TEST: Jackson Soloist

 What would Leo Fender, the old Republican and blues hater, say if he could see what modifications and developments of his biggest cash cow are available for purchase these days? Admittedly, both 8-string and fanned frets haven't been available on the market since yesterday, but I would be lying if you as an author don't have a certain basic respect for such a monster. Jackson is now presenting a variation with its Jackson SLATX8Q MS Soloist Tr.Bk.Burst, which is manufactured in Indonesia and is priced at well under €1,000.

Why an 8-string?

Apart from ancient instruments of the lute genre, which sometimes had adventurous string combinations, expanding the tonal range is now old hat, even in the electric guitar sector. Already available in the custom sector for a long time, it was Steve Vai who, with the Ibanez Universe, pushed for a seven-string version of the JEM with a low B string at the height of its popularity in the eighties. It was actually supposed to be an additional high A string, but since it kept breaking due to its small diameter, he expanded the spectrum downwards. The instrument then achieved its final breakthrough with the nu-metal 1-tone protagonists from Korn.

Once the genie is out of the bottle, you can't get it back, i.e. H. It was only a matter of time before the mainstream turned its attention to a low F-sharp string, thus establishing itself like a tumor in the innards of the electric bass. And the tuning also behaves like a tumor towards the bandmate. To put it bluntly, anyone who plays 8-strings no longer needs a bassist! The bassist's usual "one octave below" tuning is no longer tonally feasible with this tuning and the poor Messuggah variant, in which the bassist has the same tuning as the guitars, seems more like an ABM measure for metal bassists, as a real tonal enrichment. The zenith in terms of intelligent, although sometimes strenuous for the listener, integration of an eight-string guitar is the formation “Animals As Leaders”, in which two “string players” with two eight-strings alternately cover the guitar and bass range with a very high level of technical skill .


The construction of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst

The Jackson SLATX8Q MS Soloist Tr.Bk.Burst once again takes up the basic principle of the classic Powerstrat, i.e. Leo's hyper-successful body paired with all kinds of high-performance hardware and high-output pickups. However, the instrument has so many special features that it is almost in a class of its own. In order to be able to charge a retail price of €985, a company must, on the one hand, produce in a low-wage country and, on the other hand, avoid detailed, technically complex solutions without compromising the quality of the instrument. It must also be taken into account that the number of units sold is significantly lower than that of the 6-string variations.

Let’s start with the standards, although the word “standard” has to be put into perspective here. It all starts with the poplar body wood used. It's not for nothing that "poplar" is phonetically not too far away from "cardboard". However, the sound aspect is put into perspective immensely when you know that the Jackson SLATX8Q MS Soloist Tr.Bk.Burst has a full-length maple neck. For optical reasons, a pretty top made of cloud maple was glued on, although it only has veneer thickness and therefore does not interfere with the vibration behavior of the instrument. Also very unusual is the fingerboard made of laurel, which at least visually resembles a very light rosewood.

Regarding the pickups, 2 house brands called “8-String Blade Humbucker” were installed, which are impressive with their massive blade magnets and were installed diagonally due to the fanned fret arrangement. A somewhat uneven magnetic field towards the outer strings cannot be completely avoided, but the practical test will show whether this is even perceptible in terms of sound. The controller used is a simple volume controller, tone controller, 3-way switch combination without a single coil circuit option or similar.


The fingerboard of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst

As expected, the Jackson SLATX8Q MS Soloist Tr.Bk.Burst's fretboard and connected nut and bridge construction is the instrument's most striking feature. Once again briefly for the interested youngsters, a Fanned Fret Fretboard enables different scale lengths within an instrument and thereby compensates for the problem of uneven string tension. While the short scale length of 625 mm is sometimes enough for the treble strings for a practical string tension, the bass strings require a longer scale length for a crisp attack and release response. This can be partially compensated for with a balanced set of strings, but the evenness of the string tension suffers.

So the principle, which initially met with great response in bass making, was now also partially adopted in guitar making. Remember, we're poaching in the bass range! Therefore, the Jackson SLATX8Q MS Soloist Tr.Bk.Burst has eight different scale lengths, which start at 660 mm and end at 711 mm. However, this means that the smallest scale length is still well above the long scale length of a regular electric guitar (648 mm), while the bass scale length is still well below a medium electric bass scale length (approx. 760 mm). These dimensions were probably chosen in order not to put too much strain on the playing comfort of the instrument, as the diagonal position of the frets would otherwise be too strong, especially at the ends of the fingerboard. You should therefore look into the topic of string sets in order to optimize the string thickness for your personal use.

The apex of the fretboard is at the eighth fret, not the 12th fret as many expected. This practice makes perfect sense, as chord playing, which proves to be significantly more difficult, especially in the area of barre chords with diagonal frets, is primarily practiced in the lower registers, while solo playing is much better at dealing with the offset in the higher registers. To match the fingerboard, the saddle is of course diagonally offset plus a bridge unit consisting of 8 individual saddles. Impressive, but also another challenge when it comes to Palm Muted in the area of string skipping.

In practice

Anyone who comes from the regular solid body electric guitar and is looking for a full resonance electric guitar for the first time e.g. B. hung in Gretsch style, is immediately put in its place by the sprawling body. With the Jackson SLATX8Q MS Soloist Tr.Bk.Burst it's not the body, but the surfboard disguised as a neck. Although the string spacing has already been compressed to the minimum, the fretboard dimensions with a nut width of 476 mm are more than just a challenge, apart from the fact that this is a separate type of instrument where you are of course constantly confusing the strings at the beginning.

