TEST: Schecter C-1 FR S SLS Evil Twin SBK

 If there was one name that made it from zero to 100 in the blissful spandex times of the eighties, it was Schecter. Founded in 1976 by David Schecter in the USA as a pure spare parts supplier for big names like Gibson and Fender, the manufacturer shot through the roof from 1979 onwards with its first fully manufactured instruments, which mostly ended up in the Powerstrat warehouse. The instruments had, for example, intensively grained woods, unusual finishes and, thanks to the custom shop principle, could also respond to the buyer's individual wishes. The company has now been in mass production for over 30 years, primarily in Korea, and with the Schecter C-1 FR S SLS Evil Twin SBK, it has an instrument that stands out from the almost confusing Powerstrat range with a few unusual details.

The concept of the Schecter C-1 FR S SLS Evil Twin SBK

The Asians just can't help it. The model names of the instruments may be a noble joy for any controller in terms of accounting, but for the inclined rock'n'roller it's a verbal slap in the face. Imagine your friend asking you which guitar you play and you start your litany. By the time he hears the first "S" in the model name, he's already switched off and is checking his Whatsapp account. There's probably a reason why rock'n'roll wasn't invented in Asia.

Be that as it may, once you've recovered from the model name, you can devote yourself to the rich highlights of the instrument. To make it clear right from the start, this instrument has a target group that couldn't be more pronounced in its self-presentation. It is the classic shredder, always strongly inspired by the great noodle kings of the Mike Varney label Shrapnel Records, who defined new horizons in terms of craftsmanship in their time and today, but due to a lack of songwriting skills were largely swallowed up by the inflated grunge wave and nowadays mostly keep their heads above water as "The Musicians Musician".

The intensive training on the instrument, which is mostly dismissed by the up-and-coming Kemper presets / backing tracks youth ("there's surely an app for that") as a pointless waste of time ("10 years of practice, I don't have that much time"), is in direct contrast to the box office hit, so the Schecter C-1 FR S SLS Evil Twin SBK has to come up with something new to not only shine with virtuoso battle noodles. In order to defy this target group limitation, the instrument uses several control elements, which also makes fringe groups interesting as buyers.

The construction

Once again, the full-length neck of the Schecter C-1 FR S SLS Evil Twin SBK, made in South Korea, turns out to be the central element of the entire construction. The five-piece neck made of maple, walnut and padauk is additionally reinforced with two fiberglass rods. In order to form the body, two pieces of swamp ash were glued to the side, which were then milled in the typical Powerstrat shape. If you now add the ebony fingerboard to the list, a considerable number of woods are used. The back of the instrument is in a dark, transparent green, and when viewed from the front it is matte black. A noble, impeccably applied varnish, which, like all varnishes of this type, is covered in fingerprints within seconds. So either say goodbye to the noble look, or always carry a cleaning cloth in your guitar case.

As is popular in the power strat sector, the Schecter C-1 FR S SLS Evil Twin SBK also has 24 frets, which come in a jumbo version. This means that the neck pickup is not in its most distinctive form under the 24th fret, but in this case the neck pickup has a special function, which we will come to later. The shaping of the neck is called "Ultra Thin C" and matches the real impression very well. The long scale length of 648 mm with a 12"-16" compound radius is used on the fingerboard. For better orientation on the fingerboard, Roman numerals have been embedded in the fingerboard and gray, phosphorescent dot markers that glow green in the dark. A bit like a Borg cube, but very pretty.

Visually, it's not always everyone's favorite, but the access to the 2-way adjustable truss rod, which is open below the 24th fret and can be moved with a small metal rod, such as an Allen key, is exemplary in terms of handling. Anyone who, like me, is extremely annoyed by the proprietary isolated solutions of some manufacturers regarding the truss rod key will love this solution! The Schecter C-1 FR S SLS Evil Twin SBK has a Floyd Rose 1500 series vibrato system with corresponding saddle clamps and fine tuners. Unfortunately, the knurled screws are quite stiff, not to say stubborn, for an instrument in this price range; I would have expected a bit more "smoothness" here. Otherwise, the hardware meets all requirements, especially since high-quality tuners are also used with the Grover Rotomatic 18:1.

