Music is the universal language
“Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.” - Luke 2:14
General Interest
Mesa/Boogie officially releases Mark IIC++ modified amplifier to the public for the first time
Mesa/Boogie is officially releasing the storied Mark IIC++ modified amplifier to the public for the first time ever. The amp has been re-created in an extremely limited production run, and is available worldwide.
The original Mark IIC+ amps were first developed in 1985 at the request of Vivian Campbell, and later by Kirk Hammett of Metallica. The Mesa/Boogie brand eventually made some modifications to a few production Mark IIC+ amps to achieve more gain in the overdrive mode, leading to the birth of the ‘++’ version.
Designated ++ IICs were created for the select few artists who requested them and were never officially offered as a production model, and it is estimated that only 20 or so of them were created during the mid-1980s.
In the years that followed, the ++ tone became highly sought after by players who loved a heavy sound, with many sending their C+’s to tech guru and archivist at Mesa/Boogie, Mike Bendinelli, to have the ‘++ mod’ performed outside of production time for a fee.
Image: MESA/Boogie
With all this in mind, Mesa/Boogie have essentially revived a unicorn of the amplifier world, making it available to buyers across the globe. However, there are only 200 of these rare amplifiers available.
According to the brand, this new Mark IIC++ build has increased gain in the preamp, which affects the LEAD Mode only, so the CLEAN Mode can produce the same clean performance as the standard IIC+ production model. The LEAD Mode is thicker sounding in these ++ versions, and has enhanced low end and more top end gain, cut, and harmonic layering.
Take a closer look and hear one in action below:
Doug West (Director, Tone Lab, Gibson Amplifiers, and Mesa/Boogie) comments, “We’re excited to bring a very special first official production run of the Mark IIC++, a very special ‘mod’ done to a very few Mark IIC+ amplifiers… Over time this mod that was never an official model, logged a healthy list of A-Level artist recordings and this kept our Chief Tech and IIC+ guru Mike Bendinelli busy for decades.”
West continues, “This limited run of 200 very special new production amplifiers gives those who have always dreamed of a C++ a chance to own one without the hefty price tag of a pre-owned 40-year-old original IIC+ and the shipping and labour costs for the update. Not to mention that it’s a solid, reliable, and consistent new build backed by our five-year warranty.”
The Mark IIC++ amplifier is priced at £3,899.00. Find out more via the Mesa/Boogie website.
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Martin’s new Inception model brings a non-cutaway Grand Performance shape to the series for the first time
Martin has launched five new guitars, including two additions to the Inception range, two special X Series models, and a new SC design joining its Road Series.
These new launches bring new aesthetics, and even some firsts, to three of its key, existing lineups. Notably, the debut of the GPE Inception Maple – a non-cutaway version of its eye-catching sustainably-ethos’d Inception model, which debuted last year.
In fact, it’s not just a new guitar – the cutaway GPCE Inception Maple is getting something of an overhaul that makes its looks somewhat less polarising and unconventional than it was at launch. Most notably, perhaps, is the change from a walnut bridge and fingerboard to a more traditional-looking (but still FSC-certified) ebony.
The body itself retains the striking amber fade sunburst finish of the original, but rather than the matt finish we saw in 2024, this is now all-over gloss, with a satin-finished neck.
Elsewhere it’s as you were, with the same European spruce top, flamed maple back and sides, plus a black walnut wedge on the three-piece back
But the headline event is no doubt the the GPE Inception Maple, this guitar offers has the same tonewoods, visual appointments, and clever internal architecture as the original – including Martin’s skeletonised bracing, but delivers a full-body design for a more traditional silhouette. If the GPCE was too radical a departure for you visually, this one feels much more in the classic Martin wheelhouse.
Image: Martin
Moving on to the X Series, two Ziricote Specials join the range – the GP-X2E and the OMC-X2E. The former is a limited-time Grand Performance model with a solid sapele top and ziricote-patterned high-pressure laminate (HPL) back and sides. It has a Performing Artist neck profile and high-performance taper, plus Martin E1 electronics with a built-in tuner.
