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Discussion Starter · #1 ·
Aesthetics aside (of which I prefer the UV777P more than any other Jem/UV) but what did you think of the feel of the neck and the sound of the guitar versus each other?

I am just curious about the model because I almost bought one a few years ago but the price was ridiculously high (like $4k, double what our new 7 string prince sold his for lmao I can’t Beleive that , no offense ) so i passed, and so I rebought a UV777P but I think it was the nostalgia of my Jem7vwh that made me “want” it because in the end I didn’t really ‘like’ my Jem after I got over my “Steve Vai is god” phase when I was in my teens; in all fairness I had Becker ability by 17/18 so I was arrogant as a kid I admit, but I didn’t want “someone else” guitar but idk I just didn’t vibe with the white , I’m a black guitar guy, and that guitar was too flashy with the gold and pearl and all that - most of all I didn’t like seeing all the discoloration or yellowing of the white, and gold loss on the trem, it was more like up keeping a piano just for showing guests off …..

whatever, that was a little tangent but still compare the UV777BK and jem7V7 please
 

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IMO the 7V7 was what they should have made in 1990. Let's be honest, a UV is an RG made on a different production line. More elaborate than most when you added pyramids and colors, but take a 7BK, what's the difference from a 7620 [besides the AANJ the UV777 got same year the 7620 was released]? But the UV was the only 7 available from Ibanez so it didn't have to do anything to distinguish itself as different. [Yes, many will say a JEM is just an RG with a claw and grip but those are exactly what made it different].
 

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Discussion Starter · #3 ·
So you clearly prefer the aesthetic but what about the neck and tone?

your right rich, they should’ve dropped it in the early to mid 90s, latest 97, and I also agree with your take on how you see both the UV and Jem as “enhanced” RGs( from different angles I get that), but I appreciate your honesty

what about the neck? I’m most curious about that - is it like a Jem or a UV, I know it’s not the smartest question but still
 

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Neck? Extremely comfortable. It's not like I memorized the last time I had one in my hands or ever had a reason to put it side by side with a UV. It's the neck Steve wanted on it at build time, and it is modern construction so it is a better neck, no matter what the "one piece is better" guys want to say. Tone? The only difference is alder / basswood, there's a little difference but it's not huge to my ears, nor did I get a UV out to compare. You can't really compare well seasoned basswood to freshly dried alder anyway.

But it's the aesthetics that make it, just as it's the aesthetics that make a JEM not an RG. So when Steve first decided to do a 7 string I don't understand why he just used an RG body instead of a JEM. And that it took 20 years when I was trying to get them to add the claw and grip to the UVRE's to make them special instead of just another reissue, for them to realize that nobody had ever thought about making the JEM into a 7 string just makes you wonder who's flying the plane.
 

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Discussion Starter · #5 ·
I respect that Rich
It’s gorgeous without doubt
It looks like a piano with all positivity intended
I’m just more a black guitar guy (I think 6/7 out of my 10 are black )
 

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Discussion Starter · #7 ·
Hey Rich, in regards to the claw, I know you would know this - I have been told conflicting things - some say the claw is totally aesthetic and others say the lion claw gives you like another semi tone of up pull on the lo pro...do you find this or the latter to be true?

Also, and I know I asked this a couple of times, but is it true the tone is bit fatter/thicker/rounder/warmer on the 7v7 and a bit brighter on the uv???

if you aren't sure, thats fine man, I just always wanted to know

PS Rich you probably don't remember but I called you probably 5 times over the past decade to get one of these and I should've gotten it from that old guy for 4k, but I didnt have spare 4k to spend on a 7 string I didnt REALLY know if I wanted, and like I said there was too much gold loss on the TREM and idk if that could be replaced
 

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The gold trems aren't cheap, I have the last of them, unless they do another run someday.

No idea on the tone, too many years ago and never compared them to begin with.

The Edge you get more range if the block doesn't hit first, most old JEM's need neck shims to get decent range anyway, some need really thick neck shims. UV's always needed shims, some very thick. Some year the changed the CNC so the pocket is angled so no shims are needed. Usually. Still some S's with LP's need a thin shim.
 

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Comparatively, the neck has slightly softened shoulders, an absolute joy to play, it feels like no other Ibby 7 string neck I have played. Very fast, very comfortable. The Blazes sound amazing in the alder, also a very resonant guitar. If I knew I could find another trem to save for a rainy day, I'd play it the majority of the time.
 

