convince me about jackson

[Brooke]

I initially was drawn to Jacksons because I loved the look of them, and back in the day all my guitar heroes were playing them (Dave & Marty from Megadeth, Max and Andreas from Sepultura, etc....etc.....) but once I finally got my hands on one it was the playability that hooked me, I felt like I could play anything on them and they made me want to push my boundaries as a player...and 7 RR's later I still feel the same....don't play the guitar that's "cool", or the one that anyone else says you should play, find the guitar that inspires you and stick with it................

+ 1

[Foulacy]

i've never liked a single PRS i've played. they all feel... well, cheap. higher end jacksons all feel soooo well made and solid and everything is so smooth.

[J_A / 540s]

Seriously, someone explain it to me.

It's about comfort... why not play a guitar comfortable to you over one that isnt?

[Cygnus X1]

i've never liked a single PRS i've played. they all feel... well, cheap. higher end jacksons all feel soooo well made and solid and everything is so smooth.

I wouldn't go so far as to say they feel cheap...I'm a bit of a guitar whore!
But they never felt "right", and the sound has never quite made it for me.
But beautiful? OMG...I love the looks of the PRS's!
I'm a bit Jackson starved, but the ones I have played have fit so well.
I have a Model 88 that everyone is sick of me bragging about, but I don't play it all that much. My mainstay is a DKMGT (Thanks, Phantomhawk, for the thousandth time)!

[Partial @ Marshall]

But your hand position is going to change anyway when you get up that high due to the angle of both the guitar and your arm in relation to the width of your body.

Even with a 2x4 with strings that has no change in shape from nut to butt, the only way your hand is not going to change position is if you mounted it on a rail and moved the guitar closer and farther.

And is it that much of a burden to change your hand position?

Really, I still don't get it. Is it laziness or a lack of skill?
It has to be one or the other, or it's Obsessive Compulsive Disorder: "Wehh I have to change from my current fingering position to reach these notes! Oh NOES! The world is going to end!"

Seriously, someone explain it to me.

It certainly isn't laziness or lack of skill. Do you understand that the heel can be an OBSTACLE if improperly designed? Sure the hand position can change as it moves up the board...but to what extent? What drives it, technique, training, design? I was a classically trained guitarist (major in college and I still suck at it) so it is beat into my brain that the thumbprint is centered in the back of the neck. Most of the time I tend to move the guitar in relation to my body (vertical) to maintain the same hand postion as opposed to changing my hand postion because it makes it easier for me. Also when the back of the hand is parallel to the forearm the tendons in the arm move easier thru their sleeves. About the only time I change from that position is during heavy bending to leverage the string. I can certainly see your point, but your way of playing may not work for everyone. Your challenges in technique may not be my challenges. You seem reasonably intelligent and I hope I have made my point...and without being insultive.

Ahh... my first pissing match on the JCF

[DannyM]

i have recently acquired a prs singlecut trem, a 10 top 20th anniversary version. basically it's a standard singlecut trem, and it totally changed my guitar playing experience... when i first played it, unplugged, i felt the huge resonance from the body, which never happened with my jacksons/ibanez/carvin... i simply felt my body shaking with that chunk of wood... plugged into my engl 530, just using the built-in 1.5w x 2 power amp, the tone is super thick and punchy, i doubt if i need to upgrade to a real power amp....

well, it made me think... i have owned a jackson sl1, an RR1T, sold both sometime ago, simply because i hear no clear superiority in tone compared to my cheap carvin dc127 (ebony board, split coil for both humbuckers, neck thru, all for 300 dollars)....it's like i can't justify the fact that i have to pay 1 grand for a jackson usa...

what's wrong here? don't get me wrong, i love jacksons, otherwise i wouldn't be here...

3 Watts total is enough for you ???

I can record some cool tones with the E530 direct....
but no way would I be content with 3 watts of power.
It just wouldnt cut it for me here at home, at band practice or playing live.

Arent the 3 solid state watts on that meant for head phones?

[geofreesun]

3 Watts total is enough for you ???

I can record some cool tones with the E530 direct....
but no way would I be content with 3 watts of power.
It just wouldnt cut it for me here at home, at band practice or playing live.

Arent the 3 solid state watts on that meant for head phones?

3 watts is good for room level practice, it sounds really decent. i dun play live...unfortunately. but i just got a peavey 50/50 off the bay, on the way.

i guess i will be looking for a sl2h next time, but definitely, no more jb's.

i love the playability of jacksons, best neck no doubt, i was just not happy with the TONE, and i wasn't sure if it was because of the wood combination or just the pups, i was always under the impression that jb is pretty good for all genres, even michael amott uses jb/59...it just turned out the jb in both my sl1 and rr1t sounded like farts.

[Partial @ Marshall]

3 watts is good for room level practice, it sounds really decent. i dun play live...unfortunately. but i just got a peavey 50/50 off the bay, on the way.

i guess i will be looking for a sl2h next time, but definitely, no more jb's.

i love the playability of jacksons, best neck no doubt, i was just not happy with the TONE, and i wasn't sure if it was because of the wood combination or just the pups, i was always under the impression that jb is pretty good for all genres, even michael amott uses jb/59...it just turned out the jb in both my sl1 and rr1t sounded like farts.