As for the latter, the OMC is said to offer the comfort of a 000 body with a 25.4” scale length for “greater projection and sustain”. It has a cutaway design, and like its Grand Performance sibling, it features a solid sapele top, ziricote-patterned HPL back and sides, and Martin E1 electronics with onboard tuning.
GP-X2E. Image: Martin
OMC-X2E. Image: Martin
The SC-10E Spruce is the final new launch as part of this Martin drop – a new addition to the Road Series with an SC body shape. It has a patented Sure Align neck system and Low Profile Velocity neck, and its solid spruce top is paired with solid sapele back and sides. Also joined by E1 electronics and a built-in tuner, Martin describes this guitar as “a modern acoustic-electric built for the stage, studio, or wherever the music takes you”.
Image: Martin
To find out more or shop the new models now, head over to Martin Guitar.
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5 Minute Lesson: Julian Lage Teaches How to Add Dimension to Your Playing
“We would play these guitars that were supposedly the most expensive, the most rare, like, ‘There's nothing special about it’”: Joe Satriani on why he’s become disillusioned by vintage guitars
“It’s a dream come true”: Ariel Posen announces his first Fender signature guitar
Guitarist Ariel Posen has just scored himself his very first Fender signature. The Limited Edition Ariel Posen Stratocaster is a guitar as versatile as the man himself, designed to tackle just about any genre from the blues, to neo soul, to classic rock and roll.
Posen’s signature Stratocaster bridges the gap between the past and the present. Coming in a nostalgic, “road-worn” Faded Lake Placid Blue finish, the aesthetic is one of nostalgia. This is aided by the guitar’s vintage-style tuning machines, frets, hardtail bridge, and 1969 ‘U’ neck shape.
Despite the aesthetic, the look is balanced out with ample new sonic injections for a sharp, modern sound. The Strat boasts custom AP-90 pickups developed by Fender’s guitar wizard Tim Shaw. It also has custom Caballo Férreo wiring for to tweak master volume and tone, as well as a 3-way switch.
“It’s a dream come true,” Posen notes in his Instagram announcement. “As a kid growing up playing guitar, these are the things you would never expect to experience in a million years. I’m so incredibly grateful for this opportunity, and even more excited to have a guitar that’s so true and authentic to myself.”
Posen further explains the workshopping behind his signature Strat in a Fender press release: “This is the most genuine and authentic representation of what I’m looking for in a guitar. I was always a Strat guy and always felt most comfortable playing them, so it was important to capture those qualities.”
“The AP90 pickups really highlight my love for Jazzmasters – there’s something so open and airy about those guitars. More than anything, this Strat embodies everything I love about Fender and condenses it into one instrument.”
The Fender Custom Shop Director, Chase Paul, has also expressed his excitement over creating a guitar as versatile as Posen. “Ariel Posen’s playing style is outright jaw-dropping,” he explains. “He has a remarkable ability to weave together beautiful melodies, intricate technique and captivating dynamics in a way that’s approachable to a wide group of guitar players. When the Custom Shop had the opportunity to work with him on his signature Stratocaster, we knew it needed to exceed his expectations.”
“Our hope is that this particular combination of custom pickups, tonewoods and hardware come together to inspire players as powerfully as Ariel’s music does.”
The Limited Edition Ariel Posen Stratocaster is available now, and comes with a deluxe hardshell case and Moody Leather Ariel Posen signature strap. There’s also a signature brass slide thrown in, as well as some Dunlop Ariel Posen picks and a certificate of authenticity.
The announcement also welcomes in a new era for the Fender Custom Shop. Fender has announced a new series, From the Factory Floor, to take people behind the scenes and show how the company’s California factory operates. It will feature artist performances, as well as discussions with guitar and amp builders. The first episode with Ariel Posen is available now.
Grab yourself a Limited Edition Ariel Posen Strat now.
The post “It’s a dream come true”: Ariel Posen announces his first Fender signature guitar appeared first on Guitar.com | All Things Guitar.
Slayer’s Gary Holt thinks that some modern guitarists don’t put enough “conviction” and “passion” into their riffs
Gary Holt of Exodus and Slayer has shared his thoughts on what makes a killer riff, noting that conviction is vital to make something that sticks.
