Jackson Randy Rhoads l l

All the equipment from this era used Gibson range, or something near. Ibanez equipment of these days, like the RGs or the PGMs, are more of a Strat range. I like tossing a set of .010s on the mature shorter-scale equipment because the chain stress really seamless comfort. On the more recent equipment, I usually use .009s. It’s fun to use .010s because they have large overall tone.

The classic one I really like best is a ’79 Specialist 2630. It’s a semi-hollow with f-holes and looks a lot like an ES-335, but has a single-coil tap. I was amazed it was known as “Artist” because the common Specialist looks like a double-cutaway Les John. I did not even know they created a semi-hollow Specialist. It’s really a completely different device with a much larger system design. Later in the ’80s, they created small variations, which I think may have been the AS equipment, but this is a full-size semi-hollow. Whoever had it before me must have performed it a lot, so I put new frets on it and DiMarzios in it. I use it all enough here we are at producing and on some events. I experience amazing with a semi-hollow onstage at the front part of a noisy amp. But it’s one of my preferred equipment. If my home was on flame, that is definitely one of the equipment I’d get first. It’s really an amazing device.

The next era of Ibanez contains my 1982 sharp device selection, like the Destroyer II and Bomb Move II. They have sunburst and organic completes, executed, and they are just like an Traveler and a V. But Ibanez came up with a a little bit different system design, and the headstocks are just like what you see on an RG now, with six the tuners on a part. I’ve visited with those quite a bit. They audio excellent and have small sized range, so it’s less attempt when I toss a set of .010s on them.

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