TEST: Jackson RRX24

 Let's not kid ourselves, in principle all relevant solid body guitar shapes were already on the market at the beginning of the sixties. The two market leaders Fender and Gibson managed to cover pretty much the entire spectrum of practical shapes with a total of six guitar shapes (Strat, Tele, Les Paul, SG, Explorer, Flying V) and even dismissed the designers in-house with only the possibility of a modification (e.g. Firebird) back to their drawing tables. Only a few manufacturers managed to develop an independent product line in the following decades, but the Jackson company with its RR series must be counted, whose models are based on the preferences of Quiet Riot / Ozzy Osbourne guitarist Randy Rhoads, which is particularly important for many guitarists in the 50+ department were a great inspiration. From this series we have the Jackson

The construction of the Jackson X Series Rhoads RRX24

How exactly the shape of the RR model came about cannot be clearly determined, especially since you can no longer ask the inventor of the layout. One theory is that Randy Rhoads was bothered by the lower horn of his Flying V, with which he was often seen live, and one day he sawed off one of the horns. Another theory says that the somewhat clumsy prototype that he created at the time using simple means was the original form for his model.

Be that as it may, the shape polarizes accordingly and can enjoy all sorts of adjectives from “the sharpest metal ax ever” to “ugly”. The interested reader should form his own opinion. From a purely tactile perspective, the unusual shape is undoubtedly convincing, although you can't avoid an unpleasant peculiarity of the shape. Experienced Flying V players will know the problem, but the RR model tops it all off. We are talking about the “wear” of the tip of the upper horn of the body.

It is completely impossible to set the guitar down anywhere without that end and its paint hitting the floor. Even if you have a hanging guitar stand, it's only a matter of days, maybe even hours, before the paint starts chipping off in that spot. At least these days you can get a molded case for this form for comparatively little money, the dramas that arose when it was introduced in the eighties. It's hard to imagine today. On the other hand, anyone who can visually cope with the shape, which could have arisen from a liaison between a Flying V and a Boomerang, will be rewarded with very good playability up to the 24th fret.

The instrument, manufactured in Indonesia, uses the currently popular manufacturing method in its construction, meaning a continuous neck, in this case made of maple, with attached basswood wings. Even in the cheaper product ranges, the fact has arrived that a continuous neck offers a level of sustain that is only achieved with glued or screwed necks at the highest level of production and makes the instrument sound many times more high-quality than the retail price would suggest .

When it comes to the fingerboard, Jackson also takes a modern approach and uses Laurel, which is native to Central and South America, on the Compond Radius (12" - 16"), which looks very close to a medium-dark rosewood variant. The fingerboard has 24 jumbo frets. The model has a reversed headstock, which beautifully takes up the angle of the lower, shortened horn and visually gives the guitar a certain “lightness” in contrast to the classic “pick heel”. Speaking of lightness, with a weight of 3.3 kg, the instrument can be described as very light even without the optical lift.

When it comes to the finish, Jackson doesn't do things by halves either and serves the target group with a total of 4 different paint finishes. The black version with neon-green rally stripes we were testing is polarizing, as is the shape of the Jackson X Series Rhoads RRX24, but it fits the intended style perfectly. Alternatively, there is the black-yellow, black-red and, for the bravest among you, black-violet variants. The bright colors are not only tastefully placed on the body, but also continue the color scheme in the fingerboard inlays in the Jackson-typical shark fin layout. Why the green isn't continued in the Jackson lettering and instead changed to light green isn't entirely clear to me. Perhaps for reasons of better readability at a greater distance.

Where Eighties Metal is written, two classic components should of course not be missing. We're talking about the Floyd-Rose vibrato system and active pickups. Despite the expired patent including the locking saddle, the former is still purchased from Floyd Rose, version of the union nut, the latter does not come from the top dogs EMG or Fishman, but from the company Seymour Duncan with the names Blackouts AHB-1B (Bridge) and Blackouts AHB-1N (neck). Access to the battery compartment is located on the back of the body and is designed as a separate compartment.

Both pickups are switched with a 3-way switch in LP style without a coil tap. The tuners, on the other hand, come from our own production and are called Sealed Die-Cast, the controls are designed as speed domes. The pickup switch used turns out to not be of the highest quality in terms of usability and is probably a victim of the red pen. Overall, however, the instrument must be said to be of significantly higher quality than what the retail price of just €778 suggests.

The X Series Rhoads RRX24 in practice

First of all, let's come to a fact that is probably already known, but which is always forgotten. If you plan to play the instrument primarily while sitting, or worse yet, plan to play the instrument while sitting for YouTube videos, you should look for a different format. There is nothing more embarrassing than the cramped leg position you are forced to adopt when playing this instrument, which is more reminiscent of a very urgent need to urinate than of a relaxed or at least self-confident sitting position. This instrument can only be played while standing up, or you can expose yourself to ridicule.

When it comes to sound, the inclined user gets exactly what the optics promise. As expected, the entire orientation of the instrument is hard'n'heavy, although the basic sound character differs from many of its competitors. I don't want to start the basic discussion again about the tonal impact of the guitar shape on the overall sound, but the fact is that the instrument's resonance behavior with its subtle nasal sound is much more in the direction of a Flying V than, for example, the other end of the scale, a Les Paul oriented.