During a Q&A with Rock City in celebration of his new memoir, A Fabulous Disaster: From The Garage To Madison Square Garden, The Hard Way, Holt reveals how he’s balanced his respective careers with both of his bands, and shares how passion prevails over complexity when it comes to some of his best work.
“You just play until the riff speaks to you. I love riffs. I’m still a massive fan. It sounds really narcissistic to say I’m a super-fan of my riffs, but when I write a really good riff, I still get goosebumps,” he says (via Ultimate Guitar). “I love it. And when you’re recording it, and you hear it back with the savage guitars and drums, it’s like, ‘Oh yeah! It’s so awesome.’”
Offering up some sturdy advice, he continues: “There’s a limited number of notes on a guitar. There’s limited options on what you do with them, but it’s the passion you put into them. I mean, how many times can we go, E, E, F? Everybody could do it. But it’s the conviction you put in it.
“Try to bend notes, rhythm wise. People don’t do it enough. Dime [Dimebag Darrell] did it and everything. You can bend all over those riffs too, and just write riffs, have fun. Blacklist [by Exodus] is our number one streamed song in the world, and it’s four chords… It’s just about finding something that sticks,” he concludes.
Also in the interview, Holt explains that Slayer are taking things year by year, with no pressure or expectation to tour or record any music since their return to a live environment at a handful of select festivals. The shows took place after the band had previously completed a farewell tour in 2019.
“[Slayer] is not like a permanent commitment on my end anymore, and I’m able to focus on family number one, which is Exodus,” he says. “[They’re] my childhood friends. Slayer is my family as well, but they’re family number two. And at my age, I want to close my career out with the guys I started it with.”
Both Slayer and Exodus are playing at Louder Than Life festival and Hersheypark Stadium in September. Exodus are also due to play at Aftershock in October.
The post Slayer’s Gary Holt thinks that some modern guitarists don’t put enough “conviction” and “passion” into their riffs appeared first on Guitar.com | All Things Guitar.
“I don’t think LSD had a real big impact on the songwriting or guitar playing… it was just that we saw brighter colors and got high!” Roger McGuinn on The Byrds’ influential guitar style, and why they didn’t follow The Kinks and The Who into distortion
“I take these supplements to stay razor-sharp, night after night”: Yngwie Malmsteen launches signature protein powder as he expands his empire of gear to make you shred better
“One of the rarest and most coveted vintage amplifiers ever”: Mesa/Boogie’s hallowed Mark IIC++ was used by Metallica to shape the sound of 1980s metal – and now it’s been given a production release for the first time ever
“I imagine myself painting a picture. Before I only had 24 colors to use – now I have an infinite amount on my palette”: Meet Ben Lechuga, the Steve Vai-championed Chilean virtuoso who has gone fretless – and why he’s never going back
“Yes, Eric can certainly shred! But more important than his speed is his accuracy. Accuracy will always win the day over speed”: Joe Bonamassa shows you how to connect lead phrases like Eric Johnson
Podcast 507: Skip Heller Returns
Musician, composer, and writer Skip Heller was one of the Fretboard Journal’s earliest subjects, contributors, and podcast guests.
On this week’s show, we catch up with Skip to talk about his new exotica album, ‘Mojave After Dark.’ We chat about his early pieces for the magazine – including the story on John Hartford he penned for our fourth edition – and so much more. Skip has a wealth of knowledge when it comes to music. You may just want to take notes.
https://skiphellersvoodoo5.bandcamp.com/album/mojave-after-dark
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https://fretboardsummit.org/ (August 21-23, 2025 in Chicago!)
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“It’s like a Jazzmaster on steroids, but you still have that Strat essence”: Fender’s limited-edition Ariel Posen signature is a conceptual hybrid that blends two of the slide master’s favorite guitars together
“Getting excited is somewhat premature”: King Crimson manager counters Jakko Jakszyk’s claims that the band are recording a new album
Following comments made by Jakko Jakszyk about a new King Crimson record, the band’s manager has released a statement warning that we shouldn’t get our hopes up just yet.
Jakszyk, who joined Crimson in 2013 following Adrian Belew, recently gave an interview in which he said a record was in the making. It was also rumoured that the supposed album would feature the most recent Crimson lineup: Jakszyk, Robert Fripp, Mel Collins, Tony Levin, Pat Mastelotto, Gavin Harrison, and Jeremy Stacey.
