The latest models are from Gojira’s Christian Andreu, Act of Defiance’s Chris Broderick, Megadeth’s David Ellefson, and Periphery’s Misha Mansoor.
Scottsdale, Arizona (January 21, 2016) --Jackson is pleased to announce new signature models with Gojira’s Christian Andreu, Act of Defiance’s Chris Broderick, Megadeth’s David Ellefson and Periphery’s Misha Mansoor.
CHRISTIAN ANDREU SIGNATURE GUITARS French metal band Gojira blends thrash and progressive elements to create a groove metal sound like no other. Jackson collaborated with their acclaimed guitarist, Christian Andreu, to create his signature version of the classic Rhoads design. Tricked out for even more high performance and thunderous sound, this sleek instrument is packed with Jackson DNA and is available in both USA and affordable X Series versions.
CHRISTIAN ANDREU U.S.A. SIGNATURE RHOADS Andreu’s demanding playing requires tone and sustain that can shake the foundations of the earth to their very core, and his USA Rhoads uses a Custom Charvel MFB humbucking pickup for razor-sharp tones with a hint of warmth. Twenty-two jumbo frets (with a Gojira “G” inlay at the single 12th fret) top the ultra-fast 12”-16” compound radius fingerboard. Jackson sealed die-cast machines and adjustable compensated strings-thru-body bridge create colossal tuning stability and accurate intonation along the entire length of the genuine mahogany neck.
This sleek instrument features a Satin Black with Gray Bevel finish, a unique Gojira Dragon design on the body with all-black hardware and a Jackson pointed 6-In-Line headstock for classically sophisticated metal aesthetics. Engineered for sterling playability, crossed with Jackson’s renowned style, the Christian Andreu Signature USA Rhoads cranks out mile-wide riffs and leads as fiery as its namesake.
CHRISTIAN ANDREU X SERIES RRXT RHOADS Andreu’s RRXT Rhoads uses a neck-through-body design with mahogany wings for increased vibration transfer, resulting in sustain for the ages. A single Seymour Duncan® HB-102B humbucking bridge pickup powered by an alnico 5 magnet allows for razor-sharp high-output tones with a hint of warmth for flavor. Twenty-two jumbo frets top the ultra-fast 12”-16” compound radius fingerboard, and similar to the USA version, the RRXT features a variation of the Gojira Dragon logo on the body of the guitar, all-black hardware, a Jackson reverse 6-In-Line headstock, sealed die-cast machines and an adjustable compensated strings-thru-body bridge, in addition to graphite reinforcement rods.
CHRIS BRODERICK U.S.A. SIGNATURE SOLOIST HT6 AND HT7 As modern metal master Chris Broderick expands his portfolio with new band Act of Defiance, he has also added to his collection of Jackson signature guitars with new U.S.A. six- and seven- string hardtail Soloist models.
Playing off the special take on the venerable Soloist that he designed with Jackson Custom Shop Master Builder Mike Shannon, the new hard tail models feature mahogany sides and back, quartersawn maple neck, direct mount Chris Broderick- designed custom DiMarzio pickups, 12"-radius ebony fingerboard with 24 jumbo stainless steel frets, 25.5" scale, Planet Waves Auto-trim tuning machines, Ernie Ball strap locks, killswitch and natural binding on body, neck and headstock.
Both the HT6 and HT7 are available in Black, Trans Black, Trans Blue, Trans Red and Trans White.
NEW DAVID ELLEFSON SIGNATURE BASSES Bassist David Ellefson has reigned as a thrash bass godfather, garnering worldwide acclaim as a co-founding member of “Big Four” thrash innovator Megadeth and widely known for his fleet-fingered, hard-hitting style and versatility. Simply put, nobody shreds a bass like Ellefson, and Jackson is proud to have his name on several new formidable bass models.
DAVID ELLEFSON U.S.A. SIGNATURE CONCERT™ BASS The all-new U.S.A. Signature Concert Bass is available in both 4-and-5 string models featuring an alder body with black binding, hand-rubbed urethane finish, quartersawn neck-through neck with white binding and scarf joint, 12-16” compound radius rosewood fingerboard, outlined sharkfin inlays, 21 jumbo frets, EMG humbucking neck (35CS) and bridge (35DC) pickups, five black domed control knobs (volume control, three-band EQ, blend), Jackson high mass bridge and Hipshot® open-gear locking tuners. Both models are offered in Satin Black or Satin Silver.
DAVID ELLEFSON CONCERT BASS CBX IV AND V Redesigned ergonomic contours on the new CBX IV and CBX V provide the perfect platform for launching a musical assault— the upper contour provides a comfortably stable anchor for pick or fingerstyle playing alike while the lower contour provides perfect balance when propped on a knee for monitor stands.
The CBX IV offers a basswood body, 12”-16” compound radius rosewood fingerboard and a Jackson HiMass™ 4-string bridge to sharpen notes’ attack for extra punch and clarity, granting enhanced sustain without significantly altering the instrument’s fundamental tone. An earth-shaking pair of EMG® HZ35 active humbucking pickups in the neck and bridge positions provide plenty of girth and cut as an active 3-band EQ bolsters their native power, shaping and refining it for maximum impact and versatility. The blend knob allows for mixing the pickups to taste—add more of ?the neck pickup for a touch of warmth, or bring? up the bridge pickup for more cut.
The CBX V also features a basswood body, a Jackson HiMass 5-string bridge and a pair of EMG® HZ40 active humbucking pickups in the neck and bridge positions that provide plenty?of girth and cut as an active 3-band EQ bolsters their native power, shaping and refining it for maximum impact and versatility. Similar to the CBX IV, the 5-string model also features a 12”-16” compound radius rosewood fingerboard and a blend knob.
Both models feature all-black hardware – from the bridge to the Jackson die-cast sealed tuning machines, durable gloss finish in either Quicksilver or Black, pearloid sharkfin neck inlays, single-ply white neck binding with an engraved “Fallout/Radiation” logo and Ellefson’s signature embossed on the truss rod cover.
LIMITED EDITION U.S.A. MISHA MANSOOR JUGGERNAUT HT8 Jackson is adding to the hugely popular signature model collection with Periphery’s Misha Mansoor with the release of the Limited Edition U.S.A. Misha Mansoor Juggernaut HT8 in Satin Black, a take-no-prisoners 8-string guitar. This monstrous instrument growls and soars while providing the ideal platform for Mansoor’s acclaimed speedily intricate and hypnotically powerful metal riffage.
The instrument is powered by two of Mansoor’s signature Bareknuckle Juggernaut 8-string humbucking pickups for earth-rattling tone. Twenty-four jumbo stainless steel frets top the ultra-fast 20” radius fingerboard, creating the ideal playing surface for fat riffs and easy chording near the Graph Tech® NuBone™ nut and lightning-fast solos and wide bends in the upper registers. Hipshot® open-gear locking tuning machines and an 8-string Hipshot fixed bridge create colossal tuning stability with accurate intonation along the entire length of the one-piece quartersawn maple neck. Graphite reinforcement rods buttress the neck against the havoc of the road.
Limited to only 30 pieces, the 8-string guitar has all-black hardware and Jackson’s mother of pearl piranha inlays as well as a Jackson 4x4 AT headstock for dark, elegantly sophisticated metal aesthetics.
For more information:
Jackson
Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.