I agree...I wasn't real happy with alder, bass, or poplar as the body wood...period. It just lacked something to my ears (thin sounding). This is why I went back to Les Pauls for awhile, I just couldn't get to full shred on them. The JB coupled with mahogany lacked low end definition, the Custom 5 fit the bill.

I built a 1/2 watt tube practice amp (guytronix) that is awesome for practice and maybe recording, and my Epi valve jr. (5watt) is no slouch either. Both will drive a 4x12 and if the drummer didn't hit so damn hard maybe I could use it live. I am hopeful that the 18watt marshall copy I am currently building will be the best of all worlds...

[Newc]

It certainly isn't laziness or lack of skill. Do you understand that the heel can be an OBSTACLE if improperly designed? Sure the hand position can change as it moves up the board...but to what extent? What drives it, technique, training, design? I was a classically trained guitarist (major in college and I still suck at it) so it is beat into my brain that the thumbprint is centered in the back of the neck. Most of the time I tend to move the guitar in relation to my body (vertical) to maintain the same hand postion as opposed to changing my hand postion because it makes it easier for me. Also when the back of the hand is parallel to the forearm the tendons in the arm move easier thru their sleeves. About the only time I change from that position is during heavy bending to leverage the string. I can certainly see your point, but your way of playing may not work for everyone. Your challenges in technique may not be my challenges. You seem reasonably intelligent and I hope I have made my point...and without being insultive.

Ahh... my first pissing match on the JCF

Ah, the epic failure of "training" - "play it my way, because my way is the right way". That's a large part of what puts me off of taking lessons or seeking a "trained" path - there's no room for an individual approach.

As for the heel "issue" - Rhoads didn't seem to have a problem with changing his puny little hand's position, and John Sykes and Jeff Beck have done very well on Les Pauls for over 30 years each.

I understand personal preference regarding neck heels, but still hold to the notion that if a guitar is bashable based simply on the shape of the heel and your need to "work" (as much as rotating your hand and wrist can be considered "work"), you have technique and skill issues you need to address.

And don't get me started on a Rhoads with a cutaway like that Laiho kid :ROTF:

[Partial @ Marshall]

Ah, the epic failure of "training" - "play it my way, because my way is the right way". That's a large part of what puts me off of taking lessons or seeking a "trained" path - there's no room for an individual approach.

As for the heel "issue" - Rhoads didn't seem to have a problem with changing his puny little hand's position, and John Sykes and Jeff Beck have done very well on Les Pauls for over 30 years each.

I understand personal preference regarding neck heels, but still hold to the notion that if a guitar is bashable based simply on the shape of the heel and your need to "work" (as much as rotating your hand and wrist can be considered "work"), you have technique and skill issues you need to address.


And don't get me started on a Rhoads with a cutaway like that Laiho kid :ROTF:

So you've heard me play and know what my "failures" are? I'm sure I could easily listen and pick out your "failures" too. But I would have to listen, not make snap judgements based on an internet conversation...I assure you my technique and playing are on, been at it for ~32yrs, yet you would assume otherwise? As for you...no need to get "training" or further your musical education when you already know everything, education would dampen your highly developed style. It's too bad because everyone has something to teach.

I still play my pauls but they aren't always the right tool for the job for me. I always feel at home on my Jacksons...

[138]

Say what? Your chunky body started shaking after you felt your wood?!? TMI

I LOL'ed :ROTF:

Hey man don't know why sombody would have to convince you, i'm shure you're a big boy now. Can't you make up you're own mind?

Jacksons are some of the finest chunks of wood out there man. Even under Fender ownership their still great axes. PRS's are some damn fine instrument's too but each one has it's own feel depending on what your into.

I own a PRS 513, top notch fiddle for shure but it just isnt suited for metal playing IMHO. Not everyone is Paul Allender.

[DC_rhoads82]

To each his own. A Jackson's still gonna be a Jackson at the end of the day, and so will a PRS. Both are awesome guitars, but awesome is a very subjective term to anyone. Play what YOU think suits you best, don't worry about anything else.

[wilkinsi]

another reason....

:ROTF:

[Seef]

Just find that guitar that puts a big smile on your face every time you pick it up!

[DannyM]

3 watts is good for room level practice, it sounds really decent. i dun play live...unfortunately. but i just got a peavey 50/50 off the bay, on the way.

i guess i will be looking for a sl2h next time, but definitely, no more jb's.

i love the playability of jacksons, best neck no doubt, i was just not happy with the TONE, and i wasn't sure if it was because of the wood combination or just the pups, i was always under the impression that jb is pretty good for all genres, even michael amott uses jb/59...it just turned out the jb in both my sl1 and rr1t sounded like farts.

I dont like the JB's either. They come out as soon as possible from any guitar that I get that has them.