This is a rather recent addition (thank you so much, Stephan/Meinl!). It’s interesting too – Joe Satriani and his music surely was such a huge influence, yet when I tried a JS-model or two a few years ago, it simply didn’t “click” with me… I thought it sounded great, but they didn’t “grab” me like the other Ibanez guitars I use did.
That changed when I tried both the current JS2400 and the JS24P. Ever since I got the JS24P, it has become kind of my “go to guitar” and I haven’t been able to put it down. It feels incredibly comfortable, plays wonderful, and sounds great. It also offers more variety than you might think when you see the 2 humbuckers. YOu can split them by pulling up the tone-knob, and there is a high pass filter you can activate by pulling up on the volume-knob.
Once you do that, you can easily maintain highs when rolling back the volume, without the sound getting “mushy”. I read that one reviewer thought that the humbuckers might have too much output, and that some players might shun the guitar because of that. Sure, these aren’t low-output vintage-style singlecoils, but then again, you can get wonderful crunch- and “raunchy clean” sounds or even really warm clean-sounds easily when you roll back the volume a bit. That feature, together with the coil-split, makes for SO much versatility.
Also… I am using the whammy bar much more again with the JS. The original edge is just great, incredibly stable, and the techs at Meinl set it up so it’s smooth, yet not TOO loose or warbly at all.
See, I love vibrato systems, and when I first got a guitar with a double-locking trem on it, for a while I went totally nuts with it… most people apparently do. =)
Eventually, I got that out of my system, and for a while, I hardly ever used the bar at all, or used guitars with a fixed bridge. There is no real preference… I love fixed bridges like on the Fireman, vintage style systems for subtle use like on the AT, and double-locking systems. The latter can be SUCH an expressive tool, and after going through the “whammy nuts”-phase and the “no bar!” phase, it has become just that.
This is the third Premium-model I use, together with the UV and the AT, and again, I am blown away by the quality, components and setup. One question that people sometimes ask at shows, clinics or lessons is whether I play those three guitars as a tribute to the players who designed them. Well, maybe, to a certain degree I do. However, I don’t! I play them simply because they’re wonderful instruments, and I see no problem in playing someone else’s signature guitar at all.
Of course Steve, Andy and Joe were influences on me, yet I feel just as comfortable playing standard RGs or other Ibanez-guitars, and use those live and in the studio. It doesn’t have much to do with the players whose names are on the headstocks. In fact, for a while, I played an Ibanez MTM (Mick Thompson signature), and even though I like some SLipknot-songs a lot, and think that Mick is a great player, he is not exactly an influence, and his music doesn’t have to do much at all with what I do. So… it’s about the guitars and how it plays, and what components it has. Even if I wasn’t familiar with the artist… if I like the guitar, I play it, and those three Premium-models give me SO much versatility… the fluid and versatile JS24P, the seven-string Universe, and the “vintage meets modern” classiness of the AT… the best of… a couple of worlds! =)