Schecter Guitar Research Unveils the Corsair, PT Fastback, Tempest Custom, & C-1 Exotic Spalted Maple Models
The PT Fastback will feature Schecter Diamond UltraTron pickups, push/pull tone knobs, and a Graph Tech XL nut.
Sun Valley, CA) (May 6, 2020) -- Schecter Guitar Research is proud to introduce the Corsair. With the success of the Corsair Custom series, Schecter has expanded this model with new finishes and a friendlier price point! Staying with tried and true Corsair construction, these new models feature the new Schecter Vintage Tremolo, Diamond 78 pickups and are available in Gloss Black, Gloss Natural and Gold Top! In typical Schecter fashion, these guitars have a dual volume and push/pull tone knobs to coil split and add even more versatility to this axe! This brand new Schecter Vintage Tremolo adds ergonomics and customization to fit your playing style. The adjustable trem arm can be set to the height and position you want with a simple set screw adjustment. Not a fan of trems? Not a problem! Aside from having multiple adjustments, the trem arm is removable as well. Maple body with a 3 piece mahogany neck, ebony fretboard, 14ā radius, 24.75ā scale, 22 medium frets, Grover Rotomatic 18:1 tuners and sleek think āCā neck gives this guitar quite a bang for you buck!
Available models:
- Corsair Gold Top MSRP $1429/STREET $999
- Corsair Gloss Black MSRP $1429/STREET $999
- Corsair Gloss Natural MSRP $1429/STREET $999
Schecter Guitar Research is proud to introduce the PT Fastbackās. The Schecter PT Fastback series is back with some new features and stylish new looks. Available in Olympic White, Gloss Black or, Gold Top with Schecter Diamond UltraTron Pickups. In true Schecter fashion, this a vintage sound with modern features. The PT Fastback has dual volume and push/pull tone knobs that coil split for added versatility. The Olympic White and Gloss Black feature classic block inlays with a maple neck, alder body and classic bindings. The PT Fastback Gold Top has some extra flair with its mahogany body and ebony fretboard! The entire Fastback line is equipped with a Graph Tech XL nut, 25.5ā scale, 14ā radius, 22 X-Jumbo frets, Grover tuners and an extremely comfortable thin āCā neck! The PT Fastback is an excellent addition and a price that wonāt break the bank!
Available models:
- PT Fastback Olympic White MSRP $869/STREET $599
- PT Fastback Gold Top MSRP $869/STREET $599
- PT Fastback Gloss Black MSRP $869/STREET $599
Schecter Guitar Research is proud to bring back the Tempest Custom. Back by popular demand, Schecter has reissued the Tempest Custom! With constant requests on socials and forums, to bring this model back, Schecter has listened to you and brought this original Schecter shape back. Available in Gloss Black, Faded Vintage Sun Burst and Vintage White, these finishes scream class and originality. Loaded with Schecterās USA Pasadena Plus pickups to give you an amazing humbucker sound that, as Schecter does, also has a coil tap option. Topped off with beautiful pearloid split crown inlays on an ebony fretboard with 22 X-Jumbo frets to give you the style feel you have been looking for. A mahogany 3 piece set neck with added carbon fiber reinforcement rods and Schecter locking tuners, make this a sturdy as it is classy. If you are looking for top end sound, construction and a unique design this is the guitar for you!
Available models:
- Tempest Vintage White MSRP $1569/STREET $1099
- Tempest Gloss Black MSRP $1569/STREET $1099
- Tempest Faded Vintage Sun Burst MSRP $1569/STREET $1099
Schecter Guitar Research is proud to introduce the C-1 Exotic Spalted Maple.The Schecter C-1 Exotic Spalted Maple series takes excellence to a whole new level.Ā The C-1 Exotic Spalted Maple packs a punch but doesnāt break the bank. A gorgeous satin finish with a natural vintage burst spalted maple top adorns a mahogany body providing sustain and warmth in addition to its exquisite looks. Loaded with great features such as a Wilkinson WVS50 II K Tremolo bridge for effortless bending and diving and Schecter locking tuners for stable tuning, the C-1 Exotic Spalted Maple will quickly become your āgo-toā guitar for every occasion.Ā The extra jumbo frets are comfortable and the 14ā fretboard radius provides ease of use while navigating the smooth playing ebony fingerboard. The 25.5ā scale length assures a quick response.Ā Armed with Schecter ā78 pickups that serve up a vintage inspired tone, the C-1 Exotic Spalted Maple provides a palette of every tone you could ever need and the coil split function broadens the palette even further.Ā Optional SGR-1C molded hard-shell case sold separately.