Not only chord and solo playing have to be learned from scratch, but also playing techniques such as: B. Bending can only be achieved on a wide neck with a massive “claw position”. But let's be honest, such an instrument will never find its way into the local old men's blues band anyway and the ambitious shredder will stick with the six-string for technical reasons. The main area of application remains the escape into the bass range and this is exactly what cannot be tonally controlled with the delivered string set 009 - 065.

Despite the extended scale length, the low F# string is so flabby that you're tempted to see if it's hanging like a clothesline. Imagine the D string of a regular electric bass set, tune it 8 semitones lower and shorten the scale length of a medium scale bass by another 5 cm. The result is unplayable. The F sharp string of the Jackson SLATX8Q MS Soloist Tr.Bk.Burst buzzes due to the deflection with every note, even a slight touch causes the string to vibrate so strongly that it is at least a quarter tone too high, no matter how carefully you press the target The sound is also always too high. In addition, the string sounds incredibly dull without any life.

But there is a remedy in sight. You can help the instrument accordingly with a correspondingly thicker set of strings. Despite all the criticism, the guitar itself sounds very good, especially in the heavy range. The sustain is very good due to the neck construction and the workmanship is impeccable. As always, the pickups are a matter of taste, I for my part find the gain range to be successful, although the pickups never have the quality of the market leaders such as. B. Achieve EMG. For me personally, the clean area lacks a bit of character, but as I said, that's purely a matter of taste.

Conclusion

With the Jackson SLATX8Q MS Soloist Tr.Bk.Burst, the manufacturer offers the user Djent flair for little money. In return, the musician receives an impeccably crafted instrument that shines with good sustain and a very good price/performance ratio.

The only negative point of the instrument is the completely half-baked set of strings with which the instrument is delivered, which results in the low F sharp string being completely unplayable. therefore one point deducted from the rating.

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Additional Informations:

In the vibrant and dynamic music scene of the 1980s, a new breed of electric guitars emerged, capturing the spirit of the era with their bold designs, high-performance features, and unmistakable tone. Among these instruments, the Powerstrat stood out as a symbol of innovation and sonic versatility, embodying the zeitgeist of the decade like few others. In this detailed article, we delve into the fascinating history of Powerstrats in the 1980s, tracing their origins, evolution, and enduring legacy.

**1. Setting the Stage:**
The 1980s marked a period of profound transformation in the world of music, as emerging genres like glam metal, hard rock, and shred guitar pushed the boundaries of sonic experimentation and virtuosity. Against this backdrop of innovation and creativity, guitar manufacturers sought to capitalize on the growing demand for instruments that could deliver the speed, sustain, and sonic firepower demanded by the era's top players.

**2. The Birth of Powerstrats:**
The Powerstrat emerged as a response to the evolving needs of guitarists who sought to marry the classic design and playability of the Fender Stratocaster with the enhanced performance and modern features required for high-energy live performances and studio recordings. Inspired by the success of Eddie Van Halen's modified Stratocaster, guitar builders began experimenting with various modifications and upgrades to create instruments that could withstand the rigors of heavy playing and deliver the aggressive tone favored by shredders and rockers alike.

**3. Innovations and Modifications:**
Key innovations that distinguished Powerstrats from their traditional counterparts included hotter pickups for increased output and sustain, locking tremolo systems for improved tuning stability and dive-bombing capabilities, and reinforced necks for enhanced durability and playability. Additionally, builders incorporated features such as scalloped fingerboards, extra frets, and ergonomic body contours to accommodate the demands of advanced playing techniques and facilitate effortless fretboard navigation.

**4. Pioneering Builders and Players:**
Several pioneering guitar builders and players played instrumental roles in popularizing Powerstrats and pushing the boundaries of guitar design and performance during the 1980s. Builders like Charvel, Jackson, Kramer, and Ibanez produced a diverse array of Powerstrat-inspired models, each offering its own unique blend of features and aesthetics. Meanwhile, players such as Yngwie Malmsteen, Steve Vai, Joe Satriani, and George Lynch showcased the capabilities of Powerstrats on stages around the world, demonstrating their versatility and sonic prowess to audiences and aspiring guitarists alike.

**5. Cultural Impact and Enduring Legacy:**
The cultural impact of Powerstrats in the 1980s cannot be overstated, as these instruments became synonymous with the era's larger-than-life personalities, electrifying performances, and groundbreaking recordings. From the searing leads of Malmsteen to the innovative techniques of Vai and Satriani, Powerstrats played a central role in shaping the sound and style of 1980s guitar music, leaving an indelible mark on popular culture that continues to resonate with musicians and fans to this day.

**6. Evolution and Revival:**
While the popularity of Powerstrats waned in the 1990s with the rise of alternative rock and grunge, the legacy of these iconic instruments endured, inspiring a new generation of players and builders to rediscover their unique charms and sonic capabilities. In recent years, there has been a resurgence of interest in Powerstrats, with boutique builders and major manufacturers alike offering modern interpretations of these classic designs, updated with contemporary features and refinements while retaining the essence of their 1980s predecessors.

**7. Conclusion:**
In conclusion, the story of Powerstrats in the 1980s is a testament to the spirit of innovation, creativity, and sonic exploration that defined the era. From their humble beginnings as modified Stratocasters to their status as icons of 1980s guitar culture, Powerstrats captured the imagination of musicians and audiences alike with their bold designs, high-performance features, and unmistakable tone. As we look back on this vibrant chapter in the history of electric guitars, it's clear that the legacy of Powerstrats continues to resonate with players and enthusiasts around the world, embodying the enduring spirit of rock 'n' roll and the boundless possibilities of musical expression.