Check out these monstrous new models from Jackson at MusikMesse. Kreator’s Mille Petrozza gets a long, long overdue signature V, the Mille Phobia King V. Part of the wallet-friendly X-Series, it’s a basswood-bodied, maple ‘speed neck’ beastie with recessed Floyd Rose Special, 24 jumbo frets, compound radius 12″-16″ radius fretboard, EMG 81 active humbucker, and custom inlays including a Kreator logo at the 12th fret.
And Iron Maiden’s Adrian Smith gets a new toy, the Adrian Smith Signature SDX. Continue reading
Remember the killer Jackson Custom Shop B-7 7-string built by Pablo Santana which I wrote about here? Well it’s now for sale at The Music Zoo.
The guitar features a transparent purple quilted maple top, mahogany body, neck-through mahogany neck, ebony fretboard, 25.5″ scale length, inlays by Ron Thorn, EMG 707 humbuckers, Floyd Rose tremolo and black/gold hardware.
You can buy this killer one-of-a-kind axe at the Music Zoo’s eBay store here.
Thought the Charvel 7-strings were cool? Well you were right. But check out these gorgeous Jackson Custom Shop 7-strings by Pablo Santana:
Huh? Close-ups? Sure.
Ah, but we all know that just as seven strings are better than six, eight are better than seven. So I give you this prototype, with EMG pickups and a killer natural finish.
Remember that sweet Jackson Chris Broderick signature model unveiled at NAMM? Well Chris has gone into much more detail about the guitar on his blog here. I was very interested to read about the custom-wound DiMarzio Fundamental pickups that will be featured in the guitar.
Thanks for the interest in my guitars. They are in the production phase of the 6 strings so those should be out soon, as for the 7 we are working out the details of the Floyd low pro bridge (this will be the only 7 to have it) and it should be going into production runs any time now. For the record it will not have a barrel jack (I never liked them), it will have a Fender style jack plate on the side of the guitar that you can reverse if you like. Here is a list of specs on the guitar, I hope you guys like it.
Available to the public in a 7 and 6 string version exactly like the ones I play. I wanted this because first and foremost I primarily play and feel at home on the 7 string but play my 6 strings on stage with Megadeth.
Bravewords.com has a great interview with Megadeth’s David Ellefson by Mitch Lafon (follow Mitch on Twitter here) in which Junior talks about switching to Hartke (and back to Jackson), the legacy of the Big 4, plans for the next Megadeth album, his Rock House Method instructional DVDs and more. Here are a couple of snippets.
Bravewords.com: You’re currently doing bass clinics with ANTHRAX’ Frank Bello.
David Ellefson: “Yeah, it’s cool because Hartke amplifiers has been a really big supporter for me. I started using them as far back as the Peace Sells tour and I’ve turned back to my weapons of choice which is the Jackson bass and the Hartke amplifiers. I did some clinics for Hartke while I was out on the Jagermeister tour and Frank Bello just came on board with Hartke, so I thought it was a really cool idea that during our down time that Frank and I go out and do some clinics together. The Big 4 thing has become the anchor between the four bands now. We’ve really put a name to our community and I think that anytime any of us do things together whether it’s the SLAYER/Megadeth Carnage tour, the Slayer/Anthrax/Megadeth Jägermeister tour, Frank and I doing bass clinics or all four of us getting onstage as the Big 4 again… More than ever we’ve become so tightly knit as a community of thrash metal right now and anything that we can do together as either pieces of the big machine or as the big machine itself is great for the fans and great for empowering the movement.”
Here it is: the new Jackson Chris Broderick (Megadeth) Custom Shop signature Soloist model. Oooh. I’m a sucker for 7-strings and aggressive superstrats and this has got to be one of the coolest I’ve ever seen. You’ve just got to see this guitar in person.
Chris says of the axe:
“I love it. It’s great. You can just feel the balance, the way it sits. It doesn’t want to drop at all on its neck. It’s awesome. When I look at the fretboard radius, I know it’s a 12-inch. I love that. I love the curve of a fretboard radius. The quilted maple lining is awesome. Even the way they’ve beveled it from the top into the neck. It almost looks seamless; as seamless as you could possible make it. It’s beautiful. Killer. Can’t wait to play it.”
The other day I bought Lamb of God’s new CD, Wrath, and it’s got some killer old-school thrash moments on it. Lamb of God played at the Soundwave festival the other day but unfortunately they were scheduled to play at the same time as Nine Inch Nails, and a decision had to be made, so NIN won out and I’ll catch Lamb of God next time. Anyway, here’s my review of the Jackson Mark Morton Dominion signature model.
This made-in-Japan metal machine looks a little unassuming at first. The body outline almost resembles an amoeba or a melted Fender Jaguar, but structurally the guitar has more in common with Gibson’s classic designs than Fender’s. (Interestingly, Fender Musical Instrument Corporation owns Jackson, after reportedly trumping an offer to buy Jackson by Megadeth’s Dave Mustaine a few years ago).
The Dominion is available in five transparent colours: Wine Drunk, Primer, Bourbon Burst, River Bed and Old School Burst. It features a chambered mahogany body with a quilt maple top – yep, chambered. It’s almost unheard of for a metal guitar to be chambered or hollow (with the exception of the weight relieving in later Les Pauls), because some feel that such construction techniques would invite uncontrollable feedback to burst through the door and stomp all over your guitar tone, but that doesn’t seem to be an issue with this axe, and I’m sure it plays more than a little role in helping to give this guitar a tone all its own.
Construction is of the neck-through-body variety, with the mahogany neck reinforced with graphite rods for stability. The bridge is a Schaller 456 fully adjustable bridge with anchored tailpiece. The neck has 22 jumbo frets on an ebony fingerboard, a wood prized for its solid, consistent tone, tight grain, and blacker-than-black looks.
Pickups are a pair of Seymour Duncan ’59 models in the bridge and neck. Each pickup has dedicated volume and tone controls, as well as a coil tap switch for single coil sounds.
I tested the Dominion out by using it to record some rhythm tracks for a song I had kicking around. First up was a chunky rhythm part which combined palm-muted pedal tones and ringing chord stabs. I selected the bridge humbucker for the first take, and switched it to single coil mode for the second. This allowed me to blend the two sounds during mix down to get the best of both worlds. The Dominion’s tone is loud and bold, no doubt aided by the chambering inside the body. Every strum or pick sets off a palpable resonance within the body, and single note lines blossom with harmonic complexity. Although Morton uses this axe in a band with two guitars, it sounds fat enough to fill up more than enough space in a single guitar band, and it covers enough ground for rhythm and lead styles.
Playability is not what you would expect from a metal guitar. It’s not a firey-fingered shred monster, and if you’re more at home with Gibson-style designs you’ll feel comfortable with this guitar. It’s not hard to play at all, but it does expect you to do most of the work, unlike most metal axes which seem to play themselves.
While there are signs this is Morton’s signature guitar – his signature on the truss rod cover, the distinctive gothic headstock outline, the shark eye inlays – the Dominion has enough common appeal to transcend the signature axe stigma and be seen as a unique guitar in its own right.