The pickups of the Schecter C-1 FR S SLS Evil Twin SBK

The pickup combination installed in the Schecter C-1 FR S SLS Evil Twin SBK is a special feature. With the Fishman Fluence Modern (Ceramic Magnet) humbucker in the bridge position, you once again find the representative of modern active pickups that Schecter likes to use, especially since it can be switched to two different sound characteristics (modern / vintage) using the push / pull function of the treble control. The special feature is actually the neck pickup, which is supplied by the company Sustainiac. Older readers will be familiar with the design, but for the interested younger readers, here is a brief summary of how it works.

In the past... (how I hate this introductory word...) when the average stage volume was much higher than today, depending on the angle to the amplifier/stage monitor and the volume used, feedback would occasionally occur, whereby a struck solo note would continue to oscillate and either maintain the fundamental tone or tip over into an overtone/undertone. At the time, this was the great art of tone shaping and, for example, an important element of the style of grandmaster Gary Moore. In order to be able to create this effect at room volume, the Sustainiac company built a pickup in humbucker format, in which one coil provides a classic single coil pickup and the second coil generates an electromagnetic alternating voltage field that recreates the effect in question.

Two mini switches decide on the use of the Sustainiac and whether it should stimulate the struck note, an overtone, or an undertone to oscillate. The electromagnetic field naturally also requires a voltage source, which explains the 2(!) 9V block millings (one Fishman pickup, one Sustainiac) on the back of the body. Unfortunately, the millings are not completely parallel, so that a plastic cover is a little crooked, but in practice it doesn't really make a difference.

In practice

I have to admit, over the course of my career I have become a real "through neck fan", and this test has once again confirmed my opinion. The vibration behavior of the Schecter C-1 FR S SLS Evil Twin SBK is indeed exemplary, the sustain is amazing. Despite the structural absorption behavior of the Floyd Rose vibrato, the strings vibrate for an incredibly long time and in a balanced way, a real feast for the ears, especially when you look for a direct comparison to some representatives of the screwed necks.

In this respect, some people ask themselves whether the instrument really needs a component like the Sustainiac. To put it briefly, in terms of vibration behavior, no, but the Sustainiac is not designed to enable an inferior construction to have better vibration behavior, but to enable a special playing technique at a lower stage volume.

Which brings us straight to the usefulness of this component. My skepticism towards such aids actually gave way within seconds when you look at the system in practice. The Sustainic not only works very well in the high gain range, it even allows David Gimour-like clean sounds to have a great life of their own far away from any compressor setting, especially since the Sustainiac has a kind of noise gate built in, which deactivates the system as soon as you dampen the string tension by hand, for example. The result is very organic feedback, which gives your personal style an additional entertainment factor when playing solo, especially in sustained passages. So much for the plus side.

On the downside, there is unfortunately a very clinical sounding single coil pickup, which is really more of an added bonus and cannot really match the high quality of the Fishman pickup. If you play a lot with parallel connected pickups, you will definitely find better alternatives here, but the actual function of the Sustainiac is convincing across the board.

Conclusion

With the Schecter C-1 FR S SLS Evil Twin SBK, the Korean manufacturer has a high-end power strat in its ranks, which offers new possibilities for personal playing with excellent vibration behavior, perfect workmanship and a practical tool like the Sustainiac.

A real highlight for the shredding community!

————————-

Additional Informations:

In the world of guitars, few names evoke the same sense of innovation, craftsmanship, and rock ‘n’ roll attitude as Schecter. What began as a small, boutique operation in the late 1970s has grown into a global powerhouse, producing some of the most revered instruments in modern music. This extensive exploration delves into the origins, evolution, and enduring legacy of Schecter Guitars, capturing the spirit of a company that has continually pushed the boundaries of guitar design and performance.

