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I'm Andy the Guitar Geek! You'll know me me from YouTube, where I review, demo, mod and make tutorials on all things guitar. With over 150K subscribers, I guess I'm kind of a big deal (just kidding, I'm still a dorky guitar nerd at heart).

About Me
Andy Ferris AKA The Guitar Geek is a British guitarist and YouTuber, is recognizable for his distinctive Afro, glasses, and quirky sense of humor. With over 150,000 dedicated subscribers, his channel is a hub for gear reviews, gear news, artist interviews, and more, solidifying his status as a beloved figure in the industry. Andy was voted as the fifth-best online guitar personality of 2022.
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New Guitar Gear: Inside Skunk Anansie’s Ace Live Rig
I’m Andy Ferris — the Guitar Geek — and in this piece I take you backstage and deep into Ace from Skunk Anansie’s live rig to unpack the New Guitar Gear, amps, cabs and pedals that give him that seismic, record-accurate sound on stage. If you love the tactile joy of analog pedals, the feel of vintage tube amps, and the satisfying logic of a rig that’s evolved over decades, you’re in the right place. I watched Ace walk me through his setup and I’ve written this as a hands-on, practical guide so you can understand the why and the how behind the New Guitar Gear choices that shape his tone.
Outline
- Guitar rack breakdown: signature PRS, Starla prototype, SE 277 baritone and the Tremonti workhorse
- Amps and cabs: vintage Greenbacks, heavy Zilla cab, warm clean coach cab
- Amp rack tour: heads, prototypes and the split-channel philosophy
- Pedalboard philosophy: analog, spacing, switching and the Mike Hill board
- Backup fly rig and travel-friendly New Guitar Gear
- Live rig demo: dirty and clean tones explained
- Actionable takeaways for building your own New Guitar Gear rig
Introduction: Why this New Guitar Gear matters
When you listen to Skunk Anansie live, the guitar tone isn’t just loud — it’s precise, layered and recognisably the record. That happens because Ace builds his rig around the core idea of reproducing the record tones on stage. For me, as a guitar geek, learning the practical choices behind that sound — the specific guitars, the split amp/cab approach, and carefully chosen pedals — is fascinating. This is New Guitar Gear beyond flashy specs; it’s about functional choices that stand up night after night.
Guitars: The rack that tells stories
Ace’s guitar rack is smaller than it used to be — but every instrument there has a specific role. He told me he used to have a guitar for every tuning; now he carries only the ones that matter for the set. Let’s look at the core pieces of New Guitar Gear he uses.
PRS Ace Signature — D# (the achievement)
The PRS Ace signature is, as Ace put it, “my achievement in life.” Tuned down a half step to D# standard, this is the go-to for a handful of songs like “Secretly” and “Love Someone Else.” A few practical mods help make it stage-ready: coil taps installed by Nick at PRS, and a block behind the bridge so a snapped string can’t pull the bridge back — effectively a fixed bridge feel. The swallow inlay and the personalized sticker work make it unmistakably Ace.
PRS Starla Prototype — the vintage voice
On the new album and live, Ace uses a Starla prototype for songs where he wants that vintage tone. The finish is purposefully wearing off — it scratches with a fingernail — and that provokes the right character both visually and sonically. As part of the New Guitar Gear lineup, the Starla is prized for its old-school voice and stage presence.
PRS SE 277 Baritone — the low-B workhorse
The SE 277 baritone is a major piece of New Guitar Gear on this tour. Ace mentioned three or four songs on the new album sit down around low B — and that’s what this guitar covers. It’s fresh on the rack (hence fewer stickers), and it’s already had a make-do mod — tape to stop strings catching under pickups when he hits hard. It also sports a coil-tap like the rest of his PRS instruments, letting him dial cleaner tones when needed.
The Tremonti from 2008 — the mainstay
Ace’s true night-in, night-out guitar is a 2008 Tremonti model he’s toured with forever. This one is ME (E standard) tuned and covers most of the set. It’s heavy, it’s been through the wars and Ace swapped the original pickups for PRS 57/08s early on — a change he did when the 57/08 was a new option. The result is a “vintage” voice with a seasoned, roadworn tone. The neck is wide-thin and handmade-feeling, which, for Ace, contributes to the feel and sustain that helps huge chords sing out in a big room. That’s New Guitar Gear with history — the kind of instrument that keeps sounding better the more it’s played.
