I basically agree there. Considering its just so straight forward, $1800 is about right.

I agree there, too - if they made it as a production model, it's be about that price. However, Jackson doesn't think there's a market for $1800 7 strings that don't have Steve Vai's name on them...

Even better would be a regular Soloist model, but as a 7 string - Floyd and all....I can't see how that wouldn't sell good. At this point in time it is hard to find ANY new USA Jacksons anywhere - even for a Select Series - without waiting 4 or 5 months, unless it is an odd color or you catch a shipment that just came in.

Yeah, the popularity is up, so they're behind. I can't imagine that Jackson would sell 100 Soloist 7s at those specs for 1900-2K list. I'd buy one, and I already own one.

USA Jacksons really just cost way too much. I know the demand is high so they can charge whatever they want, but you see MusiciansFriend selling regular ol' RR1s for more than custom shop prices. I think ESP's prices are more reasonable for their standard series (1300-1500).

Eh, I like the ESPs - and the MF prices on those are 15-17 - but I'd personally drop the $200 more. Other dealers will usually sell the USA Jacksons for less, too - they just have to honor Fender's MAP policy when they advertise them.

What about Fender? An American Strat "Deluxe" costs $1200, and tha Deluxe in the name is getting you locking tuners, and a different nut and saddles. $1200 for a Strat. It's just a Strat! Gibson? A Les Paul Standard is $2300. A Custom is up to $3000! Don't even get me started on PRS. Jackson is probably one of the best USA guitars in terms of cost/features. Those RR1s you see for two grand are the MAP prices. You have to call to get the street price.

I don't know where you're shopping for ESP, but an Eclipse II is $1729 at Musician's Friend. $1579 gets you a Viper. That's the same territory as the "overpriced" Jacksons. Signature models throw you into the $2300+ range. If these are also MAP prices, it doesn't give any indication.

If you think the difference between that CS COW Soloist and the COW DK-7 are minute, then I don't believe that you have actually played a CS guitar. I've played a COW DK-7, and they're nice guitars. I've played Mike's CS Soloist, and it is one of the nicest guitars I have ever played. There is absolutely no comparison. Throw money out of the equation, and every single thing is much better. Leave out the easy upgrades (like the Spertzels) if you want, it really doesn't matter. The DK-7 has a stained board because they use a lower grade of ebony, and they don't want you to see chocolate brown streaks. Gibson has been using this trick for years. You can actually see tiny color variations in the CS fretboard, because they hand pick each piece of ebony, judging it by weight, grain, coloring, etc. As a matter of fact, every piece of wood is hand picked. When cost is no object, this is how you select wood for a guitar. The finish work puts that DK-7 to shame, right down to a much shinier clear coat.

How can you compare something that came off an assembly line to a guitar made by one or two guys in a small shop? Yes, it is much more expensive, but that is what happens when you step up from a Acura TL to a S-class Mercedes Benz.

Also note that ESP's Standard line is made in a different place than the Custom Shop now, so they're not "as high" as USA Jacksons, theoretically, anymore.

No doubt, those are indeed overpriced as well. I agree with everything you said. I'm also fully aware of that they use higher grade woods and the like (brown steaks in ebony isn't necessarily a sign that it's a bad sample though). Like I've said I've had/played USA/CS Jacksons and many other brands as well. Everything you said is accurate.

That being said, when you're talking about $699 vs $3000-4000, the differences you spoke of still doesn't quite justify it to me. When I sit down and actually just play the DK7, those thoughts about "well this isn't quite as prestine as the CS guitars I've owned over the years" just don't creep in. I just enjoy and love the guitar - because it sounds and plays great, and despite a less shiny coat or whatever, it still looks sweet.

The bottom line is you're talking about some the extra attention to detail the CS COW gets over the Japanese, and I fully agree.... but you said to "leave the money out of the equation" and "cost is no object", which defeats the whole purpose of my original comments. I said already that if money was of no consequence, the CS is hands down better. I just said the difference in cost is so great, and the Japanese model plays and sounds so well (and is well made), that it's not really worth it. Remember I'm talking merely about the prospsect of having to buy either the DK7 or CS DK7, nothing else, when things like money and value and logic ARE factors.

