I know a bass player, an instructor at Belmont University who has endorsed their basses for years and loves them. I've only just used their power amps for a monitor rig I mixed on. I, personally, have seen only one Carvin amp that blew up. So I really am interested to hear people's practical objections with their equipment. Here in the Midwest and Midsouth we rarely see Carvin guitars, and I've had few encounters with their electronics, too. I rarely see derogatory comments about Carvin products, except for the oft mentioned overly-bright sound of their stock pickups. If it was, it's not clear.)hey sorry if i offended anyone-i'm a user of peavey products-have never used any carvin-i was just repeating the mantra that was drilled into my head by the band i worked w/ thats all.again,sorry (Or was the intended as a hint of sarcasm. I can't recommend this guitar any better and really havn't ever heard a bad word from friends that have bought other Carvin products. The actual assembly and setup took only 2-3 hours and that was including fileing down the nut since the slots were too deep. It took me alot of practice on wood blocks to get the technique down before I tried it on the guitar. The hardest thing about the kit guitar is painting it. ( I don't really smash it, just wiggle it). The Wilkenson vibrato bar that came with the kit is the smoothest I have ever tried and it stays in tune. The bridge pickup has a coil tap switch and both are great. The sounds on the other settings are awesome. Of course I am comparing it to the SRV neck pickup sound and I really should just put a Texas Special in my Carvin. The only thing I am not 100% pleased about is the neck pickup sound. I have a Gibson 347TD and a Fender SRV Strat and they more or less just stay in the cases now. I basicly havn't played my other electrics from the moment I built it. I never really even thought it would be playable. I made the Carvin kit guitar about 5 years ago as just a fun project. You'll be doing a real service if you have something useful to say beyond, "Carvin Sux." So enlighten us about your bad experiences with either manufacturers' products. Do they believe that makes them appear more professional for denying Peavey/Carvin on their gigs? As a mixer who's worked with great pro talent, national recording acts, etc., I'm here to tell you it doesn't. Sounds like a bad case of gear snobbery when your band makes a blanket statement like that in their rider. And what products have you used that you dislike? For that matter, why no Peavey? There are very few companies that don't have one or two redeeming products to offer, and although I haven't used a lot of Carvin, I know they have far more than one or two worth using. I work w/ a band that says in their rider: I don't work for Carvin nor am I an endorser. Those guys are top shelf and will treat you great. By the way, when calling Carvin to inquire about options (which I highly recommend), I would strongly suggest you ask specifically for Sean or Marco and tell them Boggs referred you. The C22s are a bit brighter and more geared to classic rock. I would suggest getting the M22s (not the SD version as those are super-hot and basically good for metal but not much else) in it as they have good strong output but still clean up nicely. Use it all and give yourself a chance to get the feel of it before making your final decision to keep or not keep it. The necks play faster than hell, and I think you will like them. Also, the neck has a larger radius fingerboard and will feel flatter than your Lonestar. Just like Fenders sound like Fenders and LPs sound like LPs, so do Carvins sound like Carvins. Don't expect it to be an exact replacement of your Lonestar though.
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