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I think if you’ve got a style, you end up sounding like yourself no matter what, good or bad. At the time, the Avenger, coincidently, was the name of the body style. I used it in the “Bat Country” video that we did in 2006 before I had a signature model with them. I felt really compelled by that instrument, so I had to talk to the Schecter once again and asked them if I could do that. You can do anything you want.” I did it pretty much in my stage models and stuff like that.I just like the comfort in knowing that I’m going to pick up the instrument and it’s going to play amazingly. Then I just added the custom headstock and pickups that I liked. SG: I really liked Dimebag Darrell’s signature model. It was very discernible from other guitars, as opposed to going the Slash route and playing a classic. The kids started seeing that the pictures didn’t match up, and it pissed them off a little bit, so we had to make them for general use.

Unfortunately, it’s a little pricy, but even for boutique amps, it’s at a great price point, which to me transcends normal market amps. I mean just a ton of different juggernauts we used. It was a recorded signal and we’d just reamp it so it wasn’t susceptible to my poor playing. I wanted to do something of my own, and I like flashiness. In my defense, it was impossible at the time, because it only came from this one guy that had a patent, and he wasn’t really willing to make a bunch of different ones or mass-produce them. I think that the longest process was finding the right artwork, the right paint job. We developed that whole guitar in a few months and had prototypes shortly thereafter.So we worked on different paint jobs, and I thought that the pinstripe thing was cool and felt pretty iconic, so we went with that. Then in 2007 we recorded our self-titled record and we had this insane guitar tech, Walter Rice, who brought a bunch of fun new toys every single day. Luckily, by the time the kids caught on, he was a little more established and we were able to put them in my guitars. Basically, what it does is it just acts like an EBow. You just click the switch and then magnetic whatever [laughs] starts vibrating your string so you can get it to sound like a violin or something of that nature. Going through a number of different idea and colors until the black and silver pinstripe thing worked. I definitely wanted to go for the flash, but keep it classy, or as classy as it could be [laughs]. It stood out from the crowd, but didn’t look like a pimped-out ’57 Chevy. I didn’t need to throw in more bells and whistles just to beef up the price.It might be a little bit harsh, but you’d knock off some high end, and it would be a little bit difficult to play some of the legato passages that were really fluid and easy before. But, yeah, in 20, I just wanted to sound like Dimebag Darrell. We really wanted to have this cinematic quality to it but maintain the catchy melodies that kind of bind it all together, so when you took it apart you’d say, whoa, there’s a lot crazy modulation, chord changes and crazy s**t going on. Like I said, we spent three days tweaking pretty much that. But, like I said, it was just getting that match of playability and tone. This amp got definitely a little bit expensive, but like I said, I didn’t want kids to say, “That’s not what he uses.” I would definitely need to put MIDI switching on my amp. I think there’s a couple of textures that we used, I’m not even sure what it is. Rob Cavallo did a couple of Green Day records with it, and it’s like a souped up something or other, but a very minimalistic type of usage. I know you do weird things to get what seems to be a pretty normal tone sometimes. It’s a different kind of arrangement, but it sounds very palatable still, and communicates what we were trying to communicate.

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