Amps and cabs: How Ace gets a double-tracked live tone
Ace’s amp and cab approach is the heart of how he recreates record tones live. Rather than using one amp and a bunch of post-processing, he embraces multiple physical sources and uses them together to create the perception of double tracking. That’s one of the smartest moves in his New Guitar Gear setup.
Custom white & gold cab with vintage Greenbacks — Led Zeppelin/Free vibe
Ace wanted a cab that looked like Randy Rhoads’ and sounded like Led Zeppelin / Free — warm, full-bodied and organic. Marshall built him a custom white-and-gold cab with vintage Greenback speakers. This cab gives the rounded, full low-mid character that nods to the 70s sound that Ace loves. It’s heavy, and it’s lived on the road for decades.
Zilla cab with vintage G12-30s — Slash/Guns N’ Roses attack
The second heavy cab is a Zilla with extra-thick construction and what Ace believes are vintage G12-30s. This cab provides a tighter, faster attack — more of a 90s Marshall-style voice (think Slash) compared to the warmer Greenbacks. By running both cabinets, he obtains two different attack/decay profiles: one cab attacks and decays quicker, the other decays slower. Split left/right on stage, they create a double-tracked stereo image that gives weight and width — a studio trick done live with pure New Guitar Gear logic.
Coach (Holland) custom clean cab — warm, round cleans
For clean tones, Ace uses a custom cab from Coach in Holland, chosen specifically with the speaker mounted behind for warmth. The clean cab is independent of the heavy cabs and routes the modulation and clean-only effects so the clean channel remains sculpted, round and uncoloured — perfect for parts that require clarity against the dirt channels.
Amp rack tour: heads, prototypes and a little ghostly reverb
Ace’s amp rack is a living museum of heads and prototypes—each chosen for the way it contributes to the whole. He runs three primary heads, and each does a job in the orchestration of tone.
Marshall JCM900 — the classic foundation
One of the oldest amps in the rack is a Marshall that Ace bought when it first came out — a JCM900. He runs the gain up but pulls back presence and treble so the amp sounds big without being ear-splittingly sharp. This is a classic live trick: when you push valve amps loud, rolling back the top end keeps the tone big and comfortable, especially when stage monitoring is limited. He also told me a funny story — the reverb that failed long ago decided to come back to life on tour; Ace calls it a ghost.
Koch Powertone prototype — the distortion voice
Next up is a prototype Koch Powertone head modified just for Ace. He uses the master/distortion channel and likes it because it evokes the attack of older Marshalls like the 800 series. Combined with the Marshall, the two distortion sources provide differing transient responses that, when panned left and right in the PA, sound like two separate guitar tracks — again, making the live sound feel double-tracked. Stickers on the head are the visual history of months spent dialing it in.
Koch Powertone (clean channel) — a Fender-like clean
The third head in the rack is used mainly for a loud, clear clean — a big Fender-like bell. Ace uses the clean channel only, and modulation/delays are routed through racks to this amp. That separation means he can flip to a purely clean stereo sound without muddying or re-routing the distortions.
Racks for modulation and independent switching
Above the heads sit the racks that handle delays, choruses and modulation. Ace programs them so the clean amp gets the modulation and delay in the right timing — and crucially, so he can switch the clean channel independently from his distortion channels. That lets him stomp into a song’s clean part and have it be a pure, record-accurate clean while everything else remains on in the distortion chain. It’s New Guitar Gear orchestration done properly: physical routing, not just presets.
Pedalboard philosophy: space, analog tone and the Mike Hill board
Ace’s main pedalboard is a thirty-year-old custom board made with Mike Hill (the man behind the Marshall master volume patent). It’s a window into a philosophy I love: leave breathing room, build durability, and prioritise tone over complexity. That’s what real New Guitar Gear thinking looks like.
Why big spacing matters
Ace prefers a lot of space on his board so he can stamp without accidentally hitting neighboring pedals. Everything is laid out visually — green, orange — so he can stomp in the dark with confidence. The Mike Hill build integrates all the electronics: buffering, switching across two channels (clean and dirty), and low-noise splitting to three amp outputs. The pedals themselves sit outside the box for accessibility.
