TEST: Schecter AM-7

 Once again, I must confess to my shame that neither the artist nor the band in which the artist plays can tell me anything about a signature model for testing. But here, of course, the Internet is a great help. The artist is Aaron Marshall, guitarist in the band Intervals. This test will show how the Schecter Aaron Marshall AM-7 model for testing differs from a regular Schecter instrument.

The construction of the Schecter Aaron Marshall AM-7

First of all, it is noticeable that the price of just under 1,800 euros for an instrument made in Indonesia is relatively high. This is not to say that instruments made in Indonesia do not have the same quality, but the segment just below the 2,000 euro mark is usually occupied by instruments made in Europe, Japan or the USA.

The first impression is once again, as with so many instruments made in Indonesia, impeccable. The finish is very clean, no sharp edges, no tricky settings and a factory setting that means you can take the instrument on stage straight away. The model itself is part of the large range of Power Strats, and Schecter has made a lot of effort to incorporate all the advantages that underlie this model type into this instrument.

Schecter takes some unusual approaches to guitar production when it comes to the choice of wood. The body is made of linden, the bolted neck is made of wenge and the fingerboard is made of Macassar ebony. The back of the neck is only very subtly varnished, so that you can feel a very woody feel when you touch it, and you can see some of the pores in the wood both in terms of the grip and visually. 24 stainless steel X-Jumbo frets have been attached to the fingerboard, with the fingerboard markings up to the 12th fret on the left side of the fingerboard and from the 12th to the 24th fret on the right side of the fingerboard in the form of hollow circles.

The manufacturer describes the neck shape as a thin C. In my opinion, that's OK, although I think a strong D would also be appropriate. Due to the seven-sided design, the saddle on the Schecter Aaron Marshall AM-7 is necessarily a little wider than usual. At 48 mm, however, it is within a reasonable range, which on the one hand generates enough string space for a normal grip and on the other hand does not let the grip comfort drift too much.

I also really like the fact that Schecter has attached the access to the truss rod to the body. This eliminates the problematic hole from the neck to the headstock, which inevitably weakens the headstock in terms of haptic impact. The fact that Schecter also likes to think outside the box can be seen in the fact that the scale length of the Schecter Aaron Marshall AM-7 is 673 mm, which is slightly longer than the long scale length. This alignment allows you to get a slightly higher string tension on the instrument, which is very important on the B side, especially with a seven-string guitar.

The body shaping of the Schecter Aaron Marshall AM-7 is once again in a typical Powerstrat style, but still has the stylistic peculiarities that you know from other Schecter models. The shaping is generally more subtle and is mainly only used in the areas that you know from other models, i.e. cutaways, back milling and arm rest. In order to ensure better playing in the higher registers, there is also a generous shaping at the neck transition, which makes the transition much more pleasant when it comes to gripping the higher registers.

As always, the extent to which you like the color of the instrument, which is called Cobalt Slate, is a purely subjective decision. Personally, I found the metallic blue, which the color reminds me of, quite appealing. But I have also heard colleagues say that they don't like this color. As I said, it's all a matter of taste.

Schecter uses two pickups manufactured in-house, called Schecter USA Equinox in the neck area and Schecter USA Solstice in the bridge area. Unfortunately, I was unable to find out more precise values, such as the DC resistance, magnets, etc. However, the Schecter website states that all Schecter pickups are manufactured in the USA. When it comes to hardware, Schecter relies on a tried and tested name in the bridge area. The HipShot bridge is a part that has established itself as a high-quality component over decades. Seven locking mechanisms are used for tuners, which are marked with the Schecter logo. Unfortunately, I was unable to find out whether Schecter manufactures these tuners itself or has them manufactured using OEM technology. However, I suspect that due to the high quality of the tuners, an external supplier probably supplies the items. But as I said, that's just a guess.

The instrument's switching options are also visually and haptically successful. The 5-way switch, which has the typical H-S-HH-S-H circuit, is optically high-quality chrome-plated. There is also a master volume and a master tone control, also chrome-plated and each with three rubber rings so that the rotary control does not slip through your fingers even with sweaty hands. The only disadvantage of the appearance of these potentiometers is the fact that you cannot see the control path of the control at any time. Unless you attach the fastening screw to a certain point, for example at full or empty stop, in order to visually calculate roughly which control position you are currently in. Otherwise you only have your hearing to perceive the position.

