Quote by Tom 1.0

He doesnt.

Colour me unsurprised. I actually get it, he's clearly a friend of Patrick's and I know first hand how difficult it is to stop yourself from defending a friend of yours when you see them being portrayed in a negative light, but his post didn't address anything of relevance.
Attempting to defame the owner, offering 30 seconds of poor-quality video as proof of a guitar being wonderful, and trying a bizarre guilt-trip move doesn't really stand up to much in my book.

Anyway, this thread is not about Hüfschmid, let's get back to the ViK if you guys don't mind!
I'll definitely try and get a family picture or two when I get back home later this week
Quote by valennic
You in B standard here?

Nah, that is in drop A. Thanks!
Quote by 8stringlover
Yeah, that great friend of his "morgasm7" also mutilated the headstock on the 6 string he purshased from Hufschmid and posted a FS thread on selling it as "original" and in perfect condition and fantastic sounding instrument. He then took of the pictures after the sale....

Look how he praises the instrument in this topic and does not mention the mutilated headstock:

Patrick also fully refounded the final deposits to that person which he should of never have done considering that this person posted a bunch lies in a few topics...

The fun part is that for some incredible unknown reason Morgan is still proudly leaving the building pictures of his 2 hufschmid's on his facebook profile as if he is so proud of still owning them...

As for the 7 string guitar, I believe that it belonged to Fred who posted this later today:

You can also watch Fred play this terrible sounding guitar in this video from Rob Chappers.... Interesting isent it?


I was a big Nolly's fan until today...

I have no reason to bullshit about this, and I don't know if you actually played the guitars in question. I just call it like I see it. Apologies if that has offended you
Quote by chadreed32
Wait so let me get this straight, you have TWO Blackmachines, TWO Dæmonesses, and now this Vik? Jesus thats awesome, I wish I could even have just one of them. You should consider getting a Hufschmid next. (I just think they're awesome.)

Not a fan of Hüfschmids at all. A good friend of mine owned two - both were distinctly poor in sound and feel, and had serious quality issues that lead him to sell them both.
This is a clip I've done with the guitar, it kicks out some seriously clear low end!
Thanks again dudes!

Here are a couple more snaps, one on my favourite guitar-picture-taking couch, the other to show how much the flamed maple binding pops since I feel that's been under-represented in the other photos!

Nice one, glad you enjoyed them!
Quote by LP_CL
Here is the NGD topic. Pics are on various pages, just browse around:

Ah yes I actually have seen that one! It looks phenomenal in the sunlight, but I remember thinking it lost some of its fiery magic in the other pics.

Quote by Shredx
That clean tone was lovely! Majorly jelous, makes my Shecter Blackjack 7 look like a toy

The metal test was awesome too, loved the lead tone and the end riff. What tuning is your 7 in by the way?

Thanks mate, the guitar is in standard tuning in these videos
Thanks LP, links to this PRS? I love a good bit of eye candy!!

Here's the metal video:
Alright guys, here's the first of the videos! There's a metal rhythm tone test coming up once it's uploaded:
Thank you guys, I've been getting some high-quality video footage of it today, hopefully I can get that online soon!

The Duality 7 list price is $3480, obviously depending on the options you choose it could end up more or less than that figure.
Hey guys,

Before we get into any details I think it's best to get stuck right in with the pics

Right, with the porn out of the way, here are some specs:

ViK Duality shape
7/24 frets, 652mm
Black limba with Canadian curly maple top
1-piece old-growth Indian rosewood set-in neck
ViK new reversed “split-design” 7 headstock
Madagascar Ebony fingerboard with compound radius
Curly maple binding around neck
Custom ViK H+H pickups
Gotoh SGS510Z locking tuners with ebony buttons (18:1 gear ratio)
Hipshot 7 fixed bridge
German fretwire
CTS 500K pots (tone pot push/pulls to switch the neck pickup to parallel mode)
3 way toggle switch
Switchcraft long type input jack
Schaller straplocks
Gotoh knobs
Buffalo bone nut
Glowing side dots
Nitro-cellulose satin natural finish

Some of you may have seen the buildstory, if not I would recommend checking the build process out HERE.

I managed to wrestle this beastie away from customs this afternoon, and have barely been able to put it down since. I'll try and organise my thoughts somewhat coherently, but there is so much to take in at once it's difficult to know where to start! Of course, I've only just started exploring what this instrument can do so these really are just first impressions..