Available models:
- C-1 Exotic Spalted Maple MSRP $1,149/STREET $799
For more information:
Schecter Guitar Research
This wonky Zim-Gar was one of many guitars sold by importer Gar-Zim Musical Instruments, operated by Larry Zimmerman and his wife.
The 1960s were strange days indeed for import guitars, like this cleaver-friendly Zim-Gar electric.
Recently I started sharing my work office with a true gem of a guy ⦠one of the nicest fellas Iāve ever come across. If youāve been following my column here, you might remember my other work mate Dylan, who is always telling me about new, fad-type things (like hot Honey guitars) and trying to convince me to use AI more. (What can I say, heās a millennial.) But Steve, on the other hand, is about 10 years my senior and is a native New YorkerāBrooklyn actually, from the Canarsie neighborhood. Steve is a retired teacher and spent many years teaching in the Brownsville area of Brooklyn, and man, he has some amazing stories.
Mostly we talk about music and sports (heās exiled here among us Philadelphia sports fans) and heās just endlessly interesting to me. He has a huge appetite and can eat a whole pizza. When he talks, he sounds like one of the Ramones and he still has an apartment in Rockaway Beach. We both love Seinfeld and, like George Costanza, Steve knows where all the great bathrooms are across New York City. Since heās been added to my circle (and is such a mensch), I decided I should work him into a column.
So hereās the connection: Back in the day there were many American importers, dealers, and wholesalers. A lot of them were based in New York, Chicago, and Los Angeles, but I only know of one guitar importer located in Brooklyn: Gar-Zim Musical Instruments. The company was run by Larry Zimmerman and his wife, and the couple had some success importing and selling Japanese guitars and drums. I used to see early Teisco imports with the Zim-Gar badge, which was the brand name of Gar-Zim. Iāve also seen Kawai guitars with the Zim-Gar label, but the Zimmermanās seemed to sell cheaper and cheaper gear as the ā60s wore on, including the piece you see here.
āThis build reminds me of the cutting boards I used to make in wood shop back in my high school days.ā
The model name and factory origin of this guitar is a mystery to me, but this build reminds me of the cutting boards I used to make in wood shop back in my high school days. The guitar is just flat across the top and back, with absolutely no contouring or shaping. Its offset body is plywood with a thin veneer on the top and back. From a distance this guitar actually looks kind of nice, but up close you can see a rather crude and clunky instrument that offers little flexibility and playability. The non-adjustable bridge is off center, as is the tremolo. It was really hard to get this guitar playing well, but in the end it was worth it, because the pickups were the saving grace. Another example of gold-foils, these units sound strong and raw. The electronics consist of an on/off switch for each pickup and a volume and tone knob. The tuners are okay, and the headstock design is reminiscent of the Kay ādragon snoutā shape of the mid to late ā60s, which is where I would place the birthdate of this one, probably circa 1966. Everything is just so goofy about this buildāeven the upper strap button is located on the back of the neck. It reminds me of that era when simple wood factories that were making furniture were tasked with building electric guitars, and they simply didnāt know what they were doing. So, you get oddities like this one.
Gar-Zim continued to sell guitars and other musical instruments through the 1970s and possibly into the ā80s. I once even saw a guitar with the label Lim-Gar, which is totally puzzling. I think there shouldāve been a Stee-Gar designation for my new buddy Steve-o! Yes, good readers, with guitars and me, there are always just a few degrees of separation.
The Oceans Abyss expands on Electro-Harmonixās highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.
Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now weāve pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.
Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport⢠app (coming soon).
- Two Stereo Reverbs available at once, each fully pannable in the stereo field
- 10 reverb types to choose from: Room, Hall, Spring, Plate, Reverse, Dynamic, Auto-Infinite, Shimmer, Polyphonic, Resonant
- Additional FX blocks: Delay (Digital, Analog and Tape emulations), Tremolo, Chorus, Flanger, Phaser, Graphic EQ, Saturation, Bit Crusher, External FX Loop, Volume
- Create custom signal path routing with up to 8 effects blocks. Two blocks may be re-verb, the rest may be any of the additional FX blocks.