Pedal choices — all-analog for grit and interaction
He uses analog pedals in front of the amp (not in the effects loop) because he loves how they push tubes. That’s a key piece of New Guitar Gear logic: the interaction between pedal and amp is essential. Here are the main pedals Ace keeps on stage:
- Signal pad for volume/gain adjustment (used like a volume pot)
- Fifths/octave (classic Skunk Anansie sound — thick and harmonic)
- Envelope filter (original used for the “Hedonism” solo)
- Horse Meek overdrive (transparent overdrive to warm and push the amp)
- Hardwire chorus (reliable, studio-grade chorus)
- Angry Rhubarb (Mikey from Skindrett’s pedal — heavy fuzzy tones)
- Hardwire delay (studio-delay settings that Ace likes live)
Signal routing and the Digitech control
The Digitech control unit only affects the clean racks — and Ace programs whole songs to switch to the clean amp when required. That means you can have every distortion pedal on but step to the clean and get a dead-clean channel instantly. The main board splits the guitar to two distortion amps and one clean amp: everything after the split only goes to the distorted channels, while the racks for modulation feed the clean channel.
Backup fly rig: small, travel-ready New Guitar Gear
Touring hassles are real, and Ace has a compact pedal train as a spare or air-travel fly rig. It replicates much of the main board’s functionality: a Lehle switcher + P-split + PS ISO, a pad, a fifths pedal, classic DOD Looking Glass, a Brown Spirit fuzz from Vanda FX, a Nautilus (chorus/flanger) and a modern envelope where needed. It’s small, cheap to replace and airline-friendly — the sensible side of New Guitar Gear.
Live rig demo: the dirty and the clean
Ace demoed the rig for me — stepping through the dirty straight-into-amp tone, the effect of drive pedals, the envelope filter, octave, chorus and fuzz, then switching to a pristine clean. Watching the way each control interacts live explains more than any schematic ever could.
Dirty tones — amp-first identity
The dirty tone is essentially the amp. Pedals are there to push and colour, but the basis is pure valve amp drive. Ace keeps the distortion channels predominantly amp-driven and adds pedals like Horse Meek to heat things up. The result is a recorded-sounding heavy tone that still breathes on stage.
Envelope and octave — the Skunk Anansie trademarks
The envelope filter and octave (fifths) are part of the band’s signature. Ace keeps the envelope for solos like “Hedonism” and the octave for that thick harmonic body on parts that need to sit in the mix without clashing. He tunes the octave and the overall guitar tone to sit with the other instruments, which is why the sound can seem duller on its own but enormous in the mix — that’s intentional New Guitar Gear tuning.
Clean tones — dialed to match the record
Ace programs his clean channel to match the record as closely as possible. He said he reprograms or tweaks the clean sound every record he makes so live parts sound like the studio versions. The clean is bright, bell-like, and carries the modulation and delay in the correct stereo image to recreate the recorded space.
Practical takeaways: Build your own New Guitar Gear rig (without guessing)
If you want to build a rig influenced by Ace — practical, roadworthy, and record-faithful — here are the steps I’d recommend. These are not opinions; they’re distilled from Ace’s choices and how those choices translate to consistent stage tone.
1. Choose a small set of guitars, each with a purpose
- One primary instrument in your main tuning — the ‘workhorse’. Make it reliable and comfortable.
- One instrument for alternate tunings you use regularly (baritone if you have low-B songs).
- One ‘colour’ guitar for vintage tones or distinct character (e.g., a Starla-style guitar).
Keeping it compact reduces switching time and makes your life on stage easier. That’s sound New Guitar Gear reasoning.
2. Think in physical sources, not plugins
Double-tracking can be staged with two amp/cab pairs that have different speaker responses. Instead of relying on stereo effects to fake width, pair a warm, slow-decay cab (Greenbacks) with a fast-attack cab (G12-30-like). Split and pan them for instant depth.
3. Keep a clean amp and a dedicated modulation path
Route modulation and delays to a clean amp and keep distortion amps dry. This gives you clean-stereo delay and chorus that don’t get smeared by gain stages.
4. Use pedals to interact with tube tone, not to replace it
Put overdrives and dirt in front of the amp to push tubes. Keep modulation and time-based effects where they best serve the sound (often after the amp for direct studio-style repeats to the FOH). For New Guitar Gear, think about interaction, not isolation.