The whole process with Vik has been absolutely top-notch - from the initial discussions to the end product he has been unwaveringly pleasant, enthusiastic and patient. One of the things that really impressed me when I started talking with him about getting a guitar built was that despite his creations being so wonderful looking, to him the most important thing about them is the way they sound. He is truly focussed on delivering the best sounding instruments he can, not just aesthetically pleasing ones.
His builds always feature drool-worthy woods, so I really enjoyed the timber selection process with him. He did not disappoint, sourcing incredible specimens of each wood for every area of the guitar.
Vik himself wound the pickups, making this the only guitar I own that doesn't have Bare Knuckles installed. It seemed to me to be the best possible representation of Vik's work to have him make the pickups too, making the whole guitar as he intended.

Holding the finished instrument in my hands it's immediately apparent just how much love and attention has been lavished on it. The whole thing is extremely tactile with the satin nitro finish on the body and the oiled/wax rosewood neck. The Duality shape looks even more beautiful in the flesh, with the liquid-smooth body carves being more noticeable. There is always something cool to see at no matter what angle you look at it. The horn carves and non-existent heel make upper fret access laughably easy. The Hipshot bridge is a favourite of mine, so it feels very homely to me. The Gotoh 510 tuners are true luxury, incredibly smooth with zero play, and the self-locking mechanism is very cool once you get the hang of it.

The neck profile is very very nice - 19mm at the nut with a fairly flat-backed D profile. Combined with the compound radius and the flawless fretwork it is effortless to play. Out of the case the action was an inutterably low 0.7mm on the top E at the 12th, though I suspect that it was intended to be that low - a few cold nights in the customs warehouse probably reduced the the neck relief. Amazingly it could be played like that, with the strings sounding only a little choked. With a little tweak of the truss rod though it's still extremely low but the strings have enough breathing room to sing.

Speaking of singing, that's exactly what this guitar does. Unplugged it rings like nothing else, such great sustain and harmonic richness! The upper frets have every bit as much body to their sound as the lower ones, making playing right up at the top end very satisfying in a way few guitars I've come across can.
Plugged in I am still exploring the sounds, but my impressions are that the bridge position (wound to 13.4kΩ with 42 AWG polysol wire) sounds rich and fat, as well as extremely clear and punchy. The guitar has a deep timbre that results in a very satisfying "purr". The neck pickup (asymmetrically wound to 8kΩ with 42 AWG plain enamel) is absolutely beautiful, with an almost acoustic quality when played clean but plenty of body when the gain is ramped up. It's very defined but has plenty of fluidity for Petrucci-ish lead tones too. The parallel option on the neck pickup makes things glassier and sparklier for super-clean and delicate tones but (of course) doesn't introduce hum like a coil-split does. This is my first guitar with a parallel switch, and I don't think it will be the last.

That's about as much as I feel comfortable saying for now since it's still so new, but you can expect lots more thoughts, pictures, clips and videos from me in the near future!

Cheers folks
Cheers! Not as yet, but we should have our 6-track EP ready for sale early next year (tentatively around April).
I recorded another of the songs Misha and I wrote, you can hear both full versions here:

Additionally, here's a work-in-progress of the third song Misha and I wrote if anyone's interested. It's pretty intense!
Cool, just gave you some comments in your thread
Btw, if you're interested to hear some of the Red Seas Fire material with vocals, check out this video on our youtube page:
Hey man, pleasantly surprised by the riffing and rhythm playing!
I feel like the lead guitar lines are sometimes a little bit unnecessary, and cloud the song structure a little bit. Perhaps leaving some parts without lead could work really nicely (and let some of the interesting rhythm parts shine through too). Some of that may be down to the mix though - at the moment the lead is sitting right on top of the mix instead of feeling like an integrated element. Perhaps with a finalised mix things might be different
Do consider using more than just the neck pickup when playing lead - too much neck pickup and it ends up sounding like a kazoo solo. Maybe try getting some more aggressive sounding bridge pickup stuff in there, in general I always find the bridge position to be more expressive and sonically exciting when dealing with high gain soloing.

Good stuff though dude, feel free to keep me up to speed on your music!
Cheers dudes
Seb1uk, just had a listen to rock179 - is it the song or the mix you'd like crit on?
Funnily enough the song was written before the last He Is Legend album came out, but that was one of my absolute favourite records from '09
Quote by Bostonrocks
No harm done, I asked for critiques and thats what i'm going to get. thank you for the insight, I'll definitely take it all into consideration, there is definitely good stuff there

yeah its SSD. also, as you said, its mostly a few big takes, nothing too small , and I should have done more punch ins as you said, but i'm lazy .