I know you guys are endorsers and lovers of Jackson guitars, I too share your love. I loved my CS Marty Friedman models and KV2s and all the other fine Jacksons I've been privilaged to own/play. We're really not in disagreement here on the principles. I'm fully aware of the benefits of a handmade guitar. I was merely talking about value and practicality.

The DK7 is a guitar of quality that far exceeds its price tag. Considering how overpriced many production model Gibson, Fender, ESP, Jackson, BC Rich, Fernandes, etc are.... getting an all mahogany 7-string guitar with an ebony fretboard and "good" pickups, for $699, is a steal. If it cost $999-$1199 I still think it would be justified. So I feel like it's an exception value. I feel like the USA COW which is VERY SIMILAR is not worth an extra $3000, when for that money you could get a far better Custom piece anyways.

I just took my DK7 to its first rehearsal (i usually bring my JP7 or Ibanez). I have to say I'm sort of surprised how well the EMG 707 hangs in the mix. The somewhat polished and "balanced" and clear sound they produce really sounded good combineed with my bandmates Mesa Recto/C7 Blackjack w/ Duncan SH5 which was more searing and intense.

I still vastly prefer DiMarzios and Duncans, but at least in this case with a Triaxis/2:90, the 707 isn't bad at all.

I love this guitar. I am really disappointed I waited so long until buying one of these. Plays like an utter dream.

Of course not, EMG's are nice pickups…even if they are not for everyone.

Yeah it's just I've had EMG 81/85/707s in a million other guitars before and haven't had good experiences. I have a feeling the Triaxis is a very forgiving amp.

I always say, if you love Chimaira's tone, the unforgiving brutally abrasive kind, the 81 will suit you perfectly, lol.

Once again, it totally depends on the amp you're using. Not every amp takes kindly to those pickups.

Now Skeeter, he ain't hurtin nobody.

Well, they sound great though my Mesa. They sound like brillo pads on your ears through my cousin's Crate, though, but sometimes you want the brillo pad to the ear sound. *shrug*

I love the Jackson neck profile and compound fretboard. My Stars Soloist plays the same way, and I actually had to raise the action on it. Not because it was freting out, but because it was so ridiculously low that I was slipping off string when doing bends.

Yeah it's a joy to play everytime I pick it up.

Sexual harrassment, Panda.

"Hey panda bear, we don't like your kind around here!"

Well, I saw Fear Factory about a month ago, and Christian was using the japanese ones a lot. Maybe I missed it, but I think he was using the import ones exclusively.

I would like to get my hands on one of those. I love ebony fretboards, I love EMG's, and the guitar looks very nice as well, so maybe in the future, maybe

For touring, yes. A little bird has told me that his sunburst Soloist 7 is still used for recording, though...

He mas a million cool USA ones. I really like the silver burst one he has. I'm sure his Japanese ones sound almost as good if not as good... after all he uses EMGs. Sometimes I've found bolt-ons added snap actually helps those pickups sound better. The 707 i had in my neck-thru KXK sounded like garbage.

Dual 81s in an all-maple neck-through with a floyd rules...I think most people would find that bright but it's sinister.

Still tickin' !

Hey zim, how did you get along with the TOM bridge? I know you're used to the low profile type bridge, and that's what I really prefer. I'm really gasing for one of these atm..

I don't see what the big deal is with TOM bridges. I can intonate fender-style hardtails instantly, and the saddle height is super easy to adjust.

As far as TOM's being to high, I don't think that's a bad thing. If the action is low anthe bridge is flat, you just have extra room for picking. I never ever had a problem. I do think flat hardtails are just plain easier to get along with, though. I certainly wouldn't let a TOM bridge stop me from buying and awesome guitar, that's for sure.