The Signature Jack White Collection features the Jack White Pano Verb amp, TripleCaster Telecaster and TripleSonic Acoustasonic guitar.
Commenting on his Signature Collection with Fender, Jack White said: “We found the best of the old, with the best of the new and mixed innovation with the history of Fender to do something that we think Leo Fender would have been very proud of if he was alive today.”
The Signature Jack White Collection introduces a carefully produced selection of guitars and an amplifier that embody White's unique vision and Fender's commitment to craftsmanship. The Collection includes:
- The Fender Jack White Pano Verb Amplifier ($2,999 USD) Influenced by Jack White’s vintage Vibrasonic and Vibroverb amps and crafted in Corona, CA, the Pano Verb offers enhanced stereo reverb and tremolo effects with a unique 15” and 10” speaker combination, providing guitarists with a powerful tool for stage and studio settings.
- The Fender Jack White TripleCaster Telecaster ($2,999 USD) features a sleek Piano Black finish complemented by white powder-coated hardware, equipped with a Bigsby Vibrato, a custom pickup set featuring a Jack White Humbucker, Jack White JW-90 single-coil, and Jack White CuNiFe Wide-Range Humbucker, a Hipshot Xtender DropTuner, a Killswitch, and a distinctive banjo-style armrest.
- The Fender Jack White TripleSonic Acoustasonic ($2,499 USD) - Satin Black top finish paired with a Satin Actric White painted body and neck, boasting a unique Soft “V” Neck Shape and Pickguard Shape, equipped with streamlined 3-way switch voicings curated by Jack.
"We're beyond thrilled to announce the release of the Fender Jack White signature collection,” said Justin Norvell, EVP Product at FMIC. “Jack is regarded as a true visionary in the music world, and it has been an incredible journey working with him on developing these products. The guitars and amplifier reflect his innovative spirit and distinctive sound, and we can't wait for musicians everywhere to experience the unique blend of craftsmanship and creativity that they bring. This collection embodies the essence of what makes Jack White an icon, and we're proud to bring his vision to life for fans and musicians alike."
For more, visit www.fender.com.
- Third Man Hardware and MXR Release the Double Down ›
- CopperSound x Jack White Third Man Triplegraph Review ›
- The Raconteurs’ Jack White and Brendan Benson ›
- Jack White Rig Rundown: Tone Wizard's 2024 Tour Gear - Premier Guitar ›
- Bohlinger Dismantles Jack White's Triplecaster Guitar - Premier Guitar ›
This month’s mod Dan’s uses a 500k linear pot, a 1.5H inductor (L) with a 0.039 µF (39nF) cap (C), and a 220k resistor (R) in parallel.
Don’t let the name fool you, this is a purely passive device—nothing is going to be boosted. In general, you can’t increase anything with passive electronics that isn’t already there. Period. But you can reshape the tone by deemphasizing certain frequencies and making others more prominent (so … “boost” in guitar marketing language). Removing highs makes lows more apparent, and vice versa. In addition, the use of inductors (which create the magnetic field in a guitar circuit) and capacitors will create resonant peaks and valleys (bandpasses and notches), further coloring the overall tone. This type of bandpass filter only allows certain frequencies to pass through, while others are blocked, and it all works at unity gain.
“You can’t increase anything with passive electronics that isn’t already there … but you can reshape the tone by deemphasizing certain frequencies and making others more prominent.”
All the systems I mentioned above are doing more or less the same thing, using different approaches and slightly different component values. They are all meant to be updated tone controls. Our common tone circuit is usually a variable low-pass filter (aka treble-cut filter), which only allows the low frequencies to pass through, while the high frequencies get sent to ground via the tone cap. Most of these systems are LCR networks, which means that there is not only a capacitor (C), like on our standard tone controls, but also an inductor (L) and a resistor (R).
In general, all these systems are meant to control the midrange in order to scoop the mids, creating a mid-cut. This can be a cool sounding option, e.g. on a Strat for that mid-scooped neck and middle tone.
Dan Torres offered his “midrange kit” via an internet shop that is no longer online, same with his business website. The Torres design is a typical LCR network and looks like the illustration at the top of this column.
Dan’s design uses a 500k linear pot, a 1.5H inductor (L) with a 0.039 µF (39nF) cap (C), and a 220k resistor (R) in parallel. Let’s break down the parts piece by piece:
Any 500k linear pot will do the trick, in one of the rare scenarios where a linear pot works better in a passive guitar system than an audio pot.
(C) 0.039µF cap: This is kind of an odd value. Keeping production tolerances of up to 20 percent in mind, any value that is close will do, so you can use any small cap you want for this. I would prefer a small metallized film cap, and any voltage rating will do. If you want to stay as close as possible to the original design, use any 0.039 µF low-tolerance film cap.
(L) 1.5H inductor: The original design uses a Xicon 42TL021 inductor, which is easy to find and fairly priced. This one is also used in the Bill Lawrence Q-Filter design, the Gibson standard Varitone, and many other systems like this. It’s very small, so it will fit in virtually every electronic compartment of a guitar. It has a frequency range of 300 Hz up to 3.4 kHz, with a primary impedance of 4k ohms (that’s the one we want to use) and a secondary impedance of 600 ohms. Snip off the three secondary leads and the center tap of the primary side and use the two remaining outer primary leads; the primary side is marked with a “P.” On the pic, you can see the two leads you need marked in red, all other leads can be snipped off. You can connect the two remaining leads to the pot either way; it doesn’t matter which of them is going to ground when using it this way.
Drawing courtesy of singlecoil.com
(R) 220k: use a small axial metal film resistor (0.25 W), which is easy to find and is the quasi-standard.
Other designs use slightly different part values—the Bill Lawrence Q-filter has a 1.8H L, 0.02 µF C and 8k R, while the old RA Gresco Tone Qube from the ’80s has a 1.5H L, 0.0033 µF C, and a 180k R, so this is a wide field for experimentation to tweak it for your personal tone.
This mid-cut system can be put into any electric guitar not only as a master tone, but also together with a regular tone control or something like the Fender Greasebucket, or it can be assigned only to a certain pickup. It can be a great way to enhance your sonic palette, so give it a try.
That’s it! Next month, we’ll take a deeper look into how to fight feedback on a Telecaster. It’s a common issue, so stay tuned!
Until then ... keep on modding!