Cool, good attitude mate
Okidoke, some crit:

-Detune the intro strings by a few cents - at the moment they are sharp, relative to the rest of the band when they come in. Getting things perfectly in tune is a big part of achieving a professional sound.
-The pace of the song is a bit plodding. If possible, try retracking around 5-10bpm faster to convey more energy.
-Some of the playing is out of time and/or out of tune, maybe try tracking in smaller segments and using punch-ins to get the parts played cleanly and accurately. Watch your intonation on bends during the solo.
-The guitar tone is promising, but they are buried in the mix. Bring them up and then re-evaluate the EQ.
-The drums sound blocky and unnatural - they sound Steven Slate samples? If possible I'd highly recommend you try one of the Toontrack Superior sample libraries - they are the most realistic and natural sounding drum samples out there both because of the samples themselves and the very advanced multisampling technology.
-Bass guitar could use more body. At the moment it's mainly low end rumble and sibilant high end. If you can get some low mid growl out of it and round out the top end it will give the mix a much fatter sound, and once you sort out the issues with the kick and guitars you should find the instruments "glue" together more coherently.
-DEFINITELY get rid of the clipping during the bass solo asap!
-If the vocals aren't final I won't comment on their sound, but do be careful of over-sibilant hard consonants, and compress the screams a lot harder (brickwall them if need be).

Apologies for going hard on you dude, but hopefully there will be some food for thought in there!
Thanks man, I'm just going up to the workstation so I can listen to your track on the monitors.
Hey dudes,

I've been working on some new tones recently so to test out the mix I used an old track Misha and I wrote for our Snuggles project called Uncle Bubbles. It's not quite the whole song, but should be enough to get a feel for the mix.

I used my Dæmoness "Pink Intruder" custom 6-string through the Axe FX for the guitar tones. Drums are a combination of several S2.0 expansion kits, including Avatar, Metal Foundry and Evil Drums.

Hope you enjoy!
Some interesting conversation about my guitar-buying habits, just to clarify - to get the guitars you've seen me post recently I have worked hard (teaching, production, session work), and made shrewd gear purchases that I have been able to sell at profit or trade up to what I have now. I've sold off a fair many of the guitars I had before, and though they've arrived rather close together, this current influx were ordered over a fair length of time.
Re. Red Seas Fire, self-producing this release alongside doing our degrees and working has been very time-consuming. Still, the process is in the closing stages - we are currently (as in right now) recording the final vocal takes, then I will be mixing it all in time to deliver it for mastering in the new year.
There are no words.

(Not the final tuners - they will be black w/chrome buttons, nuts and washers)
I must say that after playing this thing for the best part of 12 hours since it arrived, it's still f***ing awesome. I haven't had to touch the tuners once, which is a phenomenal feat, given the massive climate difference it's been through!
The setup is perfection, the action is extremely low but buzz-free. The fretwork is a masterpiece, the frets aren't huge but bending is effortlessly smooth.

The best thing, however, is that it sounds incredible - very clear, with excellent top and bottom end extension. Clean tones are very pure, and it retains a "piano-like" character under gain (very similar to my Blackmachine B2 in fact).
As expected, the Aftermath in the bridge brings the brutalz, the precision and tightness of this thing beggars belief. I'm swapping it out for a Black Dog though, after deciding that I simply prefer the open-ness and dynamic response you get from low to medium output alnico pickups.
The Riff Raff is an absolute definition monster. You have to work a lot harder than you do with a regular high output neck pickup, but the trade off is awesome clarity and wide open voicing. At the moment it's not really keeping up with the Aftermath in output, which I attribute to the fact that the pickup is moved along nearer the bridge to make way for the 27 frets - less string movement and therefore less output (I've played the same combination of pickups on one of Tim's personal LPs and not found any balance issues). Anyway, with the Black Dog in there it should pair up nicely.

So, to sum up,
Cheers dudes!

Quote by necrosis1193

Beautiful 7-string, but I have to ask, what could you use frets 25-27 for? I doubt my fat fingers would even fit that high up!

Here's the thing though - even though I definitely won't be using those notes for much of the time, the access to the 24th is absolutely effortless.
Hey guys,

So today a lovely package of joy got delivered, check her out:

This thing is just amazing, fit and finish are literally flawless, and it sounds incredible too. I'll give a full review soon, but right now I'm off to have a good play!
At the moment there's a BKP Aftermath bridge, Riff-Raff neck in there, but I'm going to swap a Black Dog into the bridge position after discovering how awesome those things are. Nothing against the AM though, it's brutally aggressive and tight!

Cheers chaps!
Just got some cellphone pictures from Bernie Rico Jr of my finished custom Jekyll 727. So stoked!!

It's all mahogany neck-thru with a big flame maple top. Pickups are Bare Knuckle Aftermath bridge, Riff-Raff neck.
Cheers dudes!