Though unsure of any finer details regarding release date or what final form the material would actually take, the guitarist and singer said he’d been recording “with a view to it coming out in some format at some point”.
The band’s manager, David Singleton, has since suggested that to get excited about a new record is a little premature, however, and though he confirms there are recordings happening, there’s no set vision for them to be released.
In a statement shared via DMG Live, Singleton says, “Addressing the idea of some form of studio recording by the last incarnation of King Crimson, Bill Rieflin posed the excellent question ‘why make a studio album? There are excellent live recordings of all the songs out there already.’
“One possible answer would be an album the very sound of which no-one has ever heard before. A sound driven by the three drummers. And those drummers have now recorded studio versions of their parts – separately, so that there is perfect separation.”
He adds, “So there is the seed of a new recording. Whether it is an album, whether it sees the light of day, whether it is something else is unknown. As is the outcome of any creative process. So yes, recordings have taken place. Getting excited about the possibility of a new album, as has apparently been happening, is somewhat premature. Carts before horses.”
In other King Crimson news, the spinoff BEAT supergroup will be heading to Japan in September, and will put out a special live release that same month. Titled BEAT LIVE, the album was captured during their performance at the United Theater in LA.
To find out more about the BEAT band, you can head to the BEAT tour website.
The post “Getting excited is somewhat premature”: King Crimson manager counters Jakko Jakszyk’s claims that the band are recording a new album appeared first on Guitar.com | All Things Guitar.
“I take these supplements to stay razor-sharp, night after night”: Yngwie Malmsteen has launched a range of supplement pills and powders
Last year, Swedish virtuoso Yngwie Malmsteen launched his own multivitamin gummies, claiming that vitamins were the true “secret to [his] force”. Now, he’s entered the supplement powders market.
Malmsteen’s new range of supplements ranges from whey isolate protein powder to probiotic pills. There’s also collagen peptides, electrolyte supplements, and watermelon-flavoured pre-workout packed with B1, B2, B3, B6, B12, folic acid, calcium, and a whole host of other ingredients to get you pumped up.
The guitarist shared the news on his Instagram, paired with a short, flashing clip of the supplements that isn’t very epilepsy friendly. “When I’m on stage, there’s no compromise only precision, power, and passion,” Malmsteen writes. “I take these supplements to stay razor-sharp, night after night. This isn’t hype. It’s fuel!”
It’s a similar sentiment to Malmsteen’s initial announcement of his Force gummies: “I am a very busy man that travels the world while playing six shows in a row, up on stage every single night. This works for me so I wanted to make it available for my followers.”
Back in March, Malmsteen explained his decision to dive into the supplements market. “In order for you to be in good health, you need to take supplements,” he explained whilst on SiriusXM’s Trunk Nation with Eddie Trunk. “I’ve always done that. And so the reason I put my line out is because I want other people to do it too. I highly recommend it.”
“I don’t drink, I don’t do drugs,” he continued. “I don’t believe in it… if you wanna do that, go ahead! Be my guest! But I prefer not to do it. And also I think it’s great to let people know: take your vitamins, and it really works.”
As a result of Malmsteen’s health-conscious attitude, his merch website even has its own ‘Supplements Power & Performance’ section. That’s where you can find all of the guitarist’s various supplements – as well as a yoga matt. Fancy holding a downward dog pose to the tune of Rising Force, anyone?
To find out more about the supplements, check out Malmsteen’s merch store.
The post “I take these supplements to stay razor-sharp, night after night”: Yngwie Malmsteen has launched a range of supplement pills and powders appeared first on Guitar.com | All Things Guitar.
EarthQuaker Devices Announces the Easy Listening Analog Amp Simulator
With its finely tuned preamp circuitry and sweet analog cabinet simulation, Easy Listening delivers a big, lush sound with zero latency and no harsh digital artifacts. Think of it as the perfect marriage of vintage tone and modern convenience, offering all the high headroom and low noise of an actual tube amp but small enough to fit in your pocket. No menu diving, no IR loading, and nothing else getting in between you and your tone. Whether you are using this as a headphone amp or the final stage before your recording interface for quick and easy amp-less recording, we think you’ll find this no fuss simulator a delightful addition to your tonal toolbox!
