REVIEW: Jim Dunlop Eric Johnson Classic Jazz III
The Jim Dunlop Jazz III has been my pick of choice for longer than I care to think about. I’ve always loved its control, its precision and its tone. And also, even though they’re tiny, they’re easy to spot if you drop one. Eric Johnson is also a longtime Jazz III fan, and the Jim Dunlop Eric Johnson Classic Jazz III is based on a favourite pick from his collection. Dunlop actually laser-scanned it to mimic the unique wear pattern of the pick. They’ve also replaced the traditional “JD” logo with a raised “JIM DUNLOP U.S.A.” which spreads the grip patten out further around the surface of the pick. On the other side it reads “ERIC JOHNSON TX” and this too provides a different feel to the surface.
Hold up any two regular Jazz IIIs. You’ll notice a small amount of variation from one to the next. The Johnson picks are made to very closely follow the profile of the original ‘master pick’ Johnson provided, so there’s more consistency from one to the next.
Compared to a regular Jazz III, the grip of this pick is indeed more positive. Because the raised sections are more spread out and evenly spaced, it feels like the gripping area of the pick is wider, and I find that this in turn provides more control because it gives you a better grasp on the pick. The smoother surface is great for super-fast playing techniques such as alternate, economy and circular picking. Circular picking in particular really benefits from the smoother taper of the pick point. The attack may feel a bit bolder with a regular Jazz III, but the sound is smoother and more dynamically even with the Eric Johnson version. The treble attack seems slightly less snappy, which might take a little getting used to depending on what kind of sound you prefer, but I quite like it and I’m thinking of switching over permanently because the Johnson version of the Jazz III seems to get out of your way that little bit more, opening up the lines of communication between player and string just that little bit more.
NAMM 2012: Jim Dunlop Zakk Wylde Rotovibe
Zakk Wylde has been a great ambassador for the Rotovibe for many, many years now – it steals the show at several points on the one and only Pride & Glory album – and he has now been honoured with his own signature Rotovibe courtesy of Jim Dunlop. The ZW357 is a limited run which features the same intensity and speed controls and rotating speaker sound as the classic Rotovibe but in Zakk-approved livery. And frankly it looks freaking cool. “I’ve had a Dunlop Rotovibe on my pedalboard since 1988,” Zakk says. “Whether it’s to spice up a solo, add an overdubbed colour, or just as a sound to inspire songwriting.” And I’ve gotta agree – it’s one of those effects where once you turn it on it’s hard to force yourself to turn it off again.
NAMM 2012: Jim Dunlop Eric Johnson Fuzz Face preview
Oh yeah. This is happening, people. I’m excited! I’m seeing Eric Johnson live tomorrow night – I hope he’ll have one of these on his pedalboard.
COOL GEAR ALERT: Jim Dunlop Joe Bonamassa Crybaby
Check it out! Jim Dunlop is going to release a Joe Bonamassa Crybaby. It’s designed to fit in with Joe’s rig both sonically and visually, and it has vintage-style ‘thru-hole’ components, a Halo inductor, a true bypass switch and an extended vocal sweep range. You can preorder it from Joe’s website, which I suggest you do promptly to cheer him up after that unfortunate Grammy snub.
COOL GEAR ALERT: MXR Custom Badass Modified Overdrive
YES! One of my favourite pedals this year – earning itself an instant place in my live rig as the heart of my lead sound – is the MXR Custom Badass ’78 Distortion. You can see my review here. Well that little red monster now has a slightly tamer but no less rockworthy brother in the form of the Modified Overdrive. Check it out!
PRESS RELEASE
Last year, we unveiled the MXR Custom Badass line of classic circuits fine-tuned to deliver a wider tonal spectrum, more versatility and increased dynamic range. The ’78 Distortion debuted as the first Custom Badass offering and was an instant hit. Guitar World Magazine said it was “as wild and raunchy as music was back in hard rock’s glory days,” offering “the versatility and low-noise performance that today’s players demand.”
This year, the Custom Badass team brings you the MXR Custom Badass line is the Modified Overdrive—a classic overdrive circuit with modern modifications for improved performance and versatility.
COOL GEAR ALERT: Universal Audio MXR Flanger/Doubler
Now this is cool. Universal Audio and Jim Dunlop have collaborated on an MXR Flanger/Doubler plug-in – the very same model of flanger/doubler that Dimebag Darrell used so awesomely on Far Beyond Driven.
UNIVERSAL AUDIO RELEASES MXR® FLANGER/DOUBLER AND LITTLE LABS® VOG FOR UAD-2 PLATFORM
—New Plug-Ins Accompany Enhancements to Pro Tools Workflow and ATR-102 Tape Recorder Plug-In in UAD Software v6.1—
SCOTTS VALLEY, CA • November 1, 2011 — Universal Audio (UA), a leading manufacturer of high-quality audio recording hardware and software, is proud to release UAD Software v6.1, featuring the new MXR® Flanger/Doubler Plug-In, the Little Labs® Voice of God (VOG) Bass Resonance Tool, plus enhancements to Pro Tools workflow and the Ampex® ATR-102 Mastering Tape Recorder Plug-In.
Developed in close collaboration with Dunlop Manufacturing, the MXR Flanger/Doubler plug-in for the UAD-2 platform replicates the legendary sound of this classic bucket-brigade flanging effect with unparalleled accuracy. Through its signature flanging, doubling, and delay effects, the MXR Flanger/Doubler imprints a unique stamp on guitars, bass, keys, drums, or just about any source. The MXR Flanger/Doubler Plug-In also includes additional “UAD Exclusive” features and artist presets from legendary engineers Vance Powell (The Dead Weather, Buddy Guy), Neil Dorfsman (Paul McCartney, Sting), and Chuck Zwicky (Prince, Jeff Beck).
