Hell’s Angels
Schecter’s new Hellraiser Hybrids boast an impressive spec at far from excessive prices – and, like Nigel Tufnel’s guitar, sustain isn’t going to be a problem here!
The California workshop of Schecter Guitar Research was the first port of call for quality replacement parts back in the mid-70s, and a few short years later, complete Schecter-branded guitars were being used by the likes of Pete Townshend, Mark Knopfler and Ritchie Blackmore. Since the late 1990s, Schecter’s Diamond Series guitars have been built in Korea, then shipped back ‘home’ to the US for a full setup.
These new Hellraiser Hybrid series guitars borrow some of the more sought-after features from the popular Hellraiser and SLS ranges (hence the ‘Hybrid’ name), such as the SLS’s ultra-slim neck. Both our review guitars have mahogany bodies, with arched maple tops and are flawlessly finished, the C-1 looking particularly stunning in its Ultra Violet finish that, says Schecter, is “a chameleon paint that shifts from blue to green and purple”. We’d agree. Our PT is slightly more conservatively finished in Trans Black Burst, but is no less attractive and is also available in that ‘chameleon’ paint.
Continuing with the features these guitars have in common, the ‘Ultra Thin C’ profile necks are made from a three-piece maple laminate for strength, with ‘Ultra Access’ low profile glued-neck-to-body joints and a two-way adjustable truss rod. A particularly nice touch is the satin finish, stylishly cut in at an angle at the body and head end of the neck. A small volute strengthens the construction at the thinnest point of the neck – and here you’ll also find a decal with the serial number and country of manufacture. Flipping them over, both guitars have glow-in-the-dark position side markers set into multi-ply carbon fibre binding, possibly a very useful feature when launching into a blistering guitar intro on a dark stage… Fingerboards on both are ebony – with 24 jumbo frets and small offset dot inlays, featuring a gothic cross at the 12th fret – and employ a compound radius, starting out with a Gibson-like 305mm (12 inches) camber at the 1st fret, ideal for comfortable chord work, that gradually flattens out to 406mm (16 inches) for choke-free string bends in the higher reaches of the ’board.
As for hardware, we get black chrome ‘kidney button’ tuners on both: Grovers on the C-1 and Schecter-branded locking units on the PT with a Hipshot Hardtail Bridge and through-body stringing, while the C-1 features a double-locking Floyd Rose vibrato, hence the FR suffix.
An active EMG 57 humbucker, housed with a brushed black chrome cover, graces the bridge position of each guitar, while the PT sports an EMG 66 at the neck controlled by master volume and tone controls, with a three-way toggle pickup selector switch – there’s a
discreet, easy-access battery compartment for the active EMGs on the back.
But this is where the spec begins to differ between the two models. Although the C-1 also features master volume and tone controls, pickup selection is with a Fender-style three-way lever selector. Above these are two micro switches and what we later discover is called an ‘Intensity’ control. These govern the onboard Sustainiac system that features a special combined ‘string driver transducer’ in the neck position. As a result of these extras, we have two battery compartments situated on the rear of the guitar.
Feel & Sounds
Plugging in the PT, we’re immediately struck by the slimness of the neck and unhindered upper fret access. The well-finished jumbo frets feel extremely comfortable under the fingers, too. A bright, ringing acoustic tone gives way to a mid-rich voice as we bring up the volume, balanced with plenty of clarity from the Alnico V-equipped EMG 57 in the bridge – these are designed to bring a bit more PAF flavour than the classic 81/85 combo, while retaining the power and definition
associated with their style. The 66 at the neck is also from the PAF school of thought, but features ceramic pole pieces for extra cut, which is so often lacking in a neck humbucker. Comparing the Schecter with a Les Paul fitted with passive Bare Knuckle Mules, we’d say that the EMGs are considerably louder and ‘harder’, but the PAF inspiration does hold water. If you’re looking to play a wide range of styles but just want to carry one guitar, then chances are the PT has you covered with a bit of amp/gain tweaking.
The C-1 FR S is a slightly lighter instrument, but has the same ultra-slim neck profile and easy high fret access – like the PT, it’s set up with 0.010 to 0.046 gauge strings and a low action, perfect for shredding. The mids appear more ‘scooped’ as we raise the volume, but not excessively so by any means. The Floyd, pickup selector and basic controls all work predictably and well, but the real adventure begins when we flick on the uppermost mini switch that activates the Sustainiac unit. This works in all pickup positions by stimulating the strings into constant movement – like a feedback loop – and when switched out, the Sustainiac unit acts as a regular neck humbucker.
The lower mini-switch offers three modes of operation: fundamental, mix and harmonic mode, which usually adds a 5th or octave above depending on where you are on the fretboard and/or relative to the speaker. The feedbacking results are shockingly authentic. Playing driven powerchords and solos, it’s virtually indistinguishable from the experience of playing through a cranked amp, but without the risk of tinnitus or imminent arrest! The
The Floyd, pickup selector and basic controls all work well, but the real adventure begins when we activate the sustainiac unit
mix mode allows the fundamental note to sound, but adds in even higher harmonic content for ultra screaming but controlled feedback. The Intensity control (third in line with the master volume and tone) operates just as its name implies and is particularly useful for fine-tuning this mode, especially as you get used to using the effect. Turning the gain down, it’s possible to simulate some lovely pedal-steel type effects, too. Fun? Definitely.
Verdict
Its amazing to us that you don’t see the Sustainiac system on more production guitars; it really is a fantastic (though hardly new) invention. That aside, the build quality of both these two instruments is utterly faultless, like the playability. Neither is a cheap date, of course, but if you’re serious about your craft, neither should let you down. Chances are both will appeal mostly to the rock/metal/shred market – pretty much Schecter’s main aim – but, as we said, with that Sustainer onboard there’s plenty of potential for pseudo pedalsteel or more ambient textures.