- Infinite reverb sustain with the press of a footswitch
- Stereo Audio I/O
- Stereo FX Loop routing on TRS Jacks
- Dual action footswitches allow for momentary or latching use
- Easily enable or disable tails
- 128 fully customizable presets
- All controls can be saved to presets
- Dive deep into global and preset settings to set up Oceans Abyss for your specific needs
- Illuminated slide pots and buttons
- High-visibility OLED graphical display
- Multiple graphical views: Signal Path, Performance, Settings, Physical, Explorer
- Easy-to-navigate menu system
- Ergonomic NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input to control nearly any parameter in any FX block
- Footswitch input allows for adding up to three external footswitches, each assigna-ble to a number of functions
- MIDI In and Out. MIDI IN supports PC, CC (over nearly every available parameter), and Tempo Clock
- USB-C port to connect to Windows or Mac and interface with EHXport⢠app (coming soon)
- 96kHz / 24-bit sample rate conversion
- Supplied with 9.6VDC / 500mA power supply
Our columnistās silver-panel Fender Bandmaster.
How this longstanding, classic tube amp design evolved from its introduction in 1953.
I have a silver-panel Bandmaster Reverb that I donāt think Iāve talked about enough in this column. Itās one of the most versatile and flexible amps I own, so I use it for everything. Itās portable, has tube-driven reverb and tremolo, and has a full set of EQ knobs including the critical bright switch, which we discussed the importance of earlier this year (āHow to āTrebleshootā a Vintage Fender Amp,ā March 2025). The amp is not only pedal-friendly; the flexible 4-ohm output impedance will handle almost all speaker configurations and sound any way youād like. Letās take a deeper look at the Fender Bandmaster amp and walk through its development through the years.
The first Bandmaster was introduced in 1953 as a wide-panel tweed amp with Fenderās 5C7 circuit. This rare combo was loaded with a single 15" Jensen P15N and powered by dual 6L6GC tubes in push-pull configuration to produce a modest 25 watts. The 6L6GCs were cathode biased and along with the 5U4GB rectifier tube contributed to a forgiving sag, early breakup, and a midrange-y voice.
Fender made several changes when they launched that ampās successor in 1955, the more widely known 5E7 narrow-panel Bandmaster, a well-proven amp that has come back as a reissue model. It was still a dual-channel ampāinstrument and microphoneābut the newer 5E7 model had a fixed bias and a negative feedback loop, providing a louder, firmer, and cleaner tone. Most importantly, the single 15" speaker was replaced by three 10" speakers, making it very similar to the narrow-panel tweed Bassman, the granddaddy of all Marshall amps. This Bandmaster had three speakers instead of the Bassmanās four, and it delivered 25ā30 watts instead of 40. It offered early breakup with a midrange-y, big and full tone.
For those not acquainted with tweed amps, the volume and EQ knobs behave differently than on silver- and black-panel Fender amps. The volume pot can act like a distortion control, while the EQ knobs control the volume, and many players Iāve talked to have not really unlocked this secret. This works because, in these circuits, the volume pot sits right before the preamp tube, which allows it to push the tube into full distortion. Since the EQ pots are located right after and are capable of reducing the volume, youāre able to distort the preamp at low volume settings.
āThings became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility.ā
In 1960, a short-lived and rare Bandmaster dressed in brown tolex and a black faceplate appeared with the 5G7 circuit. From here on, all Bandmasters had the modern top-mounted chassis. With this circuit, the Bandmaster started to both look and sound more like a black-panel amp. It kept the 3x10" speakers but got a diode rectifier and bigger transformers resulting in a 45-watt output. Tremolo was introduced for the first time, and both channels were now intended for guitar.
The following year, a blonde 6G7 Bandmaster followed as a smaller amp head paired with a 1x12 extension cabinet. It had the timeless early blonde looks with cream tolex, brown faceplate, oxblood grill cloth, large Fender logo, and white knobs. But halfway into the blonde era, towards 1964, things turned strange and rather confusing. There were suddenly two 12" speakers, black knobs, a wheat-colored grill cloth, a more slim black-panel-style Fender logo, a black faceplate, and all in various combinations close to the transition into ā64.
Things became more standardized in 1964 with the arrival of the black-panel AB763 Bandmaster, an amp I have worked on a lot and appreciate for its robustness, simplicity, and versatility. It offers a pure, clean, scooped black-panel tone thatās somewhere between a Vibrolux Reverb and Pro Reverb, which share the medium-sized 125A6A output transformer and dual 6L6GC tubes. With its medium/high power and flexible 4-ohm output impedance, it can drive all kinds of speaker cabinetsāas long as you stay between 2 and 8 ohms, you are safe.
For a short time in 1967ā68, there was a transitional Bandmaster with aluminum trim and black-panel innards before the all-new silver-panel Bandmaster Reverb replaced it in 1968. The small-head cabinet had grown in size and, unfortunately, weight to accommodate the reverb tank. The amp got a 5U4GB rectifier tube along with a few general silver-panel changes to the circuit. Several silver-panel models existed with minor differences until a 70-watt beast version came along in 1977 with master volume.