As the name implies, Easy Listening is as simple as it can be to operate, just one control for output volume and that's it. Internally, it's meticulously voiced to capture the soul of one of our favorite classic American guitar amps—a '65 Deluxe—with all the harmonic complexity guitar players crave. Its all-analog circuitry provides a more immediate feel with rich low-end resonance, slightly scooped mids, and that crystalline top end chime that makes electric guitars sing.
Designed with guitarists that use a lot of pedals in mind, Easy Listening features a high 1M input impedance and ample headroom to handle everything from vintage fuzz to modern stacked gain stages without breaking a sweat. The high-fidelity, low-noise analog class AB driver ensures you'll maintain every nuance of your tone at whisper-quiet headphone levels or tracking your sick riffs in your secret basement studio.
Each Easy Listening is built by a powerful robot and a whole bunch of delightful humans in the exotic former rubber capital of the world, Akron, Ohio USA.
Tech Specs:
- Input: Mono TS ¼"
- Output: Stereo TRS ¼" (Tip is the Left channel, Ring is the Right channel)
- Input Impedance: 1 MΩ
- Output Impedance: 39 Ω
- Current Draw: 75 mA
- For use with Headphones: Requires headphones with a ¼" TRS plug.
- For use with a DAW: You can use either a mono TS cable into one channel of your interface or a Stereo TRS cable with a splitter into two channels.
Steve Vai says this guitarist’s cover of And We Are One is “truly outstanding”
Steve Vai has stumbled across an unsung guitar hero who has “nailed” the guitar solo in a cover of his song, And We Are One.
Sharing a clip of the cover to his own Instagram page, Vai has praised the musician – who posts under the name of Tub Guitar – as doing a “truly outstanding” job. Vai feels the solo is one of the best he’s ever composed, so for Tub to receive such high praise from the creator himself is a pretty big deal.
At the time of writing, Tub Guitar has just over 500 followers on his Instagram page (which has been tagged by Vai), and over 1,000 on his YouTube account; numbers which are likely to skyrocket thanks to support from Vai.
The song was released in 2016, and comes from his Modern Primitive album. Tub plays through the song with a Steve Vai signature model no less, and even wears a Steve Vai inspired get-up.
Under the footage of Tub’s cover, Vai writes: “Hey folks, I came across this extraordinary cover of And We Are One by Tub Guitar. I never thought I would ever see anything like this. Frankly, this is one of my favourite solos that I’ve ever done and he just nailed it with all my quirky maneuvers. Seeing someone take the time, patience and passion to recreate something like this put a huge smile on my face and in my heart. Truly outstanding, my deepest appreciation to you ‘TUB’.”
You can check it out below:
In other Vai news, he’s currently still on tour with The SATCHVAI Band. The group, which launched in December last year, marks the first time in their nearly 50-year careers that Joe Satriani and Vai have formed a band of their own.
The project brings together their shared history, as Satriani served as Vai’s guitar teacher when they were teenagers. They remain on their Surfing With The Hydra tour, with shows continuing into early August.
You can find out more about The SATCHVAI Band via their official website, or check out more from the Tub Guitar YouTube channel.
The post Steve Vai says this guitarist’s cover of And We Are One is “truly outstanding” appeared first on Guitar.com | All Things Guitar.
“There were things I wanted to achieve that I wasn't really getting out of those amps”: Why Slash worked with Magnatone on a signature amp after 30 years of playing Marshall stacks
The Ultimate Les Paul: A Deep Dive into the Black Flat-Top Marvel Built for the Man Himself
This LP prototype, likely built by Gibson in 1958, is a fascinating piece of the iconic guitar style’s lineage.
In the pantheon of electric guitar legends, few names resonate as powerfully as Les Paul. Not only did he lend his name to one of the most iconic guitars of all time, but he was also a relentless innovator—forever tweaking, refining, and reshaping his tools to chase the elusive perfection of tone. While many collectors and musicians have been captivated by his namesake production models, few have laid eyes on, let alone held, one of the true instruments crafted explicitly for Les Paul himself. This is the story of one such guitar: a custom-built black flat-top Gibson that was part of a rare twin set—crafted to meet the singular standards of a musical genius.
