Leveraging 3D printing technology, the new Floyd Rose Original locking nuts are designed to deliver unmatched precision and consistency, replacing the traditional “lost wax” casting method that dominated for decades.
The shift to 3D printing allows for intricate detailing and tighter tolerances, ensuring each nut meets exact specifications.
The process begins with powdered metal, which is precisely 3D printed into the desired shape using advanced metal printing technology. After printing, the parts are depowdered and cleaned before undergoing a sintering process—an advanced heat treatment—during which the parts achieve full density and hardness. Lastly, the nuts are CNC “kiss-cut” to exacting specifications for consistency and control of the fit before receiving a premium electroplating finish.
“Floyd Rose has always been synonymous with innovation, and by embracing this incredible new technology we are able to continue that legacy,” said Andrew Papiccio, president of AP International Music Supply of which Floyd Rose is a division. “The accuracy and flexibility of the new 3D printing method will allow us to make a more consistent piece while also giving us full control of the manufacturing right here in the USA.”
Initially, the 3D-printed locking nuts will be available in ten classic sizes with a 10” radius, with plans to expand the range to accommodate various fretboard radii in Spring 2025. This augmentation will offer players more options for customizing their setups to match a wide variety of fretboard curvatures.
To get a sneak peek at the new Floyd Rose USA Series, come visit us at NAMM in booth 5734 in Hall D.
Floyd Rose introduces new USA-made Original saddle sets in various configurations, crafted from premium hardened tool steel with precision CNC machining. Available in chrome and black finishes now.
The new facility offers immediate availability of the legendary Floyd Rose Original saddles in multiple radius configurations for the first time. Engineered to perfectly match specific fretboard curvatures, these saddle sets provide a range of radius options without the need for individual saddle shims. Alongside the classic 12” radius, Floyd Rose has unveiled 8”, 10”, 14”, 16”, and 17” radii saddle sets. Crafted from premium hardened tool steel with precision CNC machining and finished with durable, smooth plating, these saddles are built to withstand the demands of intense performances. Chrome and black sets of USA-made Floyd Rose Original Saddles in various radii are available now at the company’s website, followed by gold and black nickel finishes in the 4th quarter of 2024.
The new Floyd Rose manufacturing center in North Carolina was designed to meet growing demand while ensuring the highest quality available using modern high-tech processes. Bringing production in-house enhances control over every aspect of the process including engineering, material selection, quality control, and scheduling. The facility features four Haas VF-seriesCNC machines, delivering precision machining fine-tuned for high efficiency and clean surface finishes. Alongside machining, the company has established a state-of-the-art metal finishing department and acquired stamping equipment with new capabilities added monthly.
At the heart of the Floyd Rose USA manufacturing center is a dedicated team of engineers and technicians who excel in their craft and are deeply passionate about the legendary product line. With decades of collective experience, the company’s experts meticulously craft each component to exacting standards.
“We are ecstatic to be making these new Original saddles in the USA, giving us better control over quality and production times while offering more robust options like these new radii,” said Andrew Papiccio, longtime president of AP International Music Supply / Floyd Rose and an original owner of Kramer Guitars. "With this new state-of-the-art facility, we are poised todeliver unparalleled quality and performance to musicians worldwide. As we integrate newproducts into this facility, we are expanding our commitment to ‘Made in America’ craftsmanship.”
The company plans to ramp up production of parts and innovations at their USA factory forFloyd Rose and their new AxLabs Hardware division.
For more information, please visit floydrose.com.
Head-shredder Cody Chavez takes some classic Jackson 6-strings into the digital realm on the hardcore band’s latest tour.
We had the good fortune of catching up with California hardcore outfit Drain on their Good Good Tour, a year after the release of their 2023 LP, Living Proof. A few hours before the band ripped Nashville’s Brooklyn Bowl, guitarist Cody Chavez gave PG’s Perry Bean the scoop on how he achieves his brutal rhythm and lead tones that form the basis of the band’s thrashy, metallic hardcore.
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Sparkly but Savage
Chavez’s first workhorse is this Jackson Virtuoso 6-string, finished in a dazzling deep blue sparkle. The band has a deal with the legendary manufacturers of heavy-music machines, and Chavez leaves his mostly stock, with a Floyd Rose tremolo system, locking tuners, and Seymour Duncan pickups. Chavez used to roll with heavier gauges, but these days, he favors .009–.042 strings.
Frozen Flamethrower
This Jackson X Series Soloist SL3X DX is finished in an insanely cool design dubbed “frost byte crackle,” and is Chavez’s favorite of the two Jacksons. It’s super light, with a neck-through-body construction and three Jackson pickups: two mini humbucker rail pickups and one full-size humbucker.
Tone Master of Puppets
In the past, Chavez played through all sorts of holy-grail tube amplifiers. But when he tested a Jackson guitar through a Fender Tone Master Pro, he was smitten with the great sounds and intuitive interface, so he’s brought one out on the road. He runs both his lead and rhythm sounds through the EVH 5150 amp profile, with different virtual effects chains for each preset. For his base rhythm tones, he runs an always-on Tube Screamer plus a light chorus and EQ, with settings copped from Dimebag Darrell. For leads, a more spacey, intense, “triple double” chorus is applied along with a slick digital delay. Chavez runs his guitar to the Tone Master Pro via a wireless system.
Power Up
When he first got his Tone Master Pro, Chavez ran it right into his Marshall 4x12 cab, and he couldn’t figure out why it was so quiet. A friend clued him in that he’d need a power amp to run with it, so he picked up this Seymour Duncan PowerStage 700, which powers his signal through the Marshall cab. In the future, Chavez might go totally DI, but for now, he stands by the power of a beat-up speaker cabinet blasting out gnarly riffs every night.