The amp features four 6L6 power tubes and four 12AX7/ECC83S preamp tubes plus five separate boards, all with over-sized traces for tonal integrity.
Stevensville, MD (January 17, 2017) -- After more than a year of close collaboration, PRS Guitars and John Mayer are proud to announce the addition of the J-MOD 100 amplifier to PRS’s amplifier lineup. The J-MOD 100 amplifier was intimately designed by Paul Reed Smith, Doug Sewell, and John Mayer to not only handle Mayer’s live work with Dead & Company, but to also move seamlessly into recording and performing his solo material. With a thoughtful control platform, impeccable build, and high-quality components, the J-MOD 100 is a fully-realized, high-end piece of audio gear for players who want the purest and most expressive musical experience.
“I think amplifiers are such interesting, complex animals. The J-MOD 100 is the result of a lot of searching...what is my sound? What are the elements of all these amps I own that should be chosen to go together in one amp and have this really distinct voice? What we ended up with is a really open and expressive amplifier that I feel is a real evolution and a step forward in guitar amps.” – John Mayer
The J-MOD 100 (100-watt) amplifier is a single-channel amp featuring a switchable gain stage and effects loop. The amp’s tone stack features a beautiful, spread out tone that is at once huge and clear. When the gain stage is kicked in, the amp gets rich in harmonics and delivers a bit more bite. The versatility provide by this setup allows the J-MOD 100 to deliver a huge variety of sounds whether using single-coils or humbuckers.
“Working with John Mayer has been a rewarding experience. His knowledge and no compromise attitude have led us to innovate and produce a beautiful sounding amp that delivers on versatility, construction, and professional tone” said Paul Reed Smith, of PRS Guitars. “It’s John’s and PRS’s goal that the products we collaborate on satisfy musicians who are looking for the best new gear from a sound, technical and aesthetic standpoint, whether their use is on stage, in the studio, practice room or in the comforts of their home.”
Additional tone-sculpting features on the J-MOD 100 include volume, tone, treble, mid, bass, and a bright switch, which adds more high-end, and a presence control that boosts the high-end in the power amp section of the amplifier, providing a livelier, more complex tone. There is no reverb built into the J-MOD 100, but an effects loop was requested by Mayer for his reverb tanks. The amp’s effects loop (and gain boost) is controlled by the footswitch, so players can use any reverb or effects unit desired with this amp. Easy adjustment of Gain Stage Volume and Output, plus Presence and Master controls provide a pallet of endless versatility.
The J-MOD 100 amp features four 6L6 power tubes and four 12AX7/ECC83S preamp tubes plus five separate boards, all with over-sized traces for tonal integrity. Each board is dedicated to a particular part of the circuit: preamp section, power section, front panel controls, bias jacks, and the effects loop. Not only is this an elegant way to build with fewer long wires extending across a larger board, it is also a more robust way to build as there is not a single, large board that needs to flex during transport. The amp is hand-wired at PRS in Maryland, USA with a truly artistic level of craftsmanship. The J-MOD 100 also features a “laydown-style” power transformer for build integrity.
The J-MOD 100 is the second PRS/Mayer product collaboration, the first being the Limited Edition Private Stock Super Eagle electric guitar, which debuted in the spring of 2016 and embodies the PRS Private Stock culture of meticulous craftsmanship as well as Mayer’s keen eye for playability, tone and detail.
The J-MOD amplifier is available through select PRS Dealers and Distributors and can been seen for the first time at the 2017 Winter NAMM show in Anaheim, California from January 19-22 at PRS Guitars, Room 210A.
Watch the company's video demo:
For more information:
Kick off the holiday season by shopping for the guitar player in your life at Guitar Center! Now through December 24th 2022, save on exclusive instruments, accessories, apparel, and more with hundreds of items at their lowest prices of the year.
We’ve compiled this year’s best deals in the 2022 Holiday Gift Guide presented by Guitar Center.
DiMarzio, Inc. announces the Relentless P (DP299), the Relentless J Bridge (DP301), Relentless J Neck (DP300), and the Relentless J Pair (DP302) for 4 string basses.
DiMarzio, Inc. announces the release of the Relentless P (DP299), the Relentless J Bridge (DP301), Relentless J Neck (DP300), and the Relentless J Pair (DP302) for 4 string basses. The new Relentless P and Relentless J series pickups feature the Relentless cover designed in collaboration with Billy Sheehan.
As with the Relentless pickups, we removed all the hard edges from the standard P Bass and standard J Basspickups, and added an arch to the top of the pickups to bring the sensing coils and pole pieces closer to the strings. These improvements increase the dynamic range and make active circuitry unnecessary.
The Relentless P and Relentless J pickups incorporate Neodymium magnets and produce 70 percent more output than traditional passive pickups, and they’re dead quiet due to the incorporation of metal covers and foil-shielded cables. To dial in (or fine-tune) the individual string output, the Relentless P and Relentless J include eight adjustable pole pieces. These pickups also have a broad magnetic field so you can even bend notes without volume dropout.
DiMarzio’s extra shielding makes the Relentless P and Relentless J better for both recording and stage performances. We’ve mounted them onto robust .09375” thick circuit board base plates to eliminate the annoying protruding mounting screws — ultimately creating a more comfortable and consistent foundation to rest your fingers on.
The new Relentless P steps beyond the traditional P-Bass sound and can only be described as massive. It has more of everything: more volume, beefier lows, a growling midrange, and crispy highs with better individual string definition.
The Relentless J incorporates a new invention, (patent pending) parallelogram-shaped coils, offering an expanded mid-range punch, snappy highs, precise lows, and a new dimension to the sound of the Relentless series pickups.
