#1
im lookin for the scales i could use over

the progression

Cm7 Fm7 Ab7 G7
VHT Special 6 ultra
TC HOF Reverb
Line 6 DL4
EHX OD Glove
Fender standard Tele
Ibanez Rga121
Taylor GA 214E
#2
You could use C Aeolian over Cm7 and Fm7. You would use C Harmonic minor over G7 (the B in G7 is the major 7th of C). You would use C Aeolian with a flatted 5th (1 2 b3 4 b5 b6 b7) over Ab7. You need to flatten the fifth because G is the natural 7th of Ab.

That appears to be the simpliest way of doing it. You could also treat each chord as a new scale completely, something like C Phrygian , F Dorian, Ab Mixolydian, G Mixolydian b2.
#3
if you want a more jazz feel, i would probably recomend using more modal playing like BGCs second suggestion. for a more blues feel i would go more with the first idea with all those related scales. of course you could also just use C aeolian over the whole thing and just be careful to aviod the harsh notes over the last two chords (ie. the fifth over the G7). i mean, the harmonic minor is only one note different from aeolian, and aeolian with a flat fifth also only has one different note. so you could concieveably just avoid those notes when you need to. or instead of thinking about it as 3 different scales, just think about which notes need to be different over the last two chords. like for me i would be thinking, 'ok i should hit B instead of Bb here," instead of thinking "hmm, i need to switch to harmonic minor here." thats just how i would think about it though if i was going in with a blues context, but if you feel more comfortable with it the other way around go for it. just thought i would put out a different way to look at it.