5. Build redundancy into the rig
Have a flight-friendly pedal train with essential pedals and a small switching system. In Ace’s case, the small pedal train mirrors the main board and keeps the show moving when something breaks.
6. Make switch logic simple and visual
Big, spaced pedals that are easy to see by touch reduce mistakes on stage. A single stomp to clean that really mutes the distortion chain is valuable. That’s why Ace uses a big pedalboard with visible colors and spacing — minimal camera tricks, maximum stomp confidence.
Why simplicity wins: a final word on philosophy
Ace’s rig is “old school” in the best sense: it’s pragmatic, durable and designed around the songs. He wants to hear what he made on the album — he wants the audience to get the record experience live. That leads to choices that are surprisingly conservative: run through tube amps, use analog pedals up-front and split real cabinets to achieve studio depth. As he said, it’s not a matter of being stuck-in-the-past; it’s about what works.
There’s also an important human element: Ace wants to be able to swap a pedal, change a setting on the fly, and step on a switch without second-guessing where the chorus is. For touring musicians, reliability and speed beat theoretical perfection every time. That’s an essential part of New Guitar Gear thinking.
Final notes — what I took away as The Guitar Geek
Walking through Ace’s rig reminded me why I love hands-on gear: the way physical amps, purposeful cab pairing, practical pedal choices and simple switching logic come together to create something that sounds like a record in a real room. If you’re investing in New Guitar Gear, ask yourself three questions before you buy: Does it serve a purpose? Does it survive touring? Does it interact well with my amp? Ace’s rig answers those with a resounding yes.
The New Guitar Gear lesson from Ace is: build around the song, choose gear that complements one another, and don’t be afraid to keep things tactile and simple. If you’re chasing tone, remember that some of the most convincing studio effects can be replicated by smart routing and real speakers. That’s something a lot of modern setups forget.
Further reading and quick checklist
Use this checklist to start implementing elements of Ace’s rig into yours:
- Pick one reliable workhorse guitar in your main tuning.
- If you need low-B, consider a baritone (PRS SE 277 style).
- Invest in two distinctly voiced cabs (one warm/slow, one tight/fast).
- Choose a distortion amp head that complements your primary amp for stereo drive.
- Route modulation/delay to a dedicated clean amp or send.
- Use analog pedals up-front to push tubes; avoid over-combining functions unless you need them.
- Build a small travel pedalboard as a backup.
If you want to nerd out further, try swapping speakers between cabs and listening for the attack/decay differences — that’s where Ace’s stereo double-tracked magic lives. Also, experiment with running a transparent overdrive in front of a pushed amp to see how the interaction changes both harmonics and dynamics.
Thanks and where to go next
It was an absolute pleasure taking apart Ace’s rig with him. The practical lessons packed into his New Guitar Gear approach are brilliant: they remind us that tone is often solved by better routing and better choices, not more complexity. If you’re building a rig for gigs, take the road-tested approach: start small, make each piece earn its place, and make sure it all works together on stage.
Go plug in, push tubes, and enjoy the hunt. If you build something inspired by Ace, drop a note — I love seeing rigs that balance history, practicality and tone.
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Fender CROSSED THE LINE With the Ultra Luxe Vintage Stratocaster | Guitar Auction Thoughts
Today I want to walk you through my first impressions and full breakdown of the Fender American Ultra Luxe Vintage Sixties Stratocaster HSS. If you are the kind of person who reads listing details before a Guitar Auction, or you are deciding whether to buy new or wait for a secondhand score, this review will give you the practical, hands-on detail you need. I dug into the pickups, the hardware, the feel, the sound, and yes, the price. And I will be honest: this guitar will make a lot of people rethink what a modern vintage Strat can be.
Table of Contents
- Overview and First Impressions
- Sound: Clean, Surf, and Humbucker Power
- Playability: Neck, Frets, and Contour Heel
- Hardware and Electronics: What Fender Put Under the Hood
- Setup, Tuning Stability, and Weight
- Measured Pickup Readings and What They Mean
- Case, Accessories, and Presentation
- Price, Value, and the Guitar Auction Angle
- Final Thoughts
Overview and First Impressions
Fender have taken a bold route. They have built a sixties-style Strat with heirloom nitrocellulose lacquer that used to be Fiesta Red and now reads as a corally, aged finish. They then added modern playability features: stainless steel frets, a rosewood fingerboard with clay dots, locking tuners, a floating two-point trem, S-1 switching, and a modern Haymaker humbucker in the bridge. On paper it sounds contradictory. In practice it plays like a vintage Strat given modern tools.