Slicer, thanks man, will hopefully have something up soon.

I just knocked up a clip in a slightly death-metal vein, check it out:
Quote by polishedbullet
I was about ready to cry when I saw a Marshall MG in the background of a pic, but then you ended my doubts with your live performance picture

I've always wondered how those new(ish) Schaller bridges looked, and it seems to fit pretty damn well with the guitar. Are you happy with the bridge?

HNGD! x12943030

The bridge is beyond awesome. It has to be the most comfortable bridge I've ever played, and really makes a noticeable (positive) impact on the tone of the guitar.
Cheers for the comments dudes!

Here's another load of pics for you:

Quote by ThorVonClemson

Where can I get one of these babies for myself and how much?!

Quote by Bonsaischaap
Holy crap; I though waiting 9 months to get my Suhr was long...

Not to detract attention from your lovely new Daemoness and all its radiant pink glory, but what specs did you go for with your new B2?

It's going to be a rather exotic guitar: maple burl top (quite flamey too), black limba back, the usual Honduras rosewood neck, ziricote fingerboard/headstock overlay/neck fillets. Hannes bridge, prototype BKPs... Should be pretty amazing

This is the ziricote billet, I sourced it myself and he agreed to use it:

Quote by Bonsaischaap
Lucky for him he already has one then.

On a related note, did you sell your B6 Nolly?

Yes, I had no intention of doing so, but I got an offer I couldn't say no to for it.
However, Doug is building me a B2 right now, a mere 31 months since I put down the deposit
Thanks guys!

Quote by Dempsey68
looks nice! the action in the first couple of pics looked a bit high too but i imagine it's quite the oppositte.

bet that set you back many £'s.

HNGD anyway

Since the guitar was so new I asked Dylan to set up the action a bit higher than normal just in case the setup shifts a little (as is almost always the case with brand new guitars) in the first 24 hours - I didn't want to get onstage to find the strings rattling uncontrollably. I'm taking it back to the shop later this week and Dyl will set it up with his usual "flat to the deck with zero buzz" setup job on it That said, the massive frets (Dunlop 6000s) and scalloping make it look higher than it is because the strings are always far away from the fretboard itself. The action is still very comfortably shreddable.
As far as price goes, it was around the £1800 mark, so really quite reasonable for a full custom with a time-consuming inlay job.
Hi guys,

Prepare your eyeballs!

So, the specs are:

Dæmoness Cimmerian body shape w/contemporary carve option
Set-neck construction with custom thumb notch
Flamed maple top on a swamp ash body
Hot pink finish on top (gloss), natural satin finish on body and neck
3-pc birdseye/flame maple neck w/birdseye maple board
20" radius, angled scalloped frets from 15-24
Thin "Flatbacker" neck profile
Black binding on neck/headstock, side clock inlays (MOP)
Eye inlay design from my band Red Seas Fire's artwork
Bare Knuckle Pickups: Aftermath bridge, Sinner neck
Schaller Hannes bridge, Hipshot locking tuners

Needless to say this thing is an absolute beast. Dylan worked really hard to get it done in time for me to use it at my demo for Bare Knuckle Pickups at the Manson's Guitar Show in Exeter this weekend, and while it was nervewracking playing a show with a guitar less than 24 hours old, it came through like a champ.

Fit and finish is totally flawless, and all of the little personal details I requested have been executed exactly as I asked. The inlay of course came out beyond my wildest expectations, and continues to blow me away every time I see it. The pink is such an amazingly vivid colour, under direct white light it has a fluorescent hue that is pure 80s, but in different situations it can look closer to baby pink or even salmon pink (under yellow light particularly).
After working on many of my guitars and building me a 7 already, Dylan knows my preference for neck profiles, and he hit the nail on the head with this one. At 18.5mm it's very thin, but somehow it still has enough substance in the right places to feel extremely comfortable for chording. (I should probably say, I'm not a fan of super-thin necks like the Wizards that feel like playing a piece of paper - this is a very different vibe). The scallops up at the top end of the fretboard feel amazing, it makes grabbing bends so easy and secure - you can just get more finger right on the side of the string, rather than having to push it downwards into the fret to prevent it from slipping out from underneath your finger when bending.
I love the Schaller Hannes bridge to bits, I've wanted a guitar with one for a long time so it's amazing to have one now. It's so comfortable under the palm, but perhaps more importantly really improves the sound of a guitar - you can hear just how different the tone is unplugged, and plugged in it is just so direct and punchy.
The side block inlays are a revelation for finding your way around with minimal effort. On stage I found that the shiny mother of pearl reflects light very clearly, making them almost glow in the dark.