To my own 1968 Bandmaster Reverb, I have done a few adjustments. First, I made a custom baffle to hold two 8" speakers. I installed a pair of WGS G8C speakers that fit perfectly on the baffle board without colliding with the reverb tank or transformers. Sometimes, I use only one of the 8" speakers for bedroom volume levels. Second, I reversed the bias circuitry to standard AB763 specs, making it easier to adjust bias correctly on both power tubes. If you are into sparkling clean and funky Strat sounds, you would love this little 2x8" combo.Axe-wielders Jake Cinninger and Brendan Bayliss take us through their current gear garages.
Itās been just over 10 years since we had legendary South Bend, Indiana, jam band Umphreyās McGee on Rig Rundown, so when we saw that they were coming to play at Nashvilleās Ryman Auditorium in early April, we figured it was time to reconnect.
Guitarists Jake Cinninger and Brendan Bayliss showed PGās John Bohlinger what pieces of kit theyāre digging these days, and how they orchestrate their incredibly broad range of sounds.
Brought to you by DāAddario.
Simply Z Best
Hereās an up-close look at Cinningerās No. 1, a G&L Comanche. The Z-coil pickups do away with typical single-coil 60-cycle hum issues at high-gain settings. Itās an all-purpose workhorse.
Cinninger replaced the stock trem bar with a Jake Blade, a custom-made replacement patented by Mark Benjamin of RoughGauge LLC. Compared to a regular trem bar, itās out of the way and allows for more expressive playing.
For strings, Cinninger uses DāAddario .10s, and he swears by his beveled-edge Telefunken 2 mm picks.
Special S
Cinninger says only 50 of these G&L S-styles were made, with remarkable pieces of wood and specially designed pickups. This one cuts closer to a classic, throaty Stratocaster sound, and if a venue has quiet, clean power that wonāt present excessive noise issues, itās more likely to be called into action.
Two by Two
Cinningerās signal runs to one amp at a time. The Schroeder head, which is used for cleans, was built with military-spec durability by Tim Schroeder in Chicago and is one of 10. Cinninger says itās got some Dumble qualities, with its clarity, power, consistency, and speed to the speaker, and it connects to a Schroeder cabinet and custom speaker.
The Oldfield Marquis 100-JC, built by Paul Gussler in Charlotte, North Carolina, is the Marshall-flavored side of Cinningerās rig. It handles dirty signals and is connected to classic Electro-Voice drivers.
Jake Cinningerās Pedalboard
Cinningerās board, which he made with his dad, is 25 years old, and itās constantly changing. His always-on boxes include a Banzai Cold Fusion Overdrive, Fuchs Royal Plush Compressor, and Mesa Boogie Five-Band Graphic EQ, plus a Steel Guitar Black Box tube buffer that adds some āairā in the high end.
On top of those, thereās a Boss TU-3, MXR Smart Gate, Radial Tonebone Hot British, MXR Distortion III, Sarno Earth Drive, TC Electronic Flashback, Boss PS-5, Source Audio Soundblox 2 Multiwave Distortion, Malekko Fuzz, Guyatone MD2, Boss PH-3, Morley Bad Horsie, BBE Mind Bender, and a custom āFuzzBucketā fuzz made by a friend.
Utility units include a Lily P4D, Radial BigShot ABY, and Ebtech Hum Eliminator, plus a 9-channel effects switching system.
Sorry, Mark
Meet Miss Lucy. This is a PRS Mark Tremonti Signature, albeit without Tremontiās name on the headstock, and tricked out with the Jake Blade. This one runs a bit hotter than Brendan Baylissā other PRS guitars, and his tech changes the strings on itāDāAddario XL .010sāevery day. Like Cinninger, he digs the Telefunken 2 mm picks.
Also in the stable are another PRS single-cutaway and a double-cut PRS McCarty.
Doubles of the Oldfield
Bayliss runs both a Mesa Boogie Lonestar head and a Gussler-built Oldfield head (which sounds similar to his Lonestar) at the same time. The Mesa runs to a cab with Celestion 12ā³ speakers.
Brendan Baylissā Board
Baylissā board also features the Steel Guitar Black Box, a Lily P4D, Radial BigShot ABY, a Boss TU-3, and a Morley 20/20 Bad Horsie wah.
Aside from those, thereās a Keeley Compressor, MXR Custom Badass Modified O.D., Cusack Screamer, MXR Timmy, Cusack Tap-A-Whirl, Audio Blend Edge EQ, Boss OC-5, Boss CE-5, MXR Phase 95, Eventide H9, Stigtronics Delay, and Boss DD-20.