The intention is not to replace vintage instruments. Fender say they want to cover the tonal and visual range of the sixties Strat while being reliable enough to work night after night. As someone who has been playing Strats for years, I approached this with skepticism. But when I opened the case I was surprised at how convincingly Fender balanced vintage looks and modern convenience.
Sound: Clean, Surf, and Humbucker Power
I ran clean tests through a Fender Deluxe Reverb and more aggressive tones through a Marshall JTM Studio. The neck and middle single coils are true to the vintage ’61 profile: glassy, articulate, quintessential Strat sparkle. Position one delivers that surf tone with the right bell-like clarity.
The Haymaker humbucker in the bridge is a modern animal. In full humbucker mode it is beefy with noticeable bottom end and fullness. When I engaged the S-1 coil-split via the push in the volume knob, the split did not become anemic the way some split coils do. Instead it turned into a hot single coil character that still had presence and definition. That makes the bridge far more versatile than a conventional HSS setup where the coil split often feels like an afterthought.
On heavier rock settings the Strat remains usable. It can feel a bit brash on its own through a Marshall with lots of presence, but in a mix the humbucker sits neatly. The conventional caveat applies: Strats will never sound like an SG or Les Paul in the low mids, but this one narrows the gap considerably.
Playability: Neck, Frets, and Contour Heel
The neck is what Fender call an augmented D, which is very close to a modern C. Slim but not skinny, satin finished and comfortable. It is not a roasted maple neck. At this price point some players might expect roasted maple, but the neck feels stable and plays like a worked-in guitar.
Fender used stainless steel frets here. The fretwork is stellar: crowned, shiny and rounded, and the fretboard edges are comfortable. That gives the fretboard a “played-in” feel without heavy relicing. Speaking of relicing, the heirloom treatment is subtle. The finish is matte with visible but discreet checking. If you want the feel of a broken-in instrument without full relic theatrics, this hits the sweet spot.
Another welcome modern touch is the contoured or “comfort” heel. It removes the blocky feel around the upper frets and lets you reach higher positions without wrestling your hand. For players who move up the neck, this is a real ergonomic win.
Hardware and Electronics: What Fender Put Under the Hood
Under the pickguard you find top-notch components. The cavity sports an orange drop capacitor and substantial pots. The vintage single coils get vintage-style wiring while the humbucker is wired differently to allow the S-1 split to sound punchy. There is also a practical quick connect on the pickguard wiring. That quick connect makes pickguard removal and servicing much easier than taking multiple solder joints apart.
The trem block is tapered for better break angle and there are black trem springs that match the aged look. Fender did not go for full conductive shielding in the cavity, but noise performance is fine in typical environments. The output jack is standard Fender quality: it will do the job reliably.
Setup, Tuning Stability, and Weight
One of the first things I test is the trem. This model ships with a floating two-point trem that is set up to be usable right out of the case. A light flick moves it; you can go down and get a semitone up as well. That indicates a well-assembled setup from the factory. Locking tuners help with tuning stability, and the guitar stayed rock solid even after transport and some hard playing.
Weight is about 3.55 kilos which converts to 7 pounds 12 ounces. That is comfortable for long sets and not overly heavy for studio work. The balance is good because the design keeps the guitar from being neck heavy.
Measured Pickup Readings and What They Mean
I measured DC resistance to get a sense of relative output. Here are the numbers I recorded:
- Bridge humbucker: 7.1-7.2
- Position 2: 3.2
- Position 3: 5.9
- Position 4: 2.9
- Position 5: 5.8
- Split humbucker: 3.5
- Split on position 2: 2.2
These figures show the humbucker is hotter than the single coils but not massively so. The split humbucker sits in the hot single coil territory which matches what you hear. Tonally, the transition between humbucker and split modes is useful rather than jarring.
Case, Accessories, and Presentation
The guitar ships in a substantial brown tolex style hard case with gold latches and a bright orange interior. Inside you get a certificate of authenticity, a switching guide for the S-1 functions, strap lock hardware, documentation, and a Fender sticker. There is no strap included which is something Fender does include with some Custom Shop models, so that is a small missed opportunity for extra value.