Les Paul’s relationship with the electric guitar wasn’t one of casual use or simple preference. He was a pioneer, deeply immersed in the mechanics of tone and sustain. His work not only revolutionized how guitars were made, but also how they were recorded and performed with. This particular instrument, one of two black flat-tops likely built in 1958 alongside a pair of white counterparts, was a tool in his quest—a quest that combined science, artistry, and an insatiable curiosity.
At first glance, the guitar seems understated. The black finish and flat-top construction suggest minimalism. But closer inspection reveals a level of design and detail that goes far beyond standard factory output. The body—a .25” maple cap atop a solid mahogany core—eschews the arched top and neck binding that many associate with high-end Gibsons of the era. It’s a design born from utility: flatter for increased contact, perhaps for Les’ recording techniques; unbound for ease of modification.
But it’s inside the guitar where things get really interesting. Deep pickup cavities hint at experimentation beneath the surface. The control cavity was uniquely routed for access from both front and rear—an unusual feature likely intended to make electronics swaps and tests easier. The headstock, too, bears the mark of purposeful divergence: elongated with a long taper behind the nut, enhancing string length and tension, possibly for sustain or tonal balance.
And then there are the modifications—refinements so specific they could only come from someone who viewed the guitar not as a finished product, but as a laboratory for sonic discovery. The pickups, Gibson’s low-impedance alnico “staple” style, were either wound by Les himself or by his son Gene. These pickups, with double-tall bobbins and a unique 4-screw mounting system, required a transformer to step up the impedance for direct input to an amp. AIR coils, reverse-wound for hum-cancelling, were mounted beneath the pickguard, beside each pickup. According to Les’ close friend and tech Tom Doyle, Les was using this technique in the late 1940s to get a quieter signal.
“The spirit of the guitar—Les’ spirit—remained intact. It’s not a sterile museum piece, but a living, breathing testament to a life spent chasing sound.”
In terms of playability, Les took matters into his own hands—literally. The neck profile was hand-shaped and refinished in black acrylic. The frets? Low, flat, and re-crowned using nothing more than flat files and emery boards—crude by modern standards, but a testament to Les’ commitment to hands-on craftsmanship. And the bridge? Carved by Les himself from wood, anchored with hefty .25" studs to improve energy transfer and sustain.
Another particularly unique feature is the missing 22nd fret. Removed deliberately, it allowed Les to move the neck pickup further up the body, balancing volume and tone as he climbed the fretboard—a mod unheard of at the time, and one that permanently altered the original pickguard. In true Les fashion, he crafted a new one, hand-shaped and signed on the back. That signature alone would make this guitar historic. The story it tells elevates it to something close to mythic.
Beyond the customizations and features, the guitar bears the marks of its life. It’s a well-played instrument, worn from hours of rehearsal, performance, and experimentation. The original finish has held up remarkably well, with only minor touch-ups. The neck, however, wears its black paint like a badge of honor—proof of Les’ own hand at work. A headstock break in the mid-1960s forced its early retirement from Les’ regular use. Yet even in its dormancy, it remained significant.
In 1974, the guitar changed hands through a trade, eventually resting in the possession of its most recent owner, Les’ friend and sound man Geoff Gray. It sat in storage for decades until its restoration began in 1998. The headstock was professionally repaired, and components like tuners, pots, and Bigsby were replaced with period-correct parts wherever possible. Importantly, the spirit of the guitar—Les’ spirit—remained intact. It’s not a sterile museum piece, but a living, breathing testament to a life spent chasing sound.
This guitar, with its unique blend of factory precision and raw, personal modification, represents the closest one can get to stepping inside Les Paul’s creative process. It’s not just a player’s guitar. It’s not just a collector’s trophy. It’s a physical manifestation of innovation. A rare portal into the mind of a man who changed the course of music history.
Offered most recently by Carter Vintage Guitars in Nashville for a cool $950,000, the guitar has since been sold. But its story continues to echo—a tone that, like Les himself, refuses to fade.
SOURCES: Carter Vintage Guitar interview with Geoff Gray, personal letter from Tom Doyle, October 2024.