Relentless P and Relentless J pickups will breathe new life into any bass, increase playability, and work well for any style of music from Motown to metal.
DiMarzio’s Relentless P, Relentless J Bridge, Relentless J Neck, and Relentless J pair are made in the U.S.A. and may now be ordered for immediate delivery.
Suggested List Price for the Relentless P is $169.00 (MAP $119.99).
Suggested List Price for the Relentless J Bridge and Relentless J neck is $155.00 (MAP $109.99).
Suggested List Price for the Relentless J Pair is $296.00 (MAP 209.99).
For more information, please visit our website at dimarzio.com.
Mystery Stocking is coming soon! Sign up for PG Perks below so you don't miss it.
Sign up for PG Perks on the form below to make sure you don't miss the launch announcement!
About Mystery Stocking
Each year, Premier Guitar likes to put out these mystery boxes as a part of bringing some fun to the holiday season. Remember, this is supposed to be a fun holiday treat! If the contents of this box will ruin your holiday, deplete the last of your bank account, or end your ability to see the good in humanity, it may not be for you.
- This year's Mystery Stocking will cost $44.95. ($39.95 + $5 Flat shipping)
- Each box will be guaranteed to contain $40 or more in value.
- US only. (Sorry World.)
- Make sure your shipping address is correct.
- Have your credit card ready to go before you refresh the page. Paypal is not available. Autofill may not fill in your information.
- There will be NO REFUNDS given.
- There has been a huge demand for these in the past. We really did sell out in less than 4 minutes last year. When they are gone, they are gone.
- One per household, one per person.
Q: What's in the Mystery Stocking?
A: It wouldn't be much of a surprise if we told you, now would it?
Q: Will I definitely get my money worth?
Q: Can I return it if I don't like it?
A: Nope. All sales final.
Q: What if I live outside the US?
A: Sorry, US only.
Q. How much is it?
A. $39.95 Plus $5 shipping
Q. When will it ship?
A. On or before December 10, 2022.
Q. What form of payment do you accept?
A. Credit cards only. Sorry, no Paypal for this.
Q. Can I ship to a different location than my billing address?
Q. I tried last year and didn't get one. Will I get one this year?
A. There is an overwhelming demand for Mystery Stocking. Be sure you have a fast internet connection and be ready when they go on sale. Last year we sold out in 3 min 33 seconds.
Q. I want to buy 5. How can I buy 5?
A. You can't. This year, we're limiting to one per household, so more people can get in on the fun!
For part two of our crash course in harmony for bassists, we’re talkin’ triads.
As bass players, our job is often to indicate and support what is happening rhythmically and harmonically in the music we’re playing. And to do that, it’s important for us to understand the basics of tonality and how it works. In fact, every bass player must have a strong knowledge of harmony to do their job correctly. This month, we’ll continue last month’s harmony crash course with some more ways to brush up on your ear skills, in italics below, so you can do your low-end job effectively.
The basic building block of harmony is the dyad, which gives us our basic intervals. But the basic building block of tonality is the triad, a grouping of three or more tones (root, 3rd, and 5th) that give us the four chord qualities—major, minor, diminished, and augmented—which you’re probably already familiar with.
Just as with intervals, we should train our ears to recognize chord qualities instantly. Start with two qualities (major and minor). Once you can identify those two correctly about 95 percent of the time, add another. Keep going until you can identify all four qualities consistently.
Another great exercise is to take a melody (either major or minor) and convert it to the opposite quality. Start out with something you know well, like “Twinkle, Twinkle, Little Star.” This may take a while at first, but the goal is to keep on doing these until you can convert most stuff on the fly instantly.
“This feeling of resolution, in some ways, is the whole point.”
Each chord quality has its own distinct sound, but major and minor are related, and both feel very grounded. Because of the 5th in each, our ears can easily hear which note in the chord is strongest (the root), which gives major and minor a sense of gravity. This feeling persists even if we change the order of the notes (invert the chord).
Have a friend or an app play inversions of major or minor triads. Find the root of each chord by singing it. Work towards being able to identify these triads in root position (root in the bass), first inversion (3rd in the bass), or second inversion (5th in the bass).
Pay attention to bass lines that land on a root, 3rd, or 5th on the first beat of the bar and then practice coming up with your own examples.
Diminished and augmented triads are much more ambiguous. Without a perfect fifth (diminished has a b5 and augmented has a #5), no tone in particular sounds strongest. Thus, both chords lack gravity. In fact, to most of us, every tone sounds equal, like being lost in the woods where every direction appears the same. Both seem to want to move towards something else more stable. When this occurs, it gives a sense of release, or resolution. This feeling of resolution, in some ways, is the whole point.
The top part of a dominant seventh or V7 chord is a diminished triad. For example, a C7 consists of the notes C–E–G–Bb. If you remove the C, we’re left with an E diminished triad. This is where the moving sound, or the desire to resolve, comes from. The important takeaway is that we’re making something very stable—a major chord—and making it less stable when we add the b7, because of the diminished sound, which in turn sets up the need to resolve.
Listening for V–I: On a guitar or keyboard play any major chord, then add a b7 (transforming I to V7) and try to hear where the progression “wants” to go next. Move to the new key (a fifth down) and repeat. After twelve V–I progressions you’ll arrive back at the original key.
The Dominant Gateway: On bass, try playing a walking bass pattern over the cycle of fifths, strategically using a b7 to move to the next key. This foreshadowing is a great voice-leading skill.
That's all for our crash course in harmony. If you take your time with these exercises, you should notice not only your ears improving, but your bass playing too!