When people talk about seven-string guitars, the model that probably comes to mind first is the one we began to see, announced back in 1990, in the hands of Steve Vai. The name, perhaps a bit pretentious, “Universe,” but it was no less than that, was in any case in tune with the aesthetic culture of the late ’80s. I remember walking into a music store in Madrid, Maxi, and finding a life-size cardboard cutout of Vai showing off such a singular guitar.
Looking back, the designs of the era may seem over the top to us, but at the time they were perfectly common. Especially with our naive excitement about everything coming from the United States. But in reality, what we were getting was a low B on a seventh string, courtesy of one of the most admired guitarists.
Actually, the seven-string guitar, and guitars with even more strings, have a long history. In fact, in the Renaissance and the Baroque, people experimented with different stringings and tunings. Later, from the mid-nineteenth century, we have works written specifically for this type of instrument by the French musician Napoléon Coste. On the other hand, I should mention that seven-string guitars also existed in Russia from the early 1800s. It was actually called the “Russian guitar,” possibly developed from other native string instruments. It used a specific tuning and was widely popular. The seven-string guitar also appears in Brazil from the early twentieth century and is an intrinsic part of its folklore, samba, choro… and has one of its finest exponents in the brilliant guitarist Raphael Rabello. Rabello died very young, leaving us at only 32, but he left exceptional recordings and, if you don’t know this great musician, I recommend you waste no time listening to him. Other important guitarists who have used or use seven-string guitars include George Van Eps, Ron Eschete, with whom I had the chance to study at GIT, Lenny Breau, George Lynch and a very young Yamandú Costa, whom I also recommend listening to, among others.
Back to the subject: obviously the seven-string guitar existed before we encountered the image of Steve Vai showing it off in 1990, but its development and more direct spread surely begins here. Vai became more than a great musician and excellent guitarist; he turned into an aesthetic model for no small number of young guitarists and personifies, possibly better than anyone, the figure of the “American guitar hero,” which was so fashionable at the time. Given these circumstances, we can say that the spread of the “Universe” model was as successful as the record released alongside the guitar’s launch, the album “Passion and Warfare.” It was a perfect marriage. Even so, a little before the record’s release, Steve Vai had done a world tour with the seven-string guitar, so we can say that many interested players became aware of its existence earlier.
This guitar, logically, went through several prototypes before being commercialized. When it came to market, it did so as the models UV7 and UV77. Year after year, Ibanez introduced different guitars and updates, adding colors, different designs and improvements. More affordable models of extraordinary quality, and others in the upper mid-range with luxury finishes.
A new boost to the development of seven-string models came with their use by the band Korn.
This evolution brings us to two of the models we’re going to talk about.
One of them was designed, and of course used, by the guitarists of the band Korn, known as Head and Munky. The guitar is therefore a “signature” model. Korn’s sound is simply fantastic and intelligent, their productions perfect. Using this instrument undoubtedly influences the band’s distinctive, forceful, low and dark sound. The model started out on the market as the K7, but I believe it can currently be found as the APEX 1 and a more basic version, the APEX 2.
The APEX 1 has a mahogany body, not as heavy as I might have expected. The body-to-neck joint is well done, with a contour that makes it more ergonomic. The neck, in the Ibanez tradition, is super comfortable. Despite having one more string, any guitarist will feel at home. Access to any position is perfect. For added stability it has two Bubinga strips. A binding runs around the edge, as well as on the headstock. Small touches also stand out, such as that pearlescent color. On the APEX 2 the neck is maple and walnut. Jumbo-size frets. The electronics are good quality, with two DiMarzio® Paf 7® (H) neck and DiMarzio® Paf 7® (H) bridge pickups. The pickup selector is three-position, and as for pots, one volume.
The Korn guitarists devised a vibrato system called the “U-Bar.” With this system, consisting of a U-shaped bar whose ends are placed on either side of the bridge, you use the palm of your hand to get the desired sound. As for the tuning machines and tuning stability, they are also what you’d expect, perfect. Giving more technical details about the instrument seems irrelevant to me now, and there are various sources for that information. What I find interesting to highlight about these guitars is their great quality, and that they are conceived, precisely and clearly, for a specific sound concept. If your music is in Korn’s territory, this is probably your guitar. In any case, and from what I’m told, you have two models; the APEX 2 costs almost half as much as the APEX 1, so you’d get a simpler guitar for much less.
On the other hand, I have been trying out, with curiosity and amazement, another Ibanez seven-string model. It is the Ibanez RG1527 Prestige. Here, what is fortunately starting to become the norm happens to me again: finding good guitars for less than half the price you would expect. Or perhaps it would be more accurate to say they cost half of what something with similar features cost a few years ago. Well, for whatever reason, this guitar is a real hit on Ibanez’s part.
The RG1527 has, to begin with, very good materials, from the wood to the electronics, including all the hardware. The body is basswood. The neck is hard maple and wenge; the rosewood fretboard has 24 jumbo frets. The pickups are a V77 (H) neck and V78 (H) bridge. On all these guitars, Ibanez has selected pickups that capture as clearly and crisply as possible the frequencies produced by using a seventh string in the low-B range. The selector is five-position. Unlike the other model, it has two controls, volume and tone, which adds a bit more versatility.
I liked the tremolo a lot. The profile of the design is very low and flat, which makes the picking-hand position easier. It’s the Edge Pro 7; its components make the string vibration transfer very well to the wood, which is why it has terrific sustain. This model, the Ibanez RG1527 Prestige, seems to me a highly recommendable guitar for anyone who wants to get into the world of seven-string guitars, always within the rock sound.
Finally, I can’t fail to mention another surprising guitar, an eight-string model, also from Ibanez. The RG2228 GK. The instrument’s technical specifications are the same as those of the RG1527. The distinguishing feature is the addition of an eighth string, which gives us an F#. Apparently, bands like Meshuggah have been the inspiration for this “plus.” It was introduced at this year’s NAMM Show, so it is very recent and its acceptance is still an unknown, but its great value for the money may help it catch on.
In conclusion, I simply want to make clear, albeit briefly, Ibanez’s contribution to the seven-string guitar concept and, judging by recent news, the eight-string. Ibanez has made history with high-quality instruments, and in the field of seven-string guitars its contribution is more than notable. Best regards.