Price, Value, and the Guitar Auction Angle
This is the top of the range Fender. The name is long: American Ultra Luxe Vintage Sixties Stratocaster HSS. The price reflects the top-tier positioning. If you are thinking of waiting for a bargain at a Guitar Auction, factor in how rare this configuration may be in used markets. People who buy these and keep them as working instruments will not often sell them. If you have a fixed idea that a Guitar Auction will net you a mint example for half price, that is possible but not guaranteed.
If you only need a Strat for occasional fun or you prefer more affordable models, you will not need this one. If you are a working player and you need a single reliable Strat that can cover surf, funk, chunky bridge tones and studio work, this is a compelling option. For many buyers, that reliability and the finish and hardware package will justify the price when compared against chasing multiple guitars or hunting through Guitar Auction listings for the perfect specimen.
When listing or bidding at a Guitar Auction, make sure you examine the finish, verify the serial and build dates, and check for the S-1 switch configuration and the Haymaker humbucker. These are the elements that give this model its identity and resale value.
Final Thoughts
Is this the perfect Strat? I hesitate to use that word, but it is close. Fender have made a guitar that captures the sixties vibe while adding modern staples that make sense on the road. The Haymaker humbucker gives the guitar low end and weight, the split is musical, the neck is comfortable, frets excellent, trem set up from the case, and the case itself is roadworthy.
If you are in the market and you value a single instrument that covers many bases, this should be on your shortlist. If you attended a Guitar Auction and this appeared in the lot list, you would have a strong case for bidding. If you do buy one, expect it to be a frequent player rather than a closet ornament.
FAQ
Does the S-1 split work on all switch positions?
No. The S-1 coil split only affects the bridge humbucker in positions 1 and 2. It does nothing in positions 3, 4 or 5.
Are the neck and middle pickups vintage correct?
Yes. The neck and middle are Fender pure vintage ’61 single coils and sound like what you expect from a sixties-style Strat in those positions.
Will this replace my vintage Strat?
Fender do not intend to replace vintage instruments. This model is designed to be a reliable and versatile working Strat that covers many tones. If you need original vintage mojo for collecting, this is not a direct substitute. If you need performance and flexibility, this could replace several guitars in your case.
Is it worth buying at a Guitar Auction or retail?
Both have pros and cons. A Guitar Auction might yield savings, but availability is unpredictable. Retail gives you immediate warranty support, correct setup, and verified condition. If you find one at a Guitar Auction in excellent condition, it could be a deal, but make sure you inspect S-1 and the humbucker configuration.
How heavy is it and does it stay in tune with heavy trem use?
Weight is about 3.55 kg or 7 pounds 12 ounces. With the locking tuners and the two-point floating trem it stays surprisingly stable for a Strat with a floating system when properly set up.
What would I change if I owned one?
Personal taste varies. I might add a strap and possibly a roasted maple neck option if Fender ever offers one. But the guitar is highly playable as delivered and will satisfy most players without modification.
If you want to dive deeper, check the links in the description where the guitar is available new. If you are scanning Guitar Auction listings, use the features and specs I have listed as a checklist to quickly evaluate any lot. Let me know what you think and whether you would bid at a Guitar Auction for one of these. I will meet you in the comments if you want to discuss setup, mods, or tone choices.
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This Guitar is Going to Cause BIG Problems: A Deep Dive into the Baum Leaper Melody Vega
Hey there, fellow guitar enthusiasts! Today, we’re going to dive deep into a unique piece of new guitar gear that I recently got my hands on. Spoiler alert: there’s only one of these in the world, and somehow, it’s here with me! Yes, you guessed it—it’s the Baum Leaper Melody Vega prototype, and let me tell you, it’s as stunning as it sounds.
First Impressions: Unboxing the Gold Sparkle
As I pulled this beauty out of the box, the first thing that struck me was its color. Sparkly Inca Gold! Now, I’m no fashion expert, but this guitar looks like it belongs on a stage with a gold suit. Seriously, if I ever get the chance to perform in Vegas, this is the guitar I’d want by my side.
