
A bold fusion of Santa Ana and Fullerton styles yields a wide range of vintage-to-modern sounds.
Daring styling. Transparent onboard electronics. Powerful tone controls.
No passive operation. Hard to access upper frets.
$699
Jackson X Series Concert Bass CBXNT DX IV
jacksonguitars.com
I remember the extreme reactions when the PRS Silver Sky was introduced. The mashup (some might say, clash) of two well-known and classic designs was an earthly manifestation of sacrilege to some. The Jackson X Series Concert Bass CBXNT DX IV could be the Silver Sky's bottom-end equivalent: design elements from two legendary instruments fearlessly thrown together to create something new. The mix already has folks talking. But the real question is whether there is more to this bass than the mix of Fender-style P/J and Rickenbacker visual cues?
What Comes From Where?
The X Series Concert Bass clearly takes inspiration from Rickenbacker's 4001 and 4003. The pickguard, neck profile, chrome bridge pickup cover, control layout, shark fin fretboard inlays, and Jacksons own "Bass Bacher" through-body bridge all nod heavily to Rick. The poplar body profile and pickups, of course, are a nod to Rickenbacker's old neighbors, Fender.
That's the breakdown on the most obvious style moves. But look closer and you'll find features that make this instrument unique. I immediately noticed that the Jackson seemed slightly longer than some basses in spite of the standard 34" scale length. One reason is that putting the Rickenbacker-style bridge on a Fender-style body situates the bridge further forward so the eye perceives the neck as a little longer.
The most unique aspect of the instrument's deign, perhaps, is the pickup placement. The J-style pickup in the bridge position is located further from the bridge than a standard P/J, and the P-pickup in neck position is located much closer to the neck than I am used to. Outwardly, the pickup positions may not seem to represent a huge change, but they make an audible difference.
Tone Twists
The Jackson's departure from the two basses that inspired it become more obvious when you plug in. To start, the Jackson has active electronics and a flexible set of treble, mid, and bass tone controls. But the Jackson doesn't just thump in the hi-fi voice of a typical active-pickup-equipped instrument. The circuit also does a great job of delivering vintage feel in the top end, as long as the treble EQ stays below the 75-percent mark. Such tone-shaping flexibility is rare, and Jackson deserves kudos for being sensitive to the vintage-loving player via these tone controls. On the other hand, the Jackson could have featured a bypass that enables passive operation. That's a big plus for me in any active bass—especially one with such clear vintage ambitions—and it is missed here.
For anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The X Series Concert Bass' very flat and wide 12"-16" compound-radius neck took some getting used to. I expect it will be an adjustment for anyone accustomed to slimmer, J-bass-style neck profiles. But for anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The Old Door
The Jackson's voice exhibits a prominent and very honky midrange. And in spite of the P/J pickup configuration, the Jackson has much of the midrange of a Rickenbacker. The extra mids are especially noticeable when soloing the bridge P-style pickup. And getting something close to Chris Squire's tone is surprisingly easy with all that available midrange. The extra mids show up in the neck pickup, too, adding a pleasant woody bark to the output, and at times I could almost hear hints of an old door squeaking, which I mean in the most complimentary way. The laurel fretboard might also contribute something to this pleasant, woody personality.
The Jackson isn't all about midrange. Carve out a chunk of that midrange with the flexible 3-band EQ, engage both pickups at full volume, and it can confidently enter the sonic territory occupied by a more conventional P/J bass. The warm low end gets more room to speak, and that sound lends itself beautifully to playing with a pick. And even when digging in, the relatively transparent active circuitry never gets overbearing.
The Verdict
After living with this bass for a few weeks, it really grew on me. I love that Jackson green-lighted this fusion of design ideas—especially when some traditionalists on both of sides of the Rickenbacker/Fender aisle are bound to consider it a pretty wacky blend. But looks aside, the diverse sonics created by combining two legendary designs are interesting and fun to explore. I applaud big statements in general. And in the world of bass, this Jackson pronouncement is as loud and proud as they get.
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.