The Aftermath in the bridge is completely ridiculous, the guitar sounds SO aggressive and tight. It has a real 'percussive' sound to palm mutes that makes fast riffing on the low string sound like a machine gun rattling off. So clear and punchy, and at around 15k it's not compressed or overly saturated sounding at all.
The Sinner in the neck was also amazing. Initially I was worried about putting a true single-coil in the guitar and risking hum, but I'm completely sold now - the pickup is incredibly quiet, the change in noise is almost undiscernible when switching from bridge to neck, and the tone this thing puts out is just unreal. Fat, smooth, with that beautiful single-coil attack. It can shred and scream, but I tried it through some classic-voiced amps at the guitar show, and it totally nailed the fat single-coil Andy Timmons tone (especially through an H&K Statesman combo).

Anyway, that's enough typing for now, hope you guys dig the guitar as much as I do. I'll end this thread with a couple of pics from the BKP demo I did (vids of that to come!)

Cheers dudes!

Quote by Yngwi3
Adam - Didn't realise you were actually on here xD Cab looks fantastic. I'm in the market for a 2x12 for my dorm but I need to spend a little less - I'm thinking the Framus off of Thomann, otherwise I'd definitely look into getting a Fat Boy, especially as they're cheaper than a lot of mass produced cabinets!

Yeah, once upon a time I used to post here relatively frequently. I figured at this price point the Zilla cabs could be popular around these parts
Thanks guys!

maddnotez - I imagine it'd make a great pairing, the full voicing of the Fatboy should compliment the dry and aggressive nature of the VHT. You could try it with G12K-100s for a smooth top end and even more low end efficiency (or even a V30/G12K-100 mix for the best of both worlds).
Hey guys,

I just picked up a custom 2x12 made by Zilla cabs in London UK: Zilla Music Custom Cabinets.

I've played my friend's Zilla oversized 4x12 before and was extremely impressed, then recently I bumped into Zilla guy Paul at a music show and got chatting with him. We started talking about how much of a pain in the arse 4x12s can be to carry around, which led Paul to explain about his Fatboy 2x12 design. As he explained it, due to its extra depth and height, the Fatboy can go toe-to-toe with a 4x12 with an extremely tight and big bottom end and very punchy response.
I was pretty shocked to find out his prices - only £240 for an unloaded cab, plus £70 per Celestion speaker.

After thinking on it for a day or so I decided to give Paul a call and place an order. He's got a load of crazy tolex and grille cloth options but I decided to go with the classy "Black Taurus" covering and the regular black grille, with white piping and chrome fittings. I opted for Vintage 30s, and asked for a locking Neutrik jack socket so there's no chance of the speaker cable popping out at high volume.
As it happened, Paul had been building a Fatboy for stock that already had been covered in black taurus, so he managed to get the cab done in a mere three days!

And here she is:

Build quality is awesome, this thing is a tank. Aesthetically it's a very handsome cab, really glad I went with the choices that I did. One really cool thing is that you can see the speakers through the grille cloth very easily - should make mic'ing up a very straightforward process. The locking Neutrik jack gives a great sense of security too.
It's a tad deeper than the Diezel 4x12, and about 2/3rds of the height, but with only 2 speakers it's very comfortable to carry around. I'll be placing it on top of my rack at rehearsals/gigs so that it's at a great monitoring height. I have no doubt it'll have zero issues punching through a band mix.

I just got to crank it up a bit through my rig (Axe-FX -> VHT 2/50/2) and I'm pretty floored at how it's sounding, especially since the speakers are brand new with zero playing time on them. The projection is insane, this thing pushes out the notes with all the force you'd expect from a big 4x12. The low end response is extremely tight and punchy, and gives plenty of chug, even with the cab up on top of my Diezel 4x12. I'm sure if it's placed on the ground it'll be even huger sounding.
With cleans and mid-gain tones out, the cab sounds very full and deep, but at the moment the response is a little stiff - but I have no doubt that's the result of the brand new speakers.
Needless to say, I'm a convert! The ability to carry my cab almost effortlessly up and down stairs and still retain the big sound I want and the necessary low end to push out the bottom notes on my 7 is priceless.
I'm really intrigued to try out a Zilla Modern or Studio Pro 2x12 in a stereo configuration now...

Anyway, sorry for the essay. To sum up, Zilla cabs are the real deal - excellent products, bargain price-points and top-notch customer service. Highly recommended!
No worries dude! Not sure if you saw, but I got my custom 7 from Dylan just over a week ago, here's the NGD thread if you didn't: