Schecter Guitars -- Opinions?

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i just ordered a schecter c-7 blackjack. it's 7 string, baritone and southpaw for $630. that's still a big chunk of change but where else am i going to get a lefty 7 string baritone for that cheap. it's arriving friday via fedex.

plus i just got a podxt live. i bought the desktop podxt in december and returned/exchanged it for the podxt. but i think i'd rather have a desktop version. i don't want to bend over constantly to tweak my tone. i brought it to music/choir practice at church last night and let others play with it and we agreed it's a real nice unit but its too much of a pain to keep having to bend over. in order to get the tone i want i'd need a laptop or something. so i'll make a 3rd trip to guitar center and get the tabletop version. i just need to uninstall/return the model packs but the line 6 server is down.
 
I'd look on ebay for a used Schecter Strat or Tele from the 82-84 vintage. That's when Tom Anderson worked there. The stock pickups are fantastic and the quality of build holds up well. I've been playing one since 83 and lots of folks have liked the tones. I buy them on ebay whenever one appears at the $500 or less pricepoint. Happens about 3-4 times a year.
 
shechters are nice

I own a omen 006 guitar and a stilletto bass. both have amazing 24 fret necks, stay in tune with nice smooth grover tuners.

I payed $249 for the guitar, took out the pickups and added duncan invaders, and it plays as good as ANY guitar bar none that i have ever played. I play anything from godsmack to dokken, so it handles the drop tunings even down to drop C with 11 gauge strings and had no problems staying in tune down there. then soloing is great with it.

the bass pickups are emg selects wich are passive with a active EQ, which im not sure i love, but for $349, i could easily put in bartolinni's to upgrade and still in my opinion have a great deal.

carry on brothers of song.
 
dr.colossus said:
where's parts 2, 3, 4, 5 of the story harv?
Here's Part 2:

So the 3 of us get a small office in the valley, and I start on the design of my ultimate tube amp, under our new company name Delta Products Corp. At the same time, we're looking for some investment capital.

The amp is taking shape, and we get enough investment cash to move into a 20,000 sq. ft. building in Sun Valley. The prototypes are finished and several dealers are ready to take on the line, but we're still a little short of cash.

Now one of our investors is Jeff "Skunk" Baxter (of Steely Dan and Doobie Brothers fame). He has a friend named Dave who winds his own guitar pickups and do we have a small space in the factory where Dave can set up a shop? Sure, so Dave Schecter moves in and does his pickups.

In the meantime, Paul Rothchild has offered to invest $40,000, IF his brother can have sole distribution rights. I say let's go for it. Shel and Stan say no. Stan has a friend who is one of the sons of the founder of Bekins Van Lines and he has a lease on some coal deposits that are worth millions.

Once he sells the rights (and this WILL happen in the next two or three weeks), he'll invest $1,000,000 in our company, oh, and he needs some office space, too. I say we don't need a million dollars, and we should take Paul's 40 grand and start up the production line. Everybody else says no, we wait for the coal deal.

To make a long story short, the coal deal drags on for months, and I get disgusted and quit the company. A short time later, Delta folds, and Shel goes in with Dave to start up Schecter guitars. And this is where the fun begins...




To be continued.
 
I figure this is as good a place as any to put a review of the above guitar that I just got today. At least a first hands on review. This guitar was used, but to my knowledge nothing has been done to it.

I guess the model is a C-1 Elite. It has a mahogany back, what looks to me like an eastern maple top, and a maple neck with a rosewood fretboard. As I looked at this guitar I statred thinking that if I were to design and build a guitar myself, it would be built exactly like this. That's a big thing for me to say, but it's true. It is a great design combination of a Strat, Les Paul, SG, and a Telecaster.

Let me try to explain that. The set neck and body woods are Les Paul, the body general shape is Strat, the string thru body is Tele, and (my favorite part) the neck joint and neck are totally SG...only with 24 frets.

The neck heel and joint to body are as smooth as I have felt on any guitar at any price available. As I move my hand along the neck extending into the body, there is no feel at all where the two meet. Neck access it easy all the way up to the 24th fret. I like the design better than my PRS because I always thought the PRS lower horn needed to be cut deeper for better access. This does it how I would have. There is also a nice tapered carve on the back of the body to make a smooth transition to the neck. Just beautiful, really. The neck itself is slim and comfortable, and it is built very much like my 1973 Gibson SG, including the famed volute at the headstock. The frets are the big frets that Gibson uses and I like so much, they are nicely finished on the sides for a smooth feel running your hand down the neck.

The finish on this guitar is extremely close to perfect. The finish is very even, even in corners and edges. It feels like a hard poly finish, which I'm sure it is, but I think it's thinner than other finishes I have seen on other import guitars. The binding and inlays are detailed and fit perfectly, no gaps I can find or places that stick out. The tuners are nice Grovers and the bridge is a Tone Pros, both top quality and according to the website, both stock on this guitar.

I plugged it in and tried it out. The tone is pretty good. The guitar is capable of a wide range of tones. This guitar has a coil tap on the tone knob. It can do a wide array of tones both Strat and Gibson. The strings are tight because of the long scale and more difficult than a Gibson to bend. But they hold good tuning and sustain well. It holds its own when playing heavily distorted power rock, and it does a good blues clean sound as well. The 24 fret neck takes some getting used to for me. The sound of the guitar is close to a PRS sound, nothing bad about it, but a bit sterile. It doesn't quite have the character I enjoy in the vintage Gibsons I am used to playing, or of a real Strat in tapped mode. But it's good for one guitar to get close to both.

Overall I put this guitar as the best import I have played ever. I also put it on par or slightly ahead of the PRS guitars I have owned and played. The neck joint and smooth heel makes it a better guitar in my eyes than a PRS, with it's large heel and uncomfortable neck joint. I still choose my SG over it, and most small luthier builders are better, but then again they are 4-10 times the price also. I have to say that I am overall pretty impressed with the build quality of this guitar. I think it's a great value for around $500-600. And if the cheaper ones are built as well, I'd say they are an even better value and well worth it. If I was buying new, I would probably not pay extra for all the mother of pearl binding and quilted top.

Though that's what my gf likes the most. She said "Ooh, thats a pretty guitar. I like it". And, well, that's what being a rock star is about, right?;)

H2H
 
tigerotool said:
i just ordered a schecter c-7 blackjack. it's 7 string, baritone and southpaw for $630. that's still a big chunk of change but where else am i going to get a lefty 7 string baritone for that cheap. it's arriving friday via fedex.

plus i just got a podxt live. i bought the desktop podxt in december and returned/exchanged it for the podxt. but i think i'd rather have a desktop version. i don't want to bend over constantly to tweak my tone. i brought it to music/choir practice at church last night and let others play with it and we agreed it's a real nice unit but its too much of a pain to keep having to bend over. in order to get the tone i want i'd need a laptop or something. so i'll make a 3rd trip to guitar center and get the tabletop version. i just need to uninstall/return the model packs but the line 6 server is down.

Huh, you'll then have pretty much the same set up as me. I have the 007 Blackjack (same as the C-7 except for the body shape, not released in the states yet, I may have the only one in the country) and a PODxt. Man, does it sound great. The Blackjack series are an amazing value. Grover tuners, Tonepros bridge, extended scale, set neck, binding all around and REAL Duncans for around $600 street? I've never seen a better value in my life.

I hope you love the C-7 as much as I love the 007! :)
 

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Harvey Gerst said:
*Post deleted to save space*


...To be continued.

Wow, that's wild that you were responsible for a lot of the Acoustic amps. For about ten years I had an Acoustic bass setup that was the most amazing thing I've ever used.

I don't remember the exact model or even if it had a model name, but it was a 400 watt bass head, two independent channels each with their own input jacks, bright switches and three band EQ, and a five band graphic EQ that could be assigned to either channel. It also had an effects loop, or maybe two. I remember there being six jacks lined up in two rows of three on the back of the chassis (not counting the speaker outs, of which there was two), but it's been a while since I had it.

The cab was a 2x15 that was incredibly huge. It must have been almost two feet deep, with two heavy casters on the back bottom corner so you could tilt it back and roll it. Heavy as all hell. My god, that thing was heavy.

Both the head and cab were covered in black something, I guess Tolex or somesuch.

That stack served me in my band playing bass for over six years without a hiccup. Tough as nails, and never let me down once.

The biggest gig we ever played without a PA was to about fifteen hundred people and even then I never got the volume up past four. I played a five string with the low B usually tuned down to A, and it never even flinched at any volume. That thing sounded amazing, recorded amazing, and could totally stomp any other bass OR guitar rig I ever came across. Actually, the guitarist knew not to mess with me, because if he made me mad no matter what he was playing through I could drown him out at will.

I have so many great memories of that thing. I remember playing in high school years ago at a talent show. I had people coming up to me after the show saying that the low end from my rig was shaking the whole place so much that they were being vibrated off the bleacher seats. Oh yeah. :cool:

Does it sound at all familiar to you Harvey? I'd love to know more about it. I finally had to sell it after ten years because I'm no longer in a band and just record at home, so I go direct now. Happily, I sold it to a friend so I can still see it and use it. My hat is most definitely off to you, sir, for creating the best bass rig I've ever come across.
 
Harvey Gerst said:
Here's Part 2:

In the meantime, Paul Rothchild has offered to invest $40,000, IF his brother can have sole distribution rights. I say let's go for it. Shel and Stan say no. Stan has a friend who is one of the sons of the founder of Bekins Van Lines and he has a lease on some coal deposits that are worth millions.


To be continued.

Is that Paul Rothchild, The Doors/ Janis Joplin Paul Rothchild?
 
boingoman said:
Is that Paul Rothchild, The Doors/ Janis Joplin Paul Rothchild?
Yes, Paul and I lived a few blocks from each other in Laurel Canyon, and we became fairly good friends during my days at Acoustic. Robbie Krieger, the Doors guitarist was also an investor in Delta.

Considering the design of the Delta amplifier is now over 30 years old, it's still on the cutting edge of technology even today, and would be a step forward from what's out there right now.
 
I did a little searching and couldn't find any info about them, not surprisingly.

Can you talk about them without revealing anything you want to keep to yourself? Performance, features, that kind of thing. I do not wish to intrude, fell free to decline without any hesitation.

Today's amps seem to be a variation on a few simple themes, like vintage reproduction, or a furthering of Mesa's high gain.....gains, :rolleyes: or packing five different amps into one chassis. There doesn't seem to have been much new since the Boogie Mk IV, as I see it, and that was still just more, not different.

I am enjoying the story, thank you for sharing it. :)
 
boingoman said:
I did a little searching and couldn't find any info about them, not surprisingly.

Can you talk about them without revealing anything you want to keep to yourself? Performance, features, that kind of thing. I do not wish to intrude, fell free to decline without any hesitation.

The Delta Products amp was unique in so many ways, it's difficult to know where to begin.

It was a 300 watt tube amp, using 33JV6's as the output tubes - 8 of them. They were designed as horizontal output tubes for TV's and were flat to about a half a megaHertz, and dirt cheap - about $1.50 retail. The filaments ran directly off the AC wall voltage, so a smaller power transformer could be made, and the output transformer was around 98% efficient, so overall, it was lightweight (relatively).

The amplifier was a differential design and completely balanced, so you could use TRS balanced hum-free pickups, or standard pickups. It had a built-in real tape echo, using standard 8-track cartridges, running with a full width head at 3-3/4" ips. It used a DC servo motor, with the speed control on the front panel to adjust the delay times.

It also had five buttons labeled Tele, Gibs, Gret, Mars, and Fend - the first use of guitar and amp modeling. Another unique feature was a variable feedback control that varied the speaker damping from tight to loose.

Finally, the speakers consisted of two boxs in parallel - 2 12's in a ported cabinet, and an open back 4x10 cabinet. The resonant points were set up so that the amplifier saw a constant load impedance that didn't vary with frequency - providing constant loudness at all frequencies. But you could use either box by itself for smaller places.

The output impedance of the system was under two ohms and it came with very heavy duty, special low impedance speaker cords. Loaded with even cheap speakers, it was as loud as the same setup using all JBL speakers.

Keep in mind, this is all in one system, designed in the very early 70's.

Today's amps seem to be a variation on a few simple themes, like vintage reproduction, or a furthering of Mesa's high gain.....gains, :rolleyes: or packing five different amps into one chassis. There doesn't seem to have been much new since the Boogie Mk IV, as I see it, and that was still just more, not different.

I am enjoying the story, thank you for sharing it. :)
I'll try to get to Part 3 today.
 
:eek:

Holy crap. Innovative and visionary, in design, and features. You weren't kidding.
Built-in fx
Variable damping
Modeling
All staples of the modern amp, though only the digital ones go for FX and modeling, with mostly crappy results.