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Discussion Starter · #11 ·
So would you say it is slightly akin to the K7?
The K7 was a GREAT model, but ignored because of the band lol
the UBAR was a great idea, but anyway, the description sounds a bit like the k7 or 2228 neck

ALSO the Japanese uv777p does have a different neck than the uv777bk, so I have to keep that in mind….people may dispute that, but I know from personal in-depth experience and ownership the Japanese uv777p was almost roasted maple compared to the uv777bk, and thinner, slightly

can anyone else who has the Japanese version chime in? It’s not very important but I’m interested anyway

thansk Viper pilot….Alder is my favorite, that was my ONLY issue with the uv777p/BK, I wished it was alder
 

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IMO the 2228 was the worst neck Ibanez has ever made, besides the UVRE which is the wrong radius.

Not because the profile of the carve is bad, but it's 5mm wider than it needed to be because they based it on the M8. To take a neck that's already very wide and make it unnecessarily wider was misguided. I hated to play those necks, but not as much as the M8 because of the scale length.
 

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Discussion Starter · #13 ·
IMO the 2228 was the worst neck Ibanez has ever made, besides the UVRE which is the wrong radius.

Not because the profile of the carve is bad, but it's 5mm wider than it needed to be because they based it on the M8. To take a neck that's already very wide and make it unnecessarily wider was misguided. I hated to play those necks, but not as much as the M8 because of the scale length.
Rich, you’re totally right - the M8M had the wings the 2228 should’ve

correct me if I’m wrong but the neck evolved From 2007 to 2010-12?Besides the titanium rods I think they curved the wing/shoulder area less , into more of a esp type Thin U versus the more C shape of the debut, but that may just be my experience with thetwo

but yeah rich, your right. The m8m would’ve been perfect at 27”; maybe 27.5” but that 29.5” is simply a fools errand - sorry meshuggah fans, I had the m80m, I know how amazing the sound of the Lundgren is in the guitar but man, is it terrible in the first position

rich, I foolishly tried to get the m80m put on my 2228 (well I called my guy and he said are you kidding the string spacing is double)

oh well - the 2228 was the best it got besides those few j custom 8 Strings

but ESP completely decimated and unearthed the playing field with their 8 strings - simply the best , and unrivaled
 

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To throw another into the mix (piqued my interest a bit when released, at any rate) - Munky's Apex for most of the past decade had an alder body, Lo Pro, and Blazes in HS configuration. The neck is bound to be different compared to the 7V7, but it shares some of the other specs. The later model with the red pups got the old school block heel, interestingly.

Add a new HSH loaded pickguard and you've kinda got a Munky-7V7-UV mutant 😁.
 

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I have a Japan-spec UV777 made in '98, really wanted one because of the border around the pyramid which was a first year thing, and I had heard there was a difference between neck specs as well. Either I have a not-so-good Japanese '98, or a really good US model 2000, because they are practically identical. The only plus is the fretwork on the Japanese one is impeccable, perfect everywhere, almost as if it had been plek'ed. There's my 0.02 on the subject, YMMV.

🤘💀🤘
 

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Discussion Starter · #18 ·
I have a Japan-spec UV777 made in '98, really wanted one because of the border around the pyramid which was a first year thing, and I had heard there was a difference between neck specs as well. Either I have a not-so-good Japanese '98, or a really good US model 2000, because they are practically identical. The only plus is the fretwork on the Japanese one is impeccable, perfect everywhere, almost as if it had been plek'ed. There's my 0.02 on the subject, YMMV.

🤘💀🤘
That’s great, thank you man
I think in the 97-2002 period, when it was the Ibanez golden age apex , I mean 97 and 98 were the pinnacle and it carried Well into 2001/2002 imho

there were a lot of little changes

one thing that I absolutely LOVE and maybe I think that’s what it is beside the pyramid but it’s the full body neck headstock binding

I think it’s fantastic

PS why do you say specd , like it was custom?
 

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1998 was the beginning of "Prestige", when all the CNC programs, fit and finish tolerances were tightened, fret end finishing and board edge. Peak was around 2005-2007 IMO Unfortunately the Edge Pro era.
 

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Spec is just there to differentiate US market vs Japan market production. I had heard somewhere, maybe here many moons ago, that there was a difference between US and Japanese market production specifications.

Owning one of each, I don't think that is the case, but the workmanship on the Japanese market '98 UV777 is essentially Sugi level on a Fugi guitar. Just perfect.
 
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