn't know they had a Floyd version of these. I do prefer the Majesty shape since the upper-frets access is even more comfortable. Probably the most comfortable I've ever played since there's zero obstruction at all. That's a killer color BTW. Reminds me of my Schecter KM-7 MKIII FR S, which has one of the most rock-solid tuning stability out of my guitars.

 

[melomanic]

Inte

Interesting. I didn't know they had a Floyd version of these. I do prefer the Majesty shape since the upper-frets access is even more comfortable. Probably the most comfortable I've ever played since there's zero obstruction at all. That's a killer color BTW. Reminds me of my Schecter KM-7 MKIII FR S, which has one of the most rock-solid tuning stability out of my guitars.

View attachment 135656

Yep those are really sick Schecters! It's the exact same color as my JP16, lambo green. It was a custom run done by Axe Palace, 1 of 5. Aside from the finish, I like that it doesn't have any inlays on the fretboard, makes it look a bit cleaner and unique.

 

[MetalDestroyer]

I already tried the Stering JP Majesty and it had bad tuning stability problem. I think I read somewhere that the EBMM have the same trem system, and that concerns me. Also, their wiring is not as versatile as I prefer.

I have a lot of choice words for this insane statement but I'll leave them aside. I tried to tell you REPEATEDLY that the sterling is a toy that does not hold tuning. It is a cheap imitation with very little of what makes a Majesty majestic aside from the shape. The trem is soft mystery steel that deforms easily and doesn't hold tune. It doesn't have a Piezo. It doesn't have the right pickups. It has like half of the magnetic pickup switching options. The fit and finish feel cheap. The contours are incorrect. It's made of mystery wood that differs depending on the color for no reason.

A real Majesty is an instrument, the Lamborghini of guitars. It is nothing like the Sterling and it's honestly kind of stupid you think that it is.