### The Humble Beginnings: 1976-1979

The story of Schecter Guitars begins in 1976 in the unassuming city of Van Nuys, California. Founded by David Schecter, the company initially operated as a small repair shop and parts supplier for guitars. Schecter’s early business model focused on providing high-quality replacement parts for guitars, which included pickups, necks, and bodies. The shop quickly gained a reputation for its meticulous attention to detail and the superior quality of its components.

David Schecter, a visionary in his own right, saw an opportunity to fill a niche in the guitar market. At a time when many guitar manufacturers were struggling with consistency in their mass-produced instruments, Schecter’s commitment to quality set them apart. The company’s parts became highly sought after by musicians looking to upgrade their instruments, and this burgeoning reputation laid the groundwork for Schecter’s future endeavors.

### Transition to Guitar Manufacturing: 1979-1983

By the late 1970s, Schecter’s success with guitar parts led to a natural evolution: building complete guitars. In 1979, Schecter unveiled its first line of custom guitars, which were initially offered as custom-built instruments for professional musicians. These early Schecter guitars were highly customizable, allowing players to select from a range of high-end components and finishes. The attention to detail and craftsmanship in these instruments quickly earned Schecter a loyal following among professional musicians.

One of the pivotal moments in Schecter’s early history was the introduction of the PT model, a Telecaster-inspired guitar designed for Pete Townshend of The Who. This endorsement by a high-profile musician significantly boosted Schecter’s visibility and credibility in the competitive guitar market. The PT model showcased Schecter’s ability to blend classic design with modern innovation, a philosophy that would become a cornerstone of the company’s ethos.

### The Texan Era: 1983-1987

In 1983, Schecter was sold to a group of investors from Texas, marking a significant shift in the company’s trajectory. Under new ownership, Schecter expanded its operations and moved its headquarters to Dallas, Texas. This period, often referred to as the “Texan Era,” saw Schecter transition from a boutique custom shop to a more commercially oriented guitar manufacturer.

During this time, Schecter introduced several new models, including the Schecter Stratocaster and Schecter T-style guitars, which were aimed at a broader market. The company also began to experiment with different materials and construction techniques, further distinguishing its instruments from those of its competitors. However, despite these innovations, the Texan Era was marked by some challenges, including production issues and inconsistent quality control, which began to tarnish Schecter’s previously sterling reputation.

### The Revival: 1987-1996

By the mid-1980s, Schecter’s fortunes were waning, and the company faced financial difficulties. In 1987, Schecter was sold again, this time to Hisatake Shibuya, a Japanese entrepreneur and owner of Musicians Institute in Hollywood, California. Shibuya’s acquisition marked the beginning of a new chapter for Schecter, one characterized by a renewed focus on quality and innovation.

Shibuya relocated Schecter’s operations back to California and refocused the company on producing high-end, custom shop instruments. This period saw the introduction of the Schecter Custom Shop, which quickly gained a reputation for producing some of the finest guitars available. The Custom Shop’s instruments were renowned for their exceptional craftsmanship, attention to detail, and use of premium materials.

One of the standout models from this era was the Schecter S Series, which combined classic design elements with modern features. The success of the Custom Shop helped restore Schecter’s reputation and laid the foundation for its resurgence in the 1990s.

### The Modern Era: 1996-Present

The late 1990s marked a period of significant growth and expansion for Schecter. In 1996, the company launched its Diamond Series, a line of more affordable, mass-produced guitars that maintained the high standards of quality associated with the Schecter name. The Diamond Series was a game-changer, making Schecter guitars accessible to a wider audience and significantly boosting the company’s sales and market presence.