Jackson Expands Its Signature Juggernaut Range With Misha Mansoor
Jackson is once again partnering with Misha Mansoor to release three new signature guitars, The Pro Series Signature Misha Mansoor Juggernaut HT6 in Red Crystal and Blue Sparkle and The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 in Riviera Blue. Developed in close partnership with Misha, these Juggernaut metal guitars are built to withstand the demands of Misha’s steadfast and fleet-fingered technique. Perfect for both classic and progressive metal players, these guitars deliver the modern sound that every shredder needs to ignite their tone.
“This refresh came about because every few years we want to see what we can do…these guitars travel around the world and they need to be road ready,” said Misha Mansoor on his new signature guitars. “It’s a no nonsense guitar that looks good, sounds good, and plays good.”
Djent forefather, Misha Mansoor, has gained widespread acclaim as the mastermind behind the axe-centric progressive metal band Periphery. Based in Washington D.C., Periphery is renowned for pushing the limits of progressive metal, using detuned, extended-range instruments to craft a sound that is both technically complex and unapologetically heavy. Misha Mansoor, guitarist and producer, co-founded the band in 2005. With the same precision and innovation that defines Misha's playing, the Juggernaut signature gives players the power to transform their sound.
The premium Juggernaut models feature a 25.5” scale length, poplar body and bolt-on caramelized maple neck with graphite reinforcement, wrap-around heel and oiled back finish for greater playing comfort. With a 20” flat radius ebony fingerboard that features rolled edges, fans can enjoy blazing fast leads. These models feature 24 jumbo stainless steel frets and offset dot inlays. Lastly, the Luminlay
side-dots will guide the guitarist's path even on the darkest of stages, while the heel-mount truss rod adjustment wheel allows for convenient neck relief tweaks.
Misha worked closely, as he did with past models, to develop the exceptional uncovered direct-mount Jackson MM1 pickups. Unwilling to sacrifice tone, these pickups can be shaped with a five-way blade switch, single volume control, and a single tone control with push/pull feature that allows for players to engage or disengage tone options. Designed for articulate heavy picking, the humbuckers deliver a well-balanced sonic range with rich dynamics, intentionally left uncovered to enhance brightness and clarity.
The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 comes equipped with an EverTune F6 Model bridge, engineered to maintain perfect tuning and intonation across the entire neck, even with low tunings. Its counterpart, the Pro Series Signature Misha Mansoor Juggernaut HT6, features a string-through-body hardtail bridge that delivers enhanced sustain, rock-solid tuning stability, and simplified string changes. Both bridges are built to withstand intense playing conditions, providing the unwavering stability essential for Misha's signature heavy metal style.
“We’re beyond thrilled to be partnering with Misha Mansoor on his latest signature guitar collection. His innovation and vision perfectly align with our passion for pushing the boundaries of tone and design,” said Jon Romanowski, VP of Product of Jackson Guitars. “This collaboration reinforces Jackson’s commitment of providing for players who demand nothing but the best.”
PRO SERIES SIGNATURE MISHA MANSOOR JUGGERNAUT HT6 ($999.99 USD, £949 GBP, €1,149 EUR, $1,899 AUD, ¥165,000 JPY) The Pro Juggernaut HT6 offers a Jackson HT6 string-through-body hardtail bridge, Jackson sealed die-cast locking tuners, Dunlop® dual-locking strap locks and a gig bag. It’s available in Red Crystal or Blue Sparkle with a matching reverse Jackson 3x3 AT-1 headstock.
PRO PLUS SERIES SIGNATURE MISHA MANSOOR JUGGERNAUT ET6 ($1,399.99 USD, £1,399 GBP, €1,649 EUR, $2,599 AUD, ¥231,000 JPY) The Pro Plus Series Signature Misha Mansoor Juggernaut ET6 features an EverTune® F6 Model bridge that will keep your guitar perfectly in tune and intonate all the way up the neck to handle low tunings. This 6-string Juggernaut is wrapped in a statement- making Riviera Blue finish with a color matched reverse Jackson 3x3 AT-1 headstock and black hardware. It also features Dunlop® Dual-locking strap pins for maximum stability.
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