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OFR and Lo-Pro, and even just an Edge, are pretty interchangeable to me—I can't say I even have a preference. Will happily take any of them over anything else.

I’ve had one and loved it. There’s not really much difference between that and any other USA Soloist, but the top-mounted Floyd alone is enough reason for me to choose that over a typical one. I just prefer that since it feels more like a TOM. They normally have a little more of a heel too...

Like you said, to each their own, but you most definitely can drop a step without having to unlock the nut via fine tuner.

In addition to people just being afraid of Floyd’s, I think the prevalence of locking tuners and the misunderstanding of them having a tangible role in tuning stability probably plays a part in this, if it’s actually a thing.

I’d rather have a hardtail than any trem that isn’t double locking. I just don’t see any benefit to a trem that has all the downsides of something double locking without the upside of actually working well and staying in tune. Similarly, I’d rather have a blocked double locking trem than a...

Add actual LPs to this list too. Definitely harder to find, but they've made them.

I imagine there's a lot of inconsistency, but the Chinese crackle Soloist I picked up at a store a while back was far nicer than any MIM Jackson I'd tried (I've always found those really underwhelming). It was probably the best feeling non-USA Jackson I've ever played—I was super impressed.

I just don't really think most people that want Gibson Les Pauls want them to feel like...not a Gibson Les Paul. And in my experience, Lites are totally fine guitars, but don't really feel like a Les Paul. I don't think they were really ever viewed as "real" Les Pauls by Gibson fans either. ESP...

Aka, AliExpress vibes.

This guy really posted a statement saying “Be yourself. Be authentic.” in response to this? Is he trolling?

I've had a few Hubers and loved them—I've always described them as basically being "everything I actually wanted a PRS to be." That said, the downside is that I wanted the Orca to be a Les Paul, and instead it was the best PRS I never had, so I didn't end up keeping it terribly long (I'm sure...

There's an Angelus 7 M3B I'm looking at right now. I don't even like it that much, but short-scale, double-cut 7s are so few and far between that I'm really considering it. I played one a while back and loved everything about it other than the looks.

Ah, so it lost its most appealing feature? The green finish is cool at least. I’d still like to grab one of the original set-necks some day.

The radiator covers and Evertune are locked in a heated competition for the ugliest element of this build, but I really like the finish.

This is basically why I like playing 6 string songs on 7s so much—using 7s for everything tightened up my right hand immensely. The extra string being “in the way” essentially forces you to be more efficient. It’s probably had more impact on my playing than any other technique or exercise in...

I guess I’m in the minority but I find the lower edge of S models too thin and one of the most uncomfortable features of any guitar outside of the upper bout on Parkers that just pokes you in the chest.

For all of Jackson’s faults, that’s historically been one thing they haven’t been guilty of too often. You’re totally right though, it’s been popping up on more and more Custom Shops lately—I think they have a couple new builders who these might be attributable to.

Exactly. I think I once actually saw @narad call a single 12th inlay guitar something like "either one or nine inlays away from perfection," and I never saw the sentiment articulated better.

Single 12th fret inlays, whether the ESP block, the goofy Aristides squiggles, or even something good like a sharkfin, are dealbreakers each and every time. That thing is pretty amazing otherwise.

I’m not sure if I’ll ever get another 6 that’s not set neck and Gibson scale, but if I do, it’ll probably be that new blue Pia.