Epiphone recreates Joan Jett's favorite stage guitar, offering a lightweight, stage-ready instrument with a PowerHammer PRO humbucker and signature "Kill Switch" toggle.
To celebrate the 40th anniversary of her landmark albums 'Bad Reputation' and 'I Love Rock 'n Roll,' Joan Jett and Epiphone have collaborated to bring to life her Olympic Special guitar in Aged Classic White. The first female with a Gibson electric signature model, Joan Jett has inspired countless musicians worldwide with her artistic vision and pioneering spirit.
The Joan Jett Olympic Special is a lightweight, stage-ready powerhouse with all the essentials you need to rock. It features a single PowerHammer PRO humbucker wired to a single CTS volume potentiometer. The single black Speed-style volume knob has a rubber grip band for precision control. An on/off toggle switch provides a "kill switch."
The adjustable wraparound bridge/tailpiece delivers full intonation adjustability and anchors solidly to the mahogany body for excellent sustain. Die-cast tuners and a Graph Tech nut anchor down the strings at the other end, and a reproduction of Joan's signature is located on the rear of the classic Olympic Special headstock. A custom premium gig bag is included.
Joan Jett grew up during a time when rock ‘n’ roll was off limits to girls and women, but as a teenager, she promptly blew the door to the boys’ club right off its hinges. After forming her band, the Blackhearts in 1979, with whom Jett has become a Rock and Roll Hall of Fame inductee, she has had eight platinum and gold albums and nine Top 40 singles, including the classics "Bad Reputation," "I Love Rock 'N' Roll," "I Hate Myself For Loving You," and "Crimson and Clover." With a career that has spanned music, film, television, Broadway, and humanitarianism, Joan Jett remains a potent force and inspiration to generations of fans.
Joan Jett Olympic Special Limited Epiphone
The Epiphone Joan Jett Olympic Special is now available worldwide. For more information visit any authorized Epiphone dealer, and: www.epiphone.com.
The lineup takes cues from the now highly sought-after “Japanese Vintage” reissues from the early ‘80s.
The JV Modified Series combines classic aesthetics with modern playability to suit the needs of today’s guitarist. Taking cues from the now highly sought-after “Japanese Vintage” reissues from the early ‘80s. For the player seeking classic Fender instruments with a twist, the JV Modified Series delivers a unique combination of vintage Fender with modern playability.
JV Modified ‘50s Stratocaster HSS
($1,329.99 USD, £1,299.00 GBP, € 1,499.00 EUR, $2599.00 AUD, ¥162,800 JPY) The ‘50s Stratocaster HSS has a resonant basswood body and features a pair of vintage-voiced single-coil pickups in the neck and middle positions and a powerful humbucking pickup in the bridge position. A push-pull pot on Tone 2 splits the humbucking pickup for sparkling single-coil sounds, making this Strat extremely versatile. The soft “V”-shaped maple neck has a silky-smooth satin finish and the 9.5” radius maple fingerboard and medium jumbo frets provide effortless playability.
JV Modified ‘60s Stratocaster
($1,299.99 USD, £1,249.00 GBP, €1,449.00 EUR, $2499.00 AUD, ¥162,800 JPY) The ’60s Stratocaster has a resonant basswood body and is loaded with a set of three touch-sensitive vintage-style single-coil pickups for unmistakable Fender tone. A push-pull pot on Tone 2 adds the neck pickup for even more tonal possibilities. The Soft “V”-shaped maple neck has a silky-smooth satin finish and the 9.5” radius maple fingerboard and medium jumbo frets provide effortless playability.
JV Modified ‘60s Custom Telecaster
($1,349.99 USD, £1,299.00 GBP, €1,499.00 EUR, $2599.00 AUD, ¥162,800 JPY) The ’60s Custom Telecaster has a resonant basswood body and is double bound for a touch of elegance. Its dual single-coil pickups are voiced to deliver classic Tele tone. A 4-way switch allows players to quickly select each pickup individually or both pickups in either series or parallel wiring. A push-pull pot on the tone control allows players to flip the pickups in and out of phase in switch positions 2 and 4. The soft “V”-shaped maple neck has a silky-smooth satin finish and plays effortlessly thanks to the 9.5” radius maple fingerboard and medium jumbo frets.