Otherwise the gain control in the RR camp rules. The included sound files were made with an ENGL Savage MKII and despite the high tonal variety of the amp, it was not possible to get a crystal clear sound from the amp. The output of the Seymour Duncan pickups only knows one direction, which has its advantages in the half-wave cut, but excludes many sounds in the clean range. On the other hand, who would want to create clean sounds with such an instrument and if necessary there is always the volume control.

In terms of sound, the Jackson X Series Rhoads RRX24 differs from the competition, particularly in the pickup configuration. The sound is quite unique for an active pickup and takes a significantly different approach than, for example, the reference class from EMG. The volume of the classics is somewhat missing, especially in the low-mid range, and the compression has also been significantly reduced. This has a positive effect in the crunch and lead areas, but leads to a somewhat “insignificant” sound in the high gain area.

In terms of workmanship, the instrument can be described as excellent; I couldn't see any defects in terms of paintwork or transitions, as is so often the case with “Made In Indonesia” lately. If you don't want to go for the USA models, which are around 500% more expensive, you have the opportunity to impress visually and acoustically with Asian production without noticing too big a difference at first glance.

Conclusion

With the Jackson X Series Rhoads RRX24, the manufacturer offers very good quality for little money in the hard'n'heavy range. Workmanship, sound and general appearance offer fans of distorted sound a wide variety of options, especially as the general appearance in both shape and finish will attract attention.

————————-

Additional Informations:

In the annals of guitar history, few instruments have achieved the iconic status of the Jackson Randy Rhoads models. Born out of a collaboration between two titans of the industry, the late Randy Rhoads and Grover Jackson, these guitars represent a fusion of innovation, artistry, and a relentless pursuit of excellence. The story of their inception is a fascinating journey through the realms of music, craftsmanship, and personal ambition.

**The Protagonists: Randy Rhoads and Grover Jackson**

Randy Rhoads, the virtuoso guitarist, rose to fame as the lead guitarist for Ozzy Osbourne's band. His playing style, characterized by lightning-fast runs, neoclassical influences, and emotive solos, captivated audiences and inspired a generation of guitarists. Rhoads was not only a remarkable musician but also a visionary who sought to push the boundaries of guitar design.

Grover Jackson, on the other hand, was a luthier and entrepreneur with a passion for crafting exceptional guitars. He founded Jackson Guitars in the late 1970s, initially focusing on custom instruments. Jackson's commitment to quality and innovation quickly earned him a reputation as one of the premier guitar builders in California.

**The Conception of the Randy Rhoads Model**

The genesis of the Randy Rhoads models can be traced back to a chance encounter between Rhoads and Jackson in the late 1970s. Rhoads, dissatisfied with the guitars available on the market, approached Jackson with a unique proposition: to design a guitar that combined the playability of a Gibson with the sleekness of a Fender Stratocaster.

Jackson, intrigued by the challenge, set to work on realizing Rhoads' vision. The result was the Jackson Concorde, a radical departure from traditional guitar designs. With its aggressive angular body shape and distinctive "shark fin" inlays, the Concorde embodied Rhoads' rebellious spirit and avant-garde sensibilities.

**The Evolution of the Rhoads Model**

The initial Concorde prototype laid the foundation for subsequent iterations of the Rhoads model. Rhoads provided invaluable feedback on playability, tone, and aesthetics, guiding Jackson through the iterative design process. Together, they refined the guitar's features, incorporating elements such as a through-body neck construction, compound radius fretboard, and high-output pickups to meet Rhoads' exacting standards.

The collaboration between Rhoads and Jackson was not without its challenges. Rhoads, a perfectionist by nature, demanded nothing short of excellence, pushing Jackson to continually innovate and refine his designs. Despite the occasional creative differences, their shared passion for music and craftsmanship forged a deep bond that permeated every aspect of the Rhoads model's development.

**The Legacy of the Rhoads Model**

The Jackson Randy Rhoads models made their debut in the early 1980s, garnering immediate acclaim from guitarists and critics alike. Rhoads himself wielded these instruments on stage, showcasing their unparalleled playability and sonic versatility to audiences around the world. His tragic death in 1982 only served to cement the Rhoads model's status as a timeless icon of rock and metal.

In the years that followed, the Rhoads model underwent numerous revisions and iterations, each one building upon the legacy of its predecessor. From the budget-friendly JS Series to the high-end USA Custom Shop models, the Rhoads lineup continues to evolve, catering to the diverse needs and preferences of modern guitarists.

**Conclusion**

The Jackson Randy Rhoads models represent more than just instruments; they are symbols of creativity, collaboration, and the relentless pursuit of perfection. Born out of a partnership between two visionaries, these guitars continue to inspire musicians and fans alike, embodying the spirit of innovation and artistic expression that defined Randy Rhoads' legendary career. As long as there are guitarists seeking to push the boundaries of music, the legacy of the Rhoads model will endure, reminding us of the transformative power of passion and creativity.