The constant impedance load intrigues me a lot. It hasn't even been solved completely in most modern PA designs, really, by your method. People still seem to rely on eq, horn, and x-over designs to get around the worst of it. Thanks to whoever it was for the graphic eq, and George Massenburg for the parametric. :cool: Was it an easier task given the not-quite full range response of guitar cabs?

As an aside, I don't know how much you keep up with these things- a lot of high-end modern PA cabs are being designed with dedicated active processing. One reason is because of the varying response due to impedance you describe.
My top box controller takes the input signal, and routes it to the amp inputs like normal. It also has extremely high-impedance sensors which plug into the outputs, before the speaker cables. Between the two, the box measures and controls the amp's response. Pretty wicked cool.

Thanks for sharing.
 
Part 3:

This is where things get a little fuzzy, since I wasn't directly involved, but I pieced together the story from a lot of sources.

Shel and Dave Schecter go off to form Schecter Guitars. From pictures I've seen, they set up a shop and were actually making the whole guitars from scratch.

Now, while I dearly loved Shel and his laid-back "I know where you're coming from" hippy attitude, he really wasn't much of a salesman. I don't think sales took off wildly, and they were strapped for money. They needed investors.

Remember in part 1 of this story, where I mentioned that Shel was Steve Marks' cousin, and came out of the meat-packing industry? Well, Shel turned to some of his meat-packing buddies for investmant money. I found out later that the meat-packing industry is pretty much a scam operation, run by a lot of sleazy people.

They basically write contracts to people that wanna save money on their meat purchases, by buying 1/2 a cow, and getting the cut and packed into convenient sizes. Don't have a freezer big enough? They'll sell you a freezer too, just sign the contract. Then they sell the contract to a finance company. If they get too many complaints, they simply move their operation to another county or another state.

Apparently, Shel didn't use their investment money very wisely, and the meat-packers were getting pissed. I don't know whether it was before, during, or after this problem, but at some point, Dave decided he had enough and split (or was forced out; that part is still unclear to me), leaving the company in Shel's hands. At some point the meat-packing investors decided that they had had enough, too.

One night. around midnight, they showed up in meat delivery trucks at Schecter after the place had closed, broke the locks, went in, and grabbed everything they could grab: guitars, pickups, winding machines, office furniture, everything that wasn't bolted down (and a few things that were), loaded their trucks and split - for Dallas, Texas.

When Shel arrived for work the next morning, the place was empty.



To be continued...
 
i got my c-7 blackjack yesterday. i'm used to a 6 string ibanez tuned to either drop d or drop c but i sold that one on ebay last week. i ordered my schecter c-7 from drum city guitar land out in colorado and had it shipped to my house in new jersey. i had mine set up for drop a (aeadgbe) by them using ghs boomers 10-46 for e-e and a 60 for the low a. i may go thicker in the future. i knew this thing would sound really low but i had no idea. it's almost like a bass guitar but with the right eq settings on the pod xt it sounds fine. i like to be able to hear every note. but i love this guitar. if the headstock said gibson or paul reed smith it would cost twice as much if not more. i want emg's put in this thing but i'm afraid to let someone route the body. i also would want to replace the 5 way switch with a 3 way switch. why can't emg make 7 string guitar pickups that don't need routing? i might just leave it as is. we pretty much do have the same rig mind riot. great minds think alike. i've seen you also on the line 6 message board.

basement studio setup

me and the guitar
 
tigerotool said:
we pretty much do have the same rig mind riot. great minds think alike. i've seen you also on the line 6 message board.
QUOTE]


Glad you like the C-7! Schecter makes great stuff.

If you're an EMG guy, then nothing else will satisfy you, but if you like passives, I'd stick with the JB and '59 they come stock with. There's something about the JB in a solid mahogany guitar that's just magical, and I'm not the only one who feels that way.
 
Mind Riot said:
Schecter makes great stuff.

I case you didn't know...

Schecter designs the guitars, Samick manufactures them in Korea.
 
Actually, Buck, they have an entire US line. The Diamond series guitars (which is what most of us have played) are the imports.

H2H
 
I own a 006 Elite and for the $450 CAD I paid for it, the guitar is great.

For heavier music; definatley the best bang for your buck.
 
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