JV Modified ‘50s Telecaster
($1,299.99 USD, £1,249.00 GBP, €1,449.00 EUR, $2499.00 AUD, ¥162,800 JPY) The ‘50s Telecaster is equipped with a resonant basswood body and dual single-coil pickups voiced to replicate classic Tele tone. A 4-way switch allows players to quickly select each pickup individually or both pickups in either series or parallel wiring. A push-pull pot on the tone control allows players to flip the pickups in and out of phase in switch positions 2 and 4. The soft “V”-shaped maple neck has a silky-smooth satin finish and plays effortlessly thanks to the 9.5” radius maple fingerboard and medium jumbo frets.
The new models will be available in March 2022.
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Diatonic sequences are powerful tools. Here’s how to use them wisely.
• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.
I prefer to not teach each position based on a modal name, as sometimes they are taught. Personally, I’ve found labelling of positions like that can lead to confusion when learning the modes in a harmonic situation. To further emphasize this, no harmonic context has been given (aside from the fact that these are all based around the parent scale of G Major to give us positions to work with).
The goal here is for you to learn the sequence, pick out what you like from it and then work it into different applications. These applications could be taking a sequence from one position into another position, seeing if you can keep the same contour. Most importantly, you can spend time starting and ending the phrases around certain intervals to emphasize the chord that you’re playing over.
A technical note before we get started: I’ve transcribed the various hammer-ons and pull-offs that I use when playing these phrases at full speed. However, the secondary goal here is for you to find your own way of playing the examples that suit your style and sound. I use a mix of legato, hybrid picking, and sweep/economy picking. My advice is to look at the lines and listen to them. See what feels right for you.
Despite what angry YouTube comments might say, technique is feel (and vice versa) We can talk about technique and all the ins and outs of it, but unless we try it and feel how it is to play, we won’t find our own path and sound. We won’t develop our own confidence. As the Zen saying goes, “The thought of your mother is not your mother.”
Let’s start in 3rd position, a fitting way to begin our exploration in G. Ex. 1 is a legato phrase that starts off with an eight-note pattern that repeats across adjacent strings sets. The final measure outlines a G major triad with a trick string-skipping phrase on beat 2.
Working through the diatonic arpeggios is a great way to create new lines and sequences. In Ex. 2, I go through Em7, Bm7, F#m7b5, and Cmaj7 before I outline an Am9 arpeggio.
Rhythmic variety is a crucial part of any well-rounded vocabulary. Moving between different subdivisions is a great way to inject new life into a lick. Ex. 3 moves between straight 16th-notes and sextuplets (or 16th-note triplets). Although the pattern is relatively easy to hear, it moves fast, so focus on discovering the best fingering for you.
Ex. 4 moves around quite a bit, between legato fragments and arpeggio fragments. In the middle we have a classic displaced ascending sequence of fours through the scale that starts in the end of measure 1. We also utilize some slides on different strings. Watch out for this! I’ve found in my playing that timing can go astray on slides.
Ex. 5 is built around finding 3-1-3 and 2-1-2 patterns within this position. These terms are based on the number of notes before you change strings. A 3-1-3 pattern consists of three notes on a string, then one note on the next string, and finally three more notes on the final string. A great example starts on the second note of the phrase (G) and ends on the F# before beat 3.
There are some shifty slides like the last phrase (watch the timing!) and there’s also a mix of legato and picking to emphasize certain parts of the phrase. The line ends with a large arpeggio based on Em7 and F#m7b5. Dig the 2-1-2 phrasing here!
Since we are roughly thinking in the key of G major, Ex. 6 is sometimes referred to as the “minor” position since we start on E, the relative minor of the key. This phrase is built on a sequence based around a 3-1-3 pattern and we aim to keep this sequence going throughout the whole position. This lick is a great one to move around the neck.
Ex. 7 runs away with an initial legato sequence similar to the one found in Ex. 4, however we keep it going through the whole position before ascending through a fragment based on Ex. 1. Then I fill in the gaps of each phrase with some chromatic notes. The goal here is to aim for evenness of timing on the 16th-notes.
With these licks—or even parts of them—you will be able to navigate the fretboard with ease. Just remember: These licks are simply raw materials. It’s up to you to make music out of them.