In the early 1990's I was playing original music 3 nights a week and recording EP's as required to promote the new stuff.  I went to the studio for such an occasion and set up.

 

At the time I was playing an Ibanez RG550, and a Realtube II Preamp, MossValve 150 Watt Power Amp, Alesis Quadraverb all rack mounted through 2 x 15" Carvin Speaker Boxes.

 

I got through about 5 minutes of warmup and the producer called me into the booth and asked if that was the sound I was going to be recording - I asked why, and he said the sentence that would change my path forever ...

 

“If you want to make a Gibson through a Marshall sound, why don’t I just hire you that gear, it will make the whole session go faster.”

 

After I dusted off my ego, we had a conversation that sparked an epiphany.    

 

My new audio guru asked me to look at all the players that I liked, and have a look at the gear they use – he said that because of the Symbiotic relationship between Amp Manufacturers and Guitar Manufactures I would find a distinct pattern …

 

It seemed that when Amp Manufacturers were testing their gear, they were using the most sold and best sounding Guitars – and vice versa, The Guitar Manufacturers wanted their Guitars to sound great through the most popular and best sounding and selling Amps. 

 

Needless to say, I bought a Marshall and Gibson Les Paul around about that time, though I still played the Ibanez RG550 live, because it was easier to play and more versatile – but that is another story and also why Live Guitar Necks are so awesome to play.

 

It began a journey that spanned decades to figure out what to use and why it all works together.

 

Many, many, many Guitars and Amps later the Live Guitar Universal Configuration Platform has been conceived, and a variety of quality hardware chosen to give every Guitarist what they need - their version of awesome.