Updates include the brand-new Pro DK Modern EverTune 7 and Pro DK Modern HT6 MS plus several new finishes.
Scottsdale, AZ (September 10, 2020) -- Jackson today announces the expansion of its Pro Series Dinky platform with the brand new Pro DK Modern EverTune 7 and Pro DK Modern HT6 MS, new finishes for the Pro DK Modern HT6 and Pro DK2 Ash, as well as a fresh new finish for the X Series Soloist SLX DX.
The Pro Series Dinky DK Modern EverTune 7 model provides the ultimate high-performance experience for today’s modern players.
Featuring a 26.5” scale length, this modern 7-string guitar’s basswood Dinky body is paired with a sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck. The satin finish on the back of the neck creates greater playing comfort, while a heel-mount truss rod adjustment wheel makes for quick and easy neck relief tweaks. Designed for fast and intricate playing, the 12”-16” compound radius bound ebony fingerboard hosts 24 jumbo frets and offset pearloid dot inlays, while Luminlay side dots provide fretboard guidance even on the darkest of stages.
Active multi-voiced Fishman Fluence Open Core PRF-CO7 bridge and neck humbucking pickups give this powerful instrument its dynamic tone — capable of over-wound hot-rodded crunch or vintage snap. With the five-way blade in pickup positions one (full bridge) or five (full neck), leverage the tone control with push/pull activation to switch from voice one to voice two. Pickups positions two, three and four all feature voice 3’s single-coil tone.
The EverTune F7 bridge never goes out of tune, making this DK Modern the perfect instrument for both the studio or live performances. Other next-level features include a single volume control, Gotoh locking tuners, Graph Tech TUSQ XL nut and Dunlop dual-locking strap buttons.
No-nonsense style also arrives in the form of a Primer Gray finish, complete with a reverse 3x4 AT-1 color matched headstock and black hardware.
The Pro Series Dinky DK Modern HT6 MS features premium appointments catering to highly technical playing, multi-dimensional tone and ergonomic design.
The HT6 MS accommodates two scale lengths on one fingerboard (25.5”-26.5”) and improves overall playing comfort while improving tension and intonation. Its basswood Dinky body is paired with a sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck, featuring a satin finish on the back for greater playing comfort. The 12”-16” compound radius bound ebony fingerboard hosts 24 jumbo frets, offset pearloid dot inlays, Graph Tech TUSQ XL nut and Luminlay side dots.
A pair of multi-voiced Fishman Fluence Modern PRF-MH7 pickups are directly mounted to the body for improved vibration transfer. This re-imagined set delivers the most sought-after humbucking tones, from modern active pickup sounds to super-hot high-output humbucking tones. This instrument’s versatile voice can be explored with a five-way blade switch, single volume control and tone control with push/pull knob to switch from an active to passive tone for more dynamic picking attack.
The HT6 MS also features Gotoh locking tuners and a Hipshot 6 fixed bridge for improved intonation and enhanced sustain.
Unparalleled style arrives in the form of a dazzling Snow White finish, complete with a reverse 3x3 AT-1 color matched headstock and black hardware.
The Jackson Pro Series Dinky DK Modern HT6 is now available in a Baked White finish with a color matched reverse 3x3 AT-1 headstock and black hardware.
This next-level model features an ash body, sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck, Graph Tech TUSQ XL nut, heel-mount truss rod adjustment wheel and 12"-16" compound radius bound ebony fingerboard with 24 jumbo frets, offset pearloid dot inlays and Luminlay side dots.
Active multi-voiced Fishman Fluence Open Core PRF-COC bridge and neck humbucking pickups provide dynamic tone. With the five-way blade in pickup positions one (full bridge) or five (full neck), leverage the tone control with push/pull activation to switch from voice one to voice two. Pickups positions two, three and four all feature voice 3’s single-coil tone.
The versatile HT6 also features a single volume control, Gotoh locking tuners and a Hipshot 6 fixed bridge for improved intonation and enhanced sustain.
The Jackson Pro Series Dinky DK2 Ash is also now offered in a Baked White finish with a color matched pointed 6-in-line headstock and black hardware.
The Pro DK2 Ash features an ash body with sculpted shredder's cut heel, bolt-on maple neck with graphite reinforcement and scarf joint and a heel-mount truss rod adjustment wheel for convenient neck relief tweaks. The 12"-16" compound radius ebony fingerboard features 24 jumbo frets and offset pearloid dot inlays.
A pair of direct mount Seymour Duncan humbucking pickups—JB (bridge) and ’59 (neck)—deliver powerful punch while retaining clarity with enhanced note definition. This instrument is also equipped with single volume and tone controls plus five-way blade switching to tweak and refine tone, and a recessed Floyd Rose 1000 Series double-locking tremolo bridge system for improved tuning stability.
The Jackson X Series Soloist SLX DX is a distinctive and affordable model offering many fine features desired by today’s shredders, including a poplar body and a through-body maple neck with graphite reinforcement and tilt-back scarf joint headstock. Hosting 24 jumbo frets and pearloid sharkfin inlays, its 12”-16” bound compound radius laurel fingerboard curves more dramatically at the nut for easy chording and flattens out as it approaches the neck joint for low-action bends without fretting out.
Duncan Designed alnico HB-103N neck and high-output ceramic HB-103B bridge humbucking pickups power this metal beast with an expansive voice loaded with crunchy, full-bodied tone ideal for brazen lead work or punchy rhythms runs.
Tone is fully customizable with three-way blade switching and single volume and tone controls, while a Floyd Rose Special double-locking tremolo bridge system provides excellent tuning stability and dynamic tremolo action.
Sleek and sinister, the SLX DX is available in a new Silverburst finish with black hardware and pointed 6-in-line black headstock.
For more information:
Jackson Guitars
On our season two finale, the country legend details his lead-guitar tricks on one of his biggest hits.
Get out the Kleenex, hankies, or whatever you use to wipe away your tears: It’s the last episode of this season of Shred With Shifty, a media event more consequential and profound than the finales of White Lotus and Severance combined. But there’ll be some tears of joy, too, because on this season two closer, Chris Shiflett talks with one of country music’s greatest players: Vince Gill.
Gill’s illustrious solo career speaks for itself, and he’s played with everyone from Reba McEntire and Patty Loveless to Ricky Skaggs and Dolly Parton. He even replaced Glenn Frey in the Eagles after Frey’s death in 2017. His singing prowess is matched by his grace and precision on the fretboard, skills which are on display on the melodic solo for “One More Last Chance.” He used the same blackguard 1953 Fender Telecaster that you see in this interview to record the lead, although he might not play the solo the exact way he did back in 1992.
Tune in to learn how Gill dialed his clean tone with a tip from Roy Nichols, why he loves early blackguard Telecasters and doesn’t love shredders, and why you never want to be the best player during a studio session.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