Unfortunately, the Schecter Aaron Marshall AM-7 does not come with a gig bag or a hardshell case, which, to be honest, I think should be included in the sales price. Of course, you can always order the appropriate cases from Schecter or buy a standard Power Strat case from a third-party manufacturer, which should probably fit this type of instrument 90% of the time.

The Schecter Aaron Marshall AM-7 in practice

What I really like about the Schecter Aaron Marshall AM-7 when you first pick up the instrument is the fact that you don't immediately get the feeling that you're holding a seven-string guitar in your hands. Of course, the fingerboard is much wider than on a six-string guitar, but all the other dimensions lead you to the conclusion that you're holding a standard Power Strat in your hands. For me personally, this is a very good example of how you can discreetly introduce interested musicians who might want to expand their tonal range by a fourth to another type of instrument.

The entire instrument benefits immensely from the extra-long scale in terms of attack and decay behavior, although the B side does not have quite the same liveliness and attack as the E1 to E6 sides in direct comparison to the other sides. Here I would perhaps experiment again to see whether you should put a slightly thicker string on the low B side in order to increase the string tension accordingly. If you don't do too many bends and acrobatic actions on the low B side, you can certainly put slightly thicker strings here.

Otherwise, the instrument has very strong sustain behavior, especially when you consider that it is a bolted neck. Here too, the majority of this very good vibration behavior is due to the extra-long scale, which has a positive effect on the string vibration.

In terms of sound, the instrument offers a very wide range of sounds from very clean to very distorted, depending on the amp used, which is particularly beneficial to the flexibility of the instrument. However, there is a small downside to the resonance behavior of the instrument. Whenever I play a riff on "A", for example in the first sequences of sound files 3 and 5, one or more strings in the area between the Hipshot bridge and the tailpiece resonate in the style of a reverb spiral and blur the sound a little. This effect is not noticeable in the clean range, but as the gain increases and the attack is harder, the attack of the instrument suffers a little from this construction. However, I am sure that this effect can be controlled with a little foam inserted into the milled channels the next time you change strings.

All in all, the Schecter Aaron Marshall AM-7 is a good instrument that can be used in many areas due to its pleasant appearance and tonal flexibility. To what extent the instrument has a real signature effect when compared to the other numerous standard versions of seven-string guitars from Schecter is something everyone has to find out for themselves.

The sound files were created with an ENGL Savage MKII, a Marshall cabinet with Celestion G12 75T and 2 Shure SM57s. No Kemper or similar.

Conclusion

With the Schecter Aaron Marshall AM-7, the manufacturer has a balanced instrument with great flexibility in its portfolio. The workmanship is very good and thanks to the additional B string, you will be able to do without downtuning in most cases.

For fans of prog, it should be worth trying out.

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Additional Informations:

In the vast landscape of modern progressive metal, few names resonate with the precision, creativity, and emotive depth as Aaron Marshall. As the mastermind behind the instrumental project Intervals, Marshall has redefined what it means to be a guitarist in the 21st century, blending technical prowess with melodic sensibility. This detailed exploration delves into the life, influences, and musical evolution of Aaron Marshall, capturing the essence of a guitarist who has not only mastered his craft but also pushed the boundaries of the genre.

### Early Life and Musical Beginnings

Aaron Marshall was born on October 30, 1988, in Toronto, Canada. From a young age, he displayed an innate affinity for music, picking up the guitar at the age of 12. Influenced by a variety of genres, ranging from rock and blues to jazz and classical, Marshall's early years were marked by a voracious appetite for learning and experimentation. This eclectic musical diet laid the foundation for his future explorations in progressive metal.

Growing up, Marshall was deeply inspired by guitar legends such as Steve Vai, Joe Satriani, and John Petrucci. However, it was his exposure to bands like Dream Theater, Meshuggah, and Periphery that ignited his passion for the progressive metal genre. These influences are evident in his complex compositions and technical proficiency, which have become the hallmarks of his musical identity.

### Formation of Intervals

Intervals was initially conceived as a solo project by Marshall in 2011. The name itself reflects the project's foundational concept: the exploration of musical intervals, a fitting tribute to Marshall's analytical and structured approach to composition. What began as a solo endeavor quickly evolved into a full-fledged band with the addition of other musicians, allowing Marshall to bring his intricate musical visions to life.

The debut EP, "The Space Between," released in 2011, showcased Marshall's ability to blend intricate guitar work with atmospheric soundscapes. The EP was well-received in the progressive metal community, earning praise for its technical complexity and emotional depth. This initial success set the stage for the release of the second EP, "In Time," in 2012, which further solidified Intervals' reputation as a force to be reckoned with in the instrumental metal scene.

