Jackson announced the launch of The Jackson Pro Series Signature Chris Broderick Soloist, a collaboration between the brand and the renowned In Flames heavy metal guitarist Chris Broderick encapsulating his personal take on the classic Soloist model. Created for guitar players seeking an instrument loaded with premium features, these all-new pro series signature models are designed to keep up with even the most demanding styles of music.
When Broderick first came to Jackson to discuss designing his own signature model nearly 10 years ago, the USA Signature Chris Broderick Soloist, he had a clear vision on how to create his own take on the renowned Soloist™. Now with the Pro Series, when Broderick approached the collaboration with an upgraded twist on specific sets of specs and modifications, Jackson rose to the challenge of designing Brodericks' dream Signature Models. By the end of the creative process he coined the long standing high-performance guitar giant as the "company that could." The results of the collaboration are sophisticated riffing machines loaded with premium features to keep up with the hard rock styles of music. By putting a modern metal twist on a classic Jackson® favorite, Broderick and Jackson are able to create the perfect contemporary guitar series.
At the end of the day, Broderick hopes that aspiring players and professionals alike will see one of his Pro Series Soloists at a retailer and be inspired to test it out on their own. "I really want them to notice the playability, the features and the sound," Brockerick said. "You always want to play music from the standpoint of inspiration and not duty. Always remember why you play the instrument, that it was fun and how amazing it was to just get something like your first pinch harmonic."
Chris Broderick is a Grammy-nominated guitarist and metal master who has cultivated his passion for all things guitar since he was eleven years old. Broderick served as the former lead and rhythm guitarist for Megadeth and previous to that, was the lead guitarist for Jag Panzer. Additionally, he was the touring guitarist with the band Nevermore for several years. In 2015, Broderick and his former Megadeth bandmate Shawn Drover formed the band Act of Defiance, where Broderick currently serves as lead and rhythm guitarist. Broderick's latest heavy metal venture is a true reflection of his passion for music and dedication to evolving the modern metal sound. He is also a sought-after instructor having completed his Bachelor's degree in classical guitar performance from the University of Colorado.
The Jackson Pro Series Signature Chris Broderick Soloist is offered in six-and seven-string guitar options and feature a 25.5" scale length, resonant mahogany body with arched poplar burl top on Trans finishes and through-body maple neck with scarf joint and graphite reinforcement for rock-solid stability and enhanced sustain. Its 12"-radius bound laurel fingerboard with 24 jumbo frets is ideal for all playing styles, comfortable for both low riffing and soaring leads.
"Chris Broderick is not only one of the most influential guitarists in the metal world but a solid partner for the Jackson brand," said Jon Romanowski, VP, Category Management-Jackson, Charvel and EVH Brands. "He is extremely hands-on and this new model showcases the evolution of the beloved Soloist. We designed these models with Chris to match his tonal versatility and style on stage incorporating new specs such a gorgeous poplar burl top and new output jack placement. We couldn't be more excited for this next chapter in our partnership together with the launch of the Jackson Pro Series Signature Chris Broderick Soloist."
Contemporary guitarists like Broderick require tonal versatility and punchy clarity to keep pace with the rapid twists and turns of today's metal. Direct mount DiMarzio Chris Broderick signature humbucking bridge and neck pickups deliver powerful clear harmonics with accentuated pick attack and tight lows for versatile tone, from heavy chording to searing solos. The volume control conceals a push/pull switch for coil-splitting, unlocking even more tonal options while the tone control's push/pull switch enables the tone circuit. Switch between pickup combinations with a three-way toggle, while a mini-toggle kill switch allows for the stuttering effects that have become integral in modern metal. All tremolo models feature a Floyd Rose Special double-locking bridge system, while hardtail models come equipped with a Jackson Single-String bridge. Offered in either Gloss Black or Transparent Blue with a color matched reverse Jackson AT-1 headstock and black hardware, these pedigreed 6 or 7-string metal machines are a force to be reckoned with.
Models Include:
- The Pro Series Signature Chris Broderick Soloist 6, Gloss Black ($999.99 USD, £889.00, €999.00 XX, $2,299 AUD, ¥154,000 JPY)
- The Pro Series Signature Chris Broderick Soloist 7, Gloss Black ($1,099.99 USD, £1,069.00, €1,199.00, $2,499 AUD, ¥ 170,500 JPY)
- The Pro Series Signature Chris Broderick Soloist 6P, Transparent Blue ($1,199.99 USD, £1,159.00, €1,299.00, $2,699 AUD, ¥ 184,8000 JPY)
- The Pro Series Signature Chris Broderick Soloist 7P, Transparent Blue ($1,299.99 USD, £1,249.00, €1,399.00, $2,899 AUD, ¥ 203,500 JPY)
- The Pro Series Signature Chris Broderick Soloist HT6, Gloss Black ($899.99 USD, £889.00, €1,099.00, $2,099 AUD, ¥ 140,800 JPY)
- The Pro Series Signature Chris Broderick Soloist HT6P, Transparent Blue ($1,099.99 USD, £1,069.00, €1,199.00 $2,499AUD, ¥ 170,500 JPY)
- The Pro Series Signature Chris Broderick Soloist HT7, Gloss Black ($999.99 USD, £979.00, €1,099.00, $2,299 AUD, ¥ 154,000 JPY)
- The Pro Series Signature Chris Broderick Soloist HT7P, Transparent Blue ($1,199.99 USD, £1,159.00, €1,299.00, $2,699 AUD, ¥ 184,800 JPY)
Chris Broderick Introduces His New Jackson Pro Series Soloist™ Models
The majestic Roland Space Echo is having a bit of a resurgence. Here’s a breakdown on what makes it tick, and whether or not it’s right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ’80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the “delay” effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as “modulated delay.” Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
“This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!”
Just as how fuzz and distortion effects were discovered, the “imperfections” of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, it’s hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the “imperfection” of a vintage tape echo/delay with magnetic tape that hasn’t been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If you’re considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I don’t mean to instill fear, but the real deal, in my opinion, still can’t be fully emulated into a more practical and future-proof digital format.
So, I’ll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Cory’s personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Cory’s custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
Big time processing power in a reverb that you can explore for a lifetime.
An astoundingly lush and versatile reverb of incredible depth and flexibility. New and older BigSky algorithms included. More elegant control layout and better screen.
It’s pricey and getting the full use out of it takes some time and effort.
$679
Strymon BigSky MX
strymon.net
Strymon calls the BigSky MX pedal “one reverb to rule them all.” Yep, that’s a riff on something we’ve heard before, but in this case it might be hard to argue. In updating what was already one of the market’s most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneously—in series, parallel, and split—plus it delivers several other mind-bending features. Given this wealth of goodies, it’s impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or “classic” algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch that’s always available. The rotary “type” knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedal’s potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
It is utterly hypnotic and addictive once you settle in and work a little more intuitively.
Sky’s the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasn’t so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms weren’t added at expense of the old BigSky algos. There’s no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedal’s customers end up being synth artists, engineers, or sound designers of one kind or another. If you’re the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if you’re willing to invest the time, the BigSky MX has the goods to pay you back.
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite - but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.