Hopefully I will have photos and soundclips up soon, but until then suffice to say that the calibrated Warpig set has exceeded all of my expectations (and squashed some of my concerns). Frankly, I am astounded that they are not recommended more often and heartily around here.
The guitar in which they are the larynx is a Warmoth-cut copy of a Charvel Star. If you are not familiar with these Charvel Stars, they are basically a mix between a Gibson Explorer and a Gibson Flying V, though Warmoth's take on the original Charvel (itself inspired by Van Halen's mangling of an old Ibanez Destroyer) is in fact a good bit smaller than the "real" Charvel design. I did not find this out until the paint shop informed me that my guitar would not fit the old stock Charvel Star hardshell cases they had available, and I was disappointed that Warmoth wouldn't be more upfront about this sort of information. For what it's worth, the body wood is mahogany and the bolt-on neck is wenge with a brazilian rosewood fingerboard.
I've noticed that people often ask which BKP is "the most versatile," and I'm surprised that more people don't answer "THE WARPIG." I wonder if a lot of people aren't scared away by the nearly startling DC resistance; perhaps it's the hefty price tag that keeps many potential buyers at bay. Whatever the cause, it's a shame that the Alnico Warpigs aren't praised more openly here. "Brutal" is too simplistic a word for the dirty tones produced by the Warpig. Calling them "brutal" and leaving it at that is like calling an exquisite, complex ale "tasty." With a distortion signal engaged, the Warpigs have shown themselves capable of gorgeously wailing lead tones and hammerstriking chord voicing, with lengthy and singing sustain even from my bolt-on neck guitar, which itself is light on actual wood mass. With a simple scale-back on the volume knob, I have found myself in solid late 70's/early 80's True Heavy Metal territory, evoking shades of Schenker and early Vivian Campbell, but with more harmonic character than those guys or most of their contemporaries were ever able to acheive back in the day.
On a clean channel, with the pickup selector switch right in the middle and both volumes at about 8 o'clock, I have found some fine, very organic clean tones, like a deep bell being chimed softly in a canyon.
I am not really interested in modern death metal tones, and my choice of amplifier reflects that. The hot-rodded Fender Bassman 100 that I call girlfriend is very sensitive to the individuality of every guitar plugged into it, and my new Warpig-equipped Star copy has outshined anything I've heard through it yet (everything from a vintage Charvel San Dimas with EMG's to a $2,000 PRS) for sheer tonal range and harmonic character.
Obviously, there is a fallacy in attributing the quality of a guitar's tone solely to one element of it's intricate design. However, when it comes to rock and roll and heavy metal, I can't imagine anything I couldn't pull off with this guitar, and I believe the Warpigs are a huge part of that (relative) versatility.