### Evolution and Breakthrough

The release of the debut full-length album, "A Voice Within," in 2014 marked a significant turning point for Intervals. For the first time, the project featured vocals, provided by Mike Semesky, adding a new dimension to Marshall's compositions. The album was a commercial success and received critical acclaim for its blend of technical prowess and melodic accessibility. However, the decision to include vocals was met with mixed reactions from fans, leading Marshall to reevaluate the direction of the project.

In 2015, Intervals returned to its instrumental roots with the release of "The Shape of Colour." This album is often regarded as a watershed moment in Marshall's career, highlighting his growth as a composer and guitarist. The absence of vocals allowed Marshall's guitar work to take center stage, resulting in a collection of tracks that are as emotionally resonant as they are technically impressive. "The Shape of Colour" was a critical and commercial success, solidifying Marshall's reputation as one of the leading figures in the modern progressive metal scene.

### Technical Proficiency and Style

Aaron Marshall's playing style is characterized by its technical precision, fluidity, and melodic sensibility. His approach to the guitar is heavily influenced by his understanding of music theory, which allows him to navigate complex chord progressions and time signatures with ease. Marshall's use of extended range guitars, particularly seven and eight-string models, has become a defining feature of his sound, enabling him to explore a broader tonal spectrum.

One of the most distinctive aspects of Marshall's playing is his use of tapping, sweeping, and legato techniques. These techniques, combined with his keen sense of melody, create a sound that is both technically dazzling and emotionally evocative. Marshall's compositions often feature intricate harmonies, dynamic shifts, and rhythmic complexity, reflecting his deep understanding of the nuances of progressive metal.

### Gear and Equipment

Marshall's choice of gear plays a crucial role in shaping his signature sound. He is known for his preference for high-end guitars, including custom models from companies like Mayones and Ibanez. His primary instrument is a custom Mayones Duvell Elite, which features a unique combination of woods and electronics tailored to his specifications.

In terms of amplification, Marshall relies on a combination of digital and analog gear. He is an avid user of the Fractal Audio Axe-Fx, which allows him to achieve a wide range of tones and effects with unparalleled precision. This digital rig is complemented by traditional tube amplifiers, providing a rich, organic warmth to his sound.

Marshall's pedalboard is equally impressive, featuring a selection of boutique pedals that enhance his tonal palette. From overdrives and delays to modulation and reverb effects, each pedal is meticulously chosen to complement his playing style and the demands of his compositions.

### Influence and Legacy

Aaron Marshall's influence extends far beyond his impressive discography. As a guitarist, composer, and educator, he has inspired a new generation of musicians to push the boundaries of their craft. His instructional videos, masterclasses, and social media presence have made him a respected figure in the guitar community, where he is admired for his generosity in sharing his knowledge and techniques.

Marshall's approach to composition and guitar playing has also had a significant impact on the progressive metal genre. His ability to blend technical complexity with melodic sensibility has set a new standard for instrumental music, influencing countless bands and musicians. Albums like "The Shape of Colour" and "Circadian" are considered essential listening for fans of modern progressive metal, showcasing Marshall's ability to create music that is both intellectually challenging and emotionally engaging.

### Personal Philosophy and Outlook

At the core of Aaron Marshall's musical journey is a deep commitment to authenticity and artistic integrity. He has consistently emphasized the importance of staying true to one's artistic vision, even in the face of commercial pressures and changing industry trends. This commitment to authenticity is evident in his decision to return to instrumental music with "The Shape of Colour," a move that reaffirmed his dedication to his craft and his fans.

Marshall's personal philosophy is also reflected in his approach to creativity and innovation. He is constantly exploring new musical ideas and techniques, pushing the boundaries of what is possible with the guitar. This relentless pursuit of innovation has not only defined his career but also inspired others to strive for excellence in their own musical endeavors.

### Looking Ahead

As Aaron Marshall continues to evolve as an artist, the future of Intervals looks incredibly promising. With each new release, he continues to push the boundaries of progressive metal, exploring new sonic territories and refining his craft. His most recent album, "Circadian," released in 2020, is a testament to his growth as a musician, featuring some of his most ambitious and emotionally resonant work to date.

Marshall's dedication to his craft, combined with his technical prowess and melodic sensibility, ensures that he will remain a leading figure in the progressive metal scene for years to come. As he continues to inspire and influence a new generation of musicians, Aaron Marshall's legacy as a virtuoso guitarist and innovative composer is firmly established, securing his place as one of the true architects of modern progressive metal.