- simple to use, beautiful and built like a tank

- 100 watts head (4 EL34 - 5 12AX7) - 6 channels - midi controlled
- hard to list all of the connections and possibilities here, have a look on ENGL website

- So much functions that you feel a little lost at first, really need lot of time to set it correctly but after that it's great to control simultanéously the head and your multi fx with the midi system.
- The manual is very clear

- you can do everything with that monster, each of the channels cover a great range of styles:
1/ Tube driver: leave the sound of your instrument unaffected and amplified directly by the power amp
2/ TDHQ: the same channel as above but with EQ settings for shaping, a volume and a sensitivity potentiometer (to set from clean to crunch)
3/ Clean channel: from extreme clean to overdrive
4/ Crunch channel: From slight crunch to heavy warm distorsion
5/ Lead 1 channel: a very tight and focused channel, great for hard rock or métal rhythm work (reminds me of the gun's n' roses rythm sound) - also great for soloing with neck pickup
6/ Lead 2 channel: less défined, bassier and more drive than the prévious channel. Was designed for solo work but i use it for heavy distorted rhythm.

There's so much gain in the lead 1 and 2 channels that i never set the gain setting past 12 o'clock in hi gain mode

Once the channel is set you can choose between dozens of tone shaping options, some are really usefull, others are less depending on what type of sound you want to have

- as for the others EMG pickups, the SA improve clarity, définition and sustain while providing warmth (alnico magnet)
- a great single coil for cleans and low distorsions.

- Had three of them since 2000
- as for the other EMG pickups, this one brings définition, high output, and improved sustain. You can do almost everything with the 85 (much more than with the 81): bass are really huge and the alnico magnet provide warmth
- i had tried lots of pickups (passive and active) and this humbucker has been my favorite for years

- I had two of them in 2000 and in 2007. I didn't keep the first in 2000 because i find the sound thin and trebly. In 2007 i decided to give it a second chance in case i got a faulty one the first time: the sound was still synthétic to my ears (even on a tube amp). I also had EMG 60, 85, SA and only dislike the 81 and the 60 (those two have céramic magnet).
- as the others EMG, the 81 has great clarity, définition and gain, they are great for métal, and i think they would be perfect with Mésa tube amps (to bring more clarity and articulation to the distorsions)
- a very good pickup, but i prefer by far the 85

- The century has a cutting sound: bass are not huge but very defined, mids scooped and good treble frequencies.
- until now i had two V30 in my 2x12 mésa vertical rectifier, i like the warm tone they provide, but i wanted more bite for my heavy distorsion patchs so i swaped one of the V30 for a century vintage. The century vintage sounds not as huge as the V30, but it has more clarity and definition.
- I think that a 100% century vintage cab would best match for agressive métal, with heavy gauge strings and heavylly detuned guitars.
- and last, the century vintage weights three times less than a V30.

- The all in one HP: great for cleans but also for distortion: thick sound, great bass and treble, spike in the mids. Brand new, treble fréquencies can be a little harsh but it's much better when broken in
- had two of them in my 2x12 mésa vertical rectifier, i like the warm tone they provide, but i wanted more bite for my heavy distorsion patchs so i swaped one of the V30 for a century vintage. The century vintage sounds not as huge as the V30, but it has more clarity and definition.
- V30 are excellent HP, you can't go wrong with it.

My Ibanez Ghostrider guitar, in similar fashion to a Les Paul has a mahogany body and a 2-piece bookmatched maple top in a cherry sunburts finish, although tobacco sunbursts are rare they were also avaible) It sports cream binding on the body and neck, fairly high quality rosewood fretboard with abalone inlay fret blocks, and gold hardware all the way down to the pickup covers. Just like a Gibson it boasts a true set neck and tune-o-matic bridge. The controls, however unlike a Gibson LP, are limited to a single volume and tone with a 3-way selector.

The neck is very reminiscent of a Les Paul, slightly clubby feeling definitely slim enough to feel graceful when playing. Access to the 22 fret is possible, but may not satisfy shredders who want unrestricted access all the way up the fret board. To myself, it doesn't matter.

If you love playing a Paul but regret it halfway through a gig due to their weight, then this guitar is for you. Somehow, maybe due to a slightly smaller body and the double cutaway they have made a guitar thats several pounds lighter than an LP, and its very balanced and comfortable to play.

This is by far the most gorgeous-sounding guitar I have ever played. Granted I swapped in some Gibson P.A.F. pickups and that has sweetened it all the more. But to pick up this guitar and play it, and then remind yourself it doesn't cost 2000.00 is like a dream come true.
I play everything from hi-gain palm-muted metal riffing on the bridge pickup, to crunchy indie rock, to noodly jazz and Santana soloing, or back the guitars volume down to instantly clean it up for soulful bluesy licks and chords. When through a clean amp, the neck pickup comes through thick and almost jazzy, with enough fatness and sustain to satisfy me when playing mellow chords and licks. The neck pickup is also great for sweet overdriven soloing as this guitar will almost sustain like a real Paul.

I think the bridge pickup is a bit thin or lacking lower end when clean, thats my only real criticism. I usually reserve the bridge setting for crunchy distored sounds.