One of the key factors behind the success of the Diamond Series was Schecter’s ability to combine high-quality components and craftsmanship with competitive pricing. These guitars featured many of the same design elements and innovations found in the Custom Shop models, including high-output pickups, comfortable neck profiles, and striking finishes. The Diamond Series quickly became popular among a diverse range of musicians, from rock and metal players to jazz and blues enthusiasts.

In the 2000s, Schecter continued to innovate and expand its product lineup. The company introduced several new models and series, including the Hellraiser, Blackjack, and C-1 series, which have become staples in the Schecter catalog. These models are known for their aggressive styling, versatile tonal options, and exceptional playability, making them favorites among modern guitarists.

### Endorsements and Artist Collaborations

A significant aspect of Schecter’s success has been its strong relationships with artists. Over the years, Schecter has collaborated with numerous high-profile musicians to create signature models tailored to their specific needs and preferences. These collaborations have not only resulted in some iconic instruments but also helped elevate the Schecter brand within the music community.

Some of the notable artists who have partnered with Schecter include Synyster Gates and Zacky Vengeance of Avenged Sevenfold, Jeff Loomis of Arch Enemy, and Nikki Sixx of Mötley Crüe. These signature models often feature unique designs, custom pickups, and specialized hardware, reflecting the distinct playing styles and tonal preferences of the artists they are designed for.

### Schecter’s Global Reach and Manufacturing

To meet the growing demand for its instruments, Schecter expanded its manufacturing operations globally. While the Custom Shop continues to produce high-end, handcrafted guitars in the United States, the majority of Schecter’s production now takes place in South Korea and Indonesia. These overseas factories adhere to strict quality control standards, ensuring that every Schecter guitar, regardless of its price point, meets the company’s high standards of quality and performance.

Schecter’s global manufacturing strategy has allowed the company to offer a wide range of instruments at various price points, catering to both professional musicians and aspiring players. This approach has helped Schecter establish a strong presence in international markets, making the brand a household name among guitarists worldwide.

### Innovations and Technological Advancements

Throughout its history, Schecter has been at the forefront of guitar innovation. The company has continually pushed the envelope in terms of design, materials, and technology. Some of the notable innovations introduced by Schecter include:

- **Sustainiac Pickup:** Schecter was one of the first companies to incorporate the Sustainiac pickup into their guitars. This unique pickup generates infinite sustain, allowing players to create rich, harmonic overtones and feedback effects.
- **Ultra Access Neck Joint:** Schecter’s Ultra Access neck joint design provides easier access to the higher frets, enhancing playability and comfort for lead guitarists.
- **Multi-Scale Guitars:** Embracing the trend of extended range and multi-scale guitars, Schecter has introduced several models that feature fanned frets, offering improved intonation and ergonomics for players who utilize alternate tunings and lower registers.

### Schecter in the Modern Music Landscape

Today, Schecter continues to be a dominant force in the guitar industry, known for its commitment to quality, innovation, and artist collaboration. The company’s instruments are played by some of the biggest names in music, spanning a wide range of genres from heavy metal and hard rock to jazz and blues.

Schecter’s ability to adapt to the changing landscape of the music industry while staying true to its core values has been key to its enduring success. By continually pushing the boundaries of guitar design and performance, Schecter has secured its place as one of the leading guitar manufacturers in the world.

### Looking Ahead: The Future of Schecter Guitars

As Schecter moves forward, the company shows no signs of slowing down. With a continued focus on innovation, quality, and artist collaboration, Schecter is well-positioned to maintain its status as a leader in the guitar industry. Upcoming releases and new signature models are eagerly anticipated by fans and musicians alike, and Schecter’s commitment to pushing the boundaries of what a guitar can be ensures that the future is bright for this iconic brand.

In conclusion, the journey of Schecter Guitars from a small parts supplier to a global powerhouse is a testament to the company’s dedication to quality, innovation, and the needs of musicians. With a rich history and a forward-thinking approach, Schecter has earned its place among the giants of the guitar world, and its legacy continues to inspire guitarists around the globe.