“We knew there was only one company we could turn to when it came time to create a plug-in version of the classic MXR Flanger/Doubler,” says Jeorge Tripps, Dunlop’s Director of Product Development. “The UA emulation is spot-on, and we are looking forward to seeing the reaction from musicians and engineers.”
Little Labs Voice of God (VOG) Bass Resonance Tool
The Little Labs-authenticated Voice of God (VOG) plug-in for the UAD-2 platform accurately models the sonic characteristics of this unique 500-series hardware audio processor in every detail. The VOG is used to accurately target and accentuate low frequency material, from vocals to bass guitar and drums — adding both heft and precision far beyond a simple EQ.
“The VOG has been very well-received for its ability to quickly and easily manipulate low end like nothing before it,” says Jonathan Little of Little Labs Professional Audio. “Our hardware version was first available in the API 500-Series format, then as the i-VOG and a standalone unit. Now, UA has put the VOG live in the digital world as well, covering all the bases.”
“I’m excited about the MXR Flanger/Doubler plug-in, as I used to have a hardware unit in my rack and I still miss it. Our collaboration with Dunlop has resulted in an extremely faithful plug-in emulation,” says Matt Ward, President of Universal Audio. “Add in the Little Labs Voice of God, which is really a must-have tool, and UAD v6.1 offers a solid enhancement to the UAD-2 platform.”
Available for purchase via UA’s Online Store, the MXR Flanger/Doubler Plug-In sells for $199. The Little Labs VOG Bass Resonance Tool sells for $149.
These new plug-ins are available as part of the new UAD Software v6.1 release. In addition to the MXR Flanger/Doubler and Little Labs VOG plug-ins, v6.1 includes additional enhancements to Pro Tools workflow and the Ampex ATR-102 Mastering Tape Recorder plug-in.
More information on the MXR Flanger/Doubler Plug-In:
http://www.uaudio.com/store/delay-modulation/mxr-flanger-doubler.html
More information on the Little Labs VOG Bass Resonance Tool:
http://www.uaudio.com/store/special-processing/little-labs-voice-of-god.html
UAD Software v6.1 is available as a FREE download for Mac and PC users worldwide:
http://www.uaudio.com/support/uad/downloads.html
Learn more about the award-winning UAD-2 Powered Plug-Ins platform here: http://www.uaudio.com/uad-plug-ins.html
About Universal Audio Inc.
Founded in 1999 by Bill Putnam Jr. and based in Scotts Valley, California, Universal Audio is best known for its vintage analog reproductions and advanced Digital Signal Processing technology, including the award-winning UAD Powered Plug-Ins Platform. The company is focused on merging the best of classic analog and modern digital technology. UA is devoted to this endeavor, following its rich recording heritage and motto, “Analog Ears. Digital Minds.” www.uaudio.com.
The Universal Audio name, the UA “Diamond” logo, “UAD”, “UAD-2″, and “Powered Plug-Ins” are trademarks or registered trademarks of Universal Audio Inc.
Check out my band’s reunion gig
This past Friday night my band The Upperhand reunited for a show at the Gershwin Room at the Espy here in Melbourne. We had a kickass time and guess what? We’re gonna do it again! The show went so well and the response was so good that we’re gonna keep it going, and already have some more shows being booked. The entire set is at the bottom of this post, but first, the good guitar-nerd stuff (with photos from Instagram).
For the show I used my Ibanez RG7620 7-string with DiMarzio Blaze humbuckers in place of the original DiMarzio New 7 pickups that came with the guitar. Here it is getting ready to hit the stage. Note the GHS Fast Fret and the Line 6 wireless.
And here’s my pedalboard, which includes a Line 6 Wireless, Planet Waves tuner, ISP Decimator G String noise reduction pedal, Dunlop Buddy Guy Crybaby, Boss OC-2 Octave, MXR EVH 90 phaser, Dunlop Crybaby KFK Q Zone (like a wah wah without an expression pedal), MXR Custom Badass ’78 Distortion, Way Huge Swollen Pickle II fuzz and an MXR/Custom Audio Electronics Boost/Overdrive. Power comes from a Gator G-Bus-8 and a Sanyo Pedal Juice. My amp is a Marshall DSL 50, and I use Planet Waves and DiMarzio cable. I kept the MXR/CAE’s boost side on all the time to give a little bit of extra kick to the Marshall’s crunch channel, and I stomped on either the ’78 Distortion, the Swollen Pickle, the Q Zone or the Overdrive side of the MXR/CAE as needed, either for leads or just to fatten everything up a bit.
And finally, the gig itself!
The setlist (and guitar solo times, because I know you’re into that kinda stuff or you wouldn’t be reading this site):
1. Hillside (guitar solo at 2:09)
2. Psycho
3. Shiraz
4. Something To Say (guitar solo at 12:35)
5. Heir In Line (guitar solo at 16:43)
6. Move On (guitar solo at 19:52)
7. Never Enough
8. MILF (guitar solos at 27:10 and 29:41).
FEATURED REVIEW
MY ARTICLES ON GIBSON.COM
I write for Gibson.com, Australian Guitar, Australian Musician, Mixdown Magazine (including my instructional column, 'Unleash Your Inner Rock God,' which has been running since 2007), guitarworld.com, Tone Deaf, Beat and The Brag. I started I Heart Guitar in 2008. I've been playing guitar since I was 8 years old, and I've been writing for magazines since I was 18 (I'm 33 now). I've also worked as a guitar teacher (up to 50 students a week) and a setup tech. I live in Melbourne, Australia. You can check out my guitar playing at Reverbnation or on YouTube.
You can email me at iheartguitarblog@gmail.com