But let’s not get ahead of ourselves. This is a prototype, which means it doesn’t have a pickup system yet. That’s right—no gimmicks, just pure craftsmanship and soul. And boy, does it feel light! For an acoustic guitar, it’s definitely lighter than your average solid body electric. You know what they say, lighter means you can play it longer, or at least that’s what I tell myself!
Sound Check: Can It Hold Its Own?
Now, I know what you’re thinking: “Andy, how does it sound?” Well, let’s set up a mic and find out! I used my trusty Lewitt 540 S condenser mic, along with some other mics to capture the sound in all its glory. Since this prototype doesn’t have a pickup, I had to get a bit creative with my mic setup.
First up, I recorded some low-end riffing and medium-strength strumming. The sound? Oh, it was warm and balanced. Honestly, it felt bigger than it looked and sounded. You know how some guitars feel squeaky and new right out of the box? This one didn’t. It felt like I’d been playing it for years, which is a testament to its build quality.
Fingerpicking and Strumming: A Versatile Companion
Let’s talk about playability. I grabbed it for some fingerpicking, and let me tell you, it did not disappoint. It covered all the bases for what I want from an acoustic guitar. Open chords strummed beautifully, and it felt comfortable in my hands. But there was a little ringing behind the nut, which is pretty normal. Just a little finger placement behind the nut, and voilà, problem solved. Clean golden acoustic sound achieved!
Taking It Outside: A Bonding Experience
On a whim, I decided to take this beauty outside. The sunlight was glorious, and I wanted to see that sparkly gold in all its glory. Let me tell you, the rainbow sparkle that popped out was simply breathtaking. It’s not just a flat gold; it’s a universe of colors!
But it’s not all about looks. So, let’s get into the specs, shall we?
Specs and Materials: What Makes It Tick
The Melody Lipa Vega features a Sitka spruce top with mahogany veneer back and sides. The neck is also mahogany, and the fretboard is rosewood. The bridge plate is maple, while the bridge itself is ebony, and the pins are ebony with an abalone inlay. The rosette? Tortoise shell, which is just gorgeous.
Now, up at the fretboard, you’ll find mother of pearl butterfly inlays. Seriously, these details make the guitar feel like a work of art. The nut is ox bone, and we’ve got a rosewood veneer on the headstock. As for the tuners, they’re open-back vintage-style and, you guessed it, they look the part. The wheels on the back? Gold, of course, matching the front.
The Build Quality: Flawless and Premium
Let’s talk about build quality. This guitar is not cheap, but it’s worth every penny. I’ve played guitars that cost twice this one, and they don’t even come close in terms of quality. Everything is flawless, and it screams premium. By the way, if the gold is too much for you, it also comes in Nordic green and pearl black. But let’s be real—gold is where it’s at!
Playability: A Joy to Play
Now, I’ve had a chance to really bond with this guitar. It’s comfortable, and it sits nicely in your hands. Even though I typically prefer thicker necks, this one felt just right. If Baum can do this with every guitar they produce, they’re onto something special. I can’t wait to try out their full-fat version!
Capo Test: Does It Hold Up?
One of the tests I always do is the capo test. Many acoustics fail when you stick a capo on the higher frets, but this one? It passed with flying colors! I slapped the capo on the seventh fret, strummed a chord, and it sounded beautiful. That’s what I like to hear!
Price vs. Value: Is It Worth It?
Now, let’s talk about the elephant in the room: the price. At $1,599 for this model, it might seem steep. But having played it, I can confidently say it competes with guitars that cost $2,500 or more. It’s not just about the price; it’s about what you’re getting. A premium sound, build quality, and playability that’s hard to beat.
Some might argue that their $300 guitar sounds just as good, but let me tell you, they might be listening through a tin can. With over a thousand guitars played, this one stands out as one of the best.
Final Thoughts: A Magical Experience
So, to wrap it all up, the Baum Leaper Melody Vega is an incredible piece of new guitar gear. It’s not just a guitar; it’s a magical experience. The looks, the sound, the build quality—it all comes together to create something special. If you’re in the market for a new acoustic, I highly recommend checking it out.
And remember, you can only buy this beauty directly from Baum. So, if you’re ready to take the plunge, hit the link in the description. You won’t regret it!
That’s all for today, folks! I hope you enjoyed this little journey into the world of the Baum Leaper Melody Vega. Until next time, keep strumming, and I’ll see you in the next video!
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Andy Ferris
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