Ragnarök, according to Old Norse literature, represents the fate or twilight of the gods. I cannot let a name like that slide without throwing a little Wagner into the mix. Richard Wagner’s Götterdämmerung, or Twilight of the Gods, seems like an appropriate soundtrack for a pickup named Ragnarok.

There is a little more to that connection than the name, too. Wagner is known for his use of textures, harmonies, and orchestration to create enormous musical landscapes. Periphery takes a similarly layered approach to modern progressive metal, with multiple guitars contributing to an expansive and highly detailed sonic picture. Misha Mansoor sits at the center of much of that guitar-driven approach.

I have covered several models used by other members of Periphery, but the Ragnarok is my first experience with one of Misha’s signature pickup designs. That makes this review a little overdue.

Prog metal, djent, and metalcore are not normally in my wheelhouse. That probably explains why it takes me a while to get around to the Ragnarok. It also makes this pickup a good reminder that we should not always judge the book by its cover.

The Ragnarok certainly looks like it belongs in a particular musical neighborhood. The interesting part is how far it can travel outside that neighborhood.

BACKGROUND

Bare Knuckle Pickups positions the Ragnarok as a high-output ceramic humbucker designed around the demands of modern progressive and extreme metal. The current specifications advertise a 19 kΩ bridge pickup and a 15.8 kΩ neck pickup, with both using ceramic magnets. Those numbers tell part of the story, but they do not tell the whole story.

A high-output ceramic humbucker can easily become overly aggressive, excessively compressed, or difficult to use outside of high-gain applications. The Ragnarok takes a more balanced approach. Its tonal profile gives the player substantial low end, an assertive midrange, and enough high-frequency response to maintain clarity without making the pickup unnecessarily sharp.

That combination is what makes the Ragnarok more interesting than its reputation might suggest.

INSTALLATION

The Ragnarok set I have on hand is the six-string version with short legs, four-conductor lead wire, open bobbins, and the standard pole configuration.

Installation is in a dual-humbucker guitar with 500k pots, a Switchcraft 12120X three-way toggle, and a Pure Tone Full Contact 1/4-inch output jack.

The Ragnarok therefore gets a fairly conventional passive electronics setup. There is nothing unusual about the wiring or controls that artificially colors the evaluation. The pickups have the opportunity to show what they bring to the guitar.

EVALUATION

The Ragnarok makes a strong first impression. Both the neck and bridge pickups offer plenty of output, but what catches my attention first is not simply how much power they produce. The overall voice has considerably more range than I expect from a pickup associated so closely with prog metal and djent.

A big open chord produces a harmonically rich and expansive sound, with individual notes retaining plenty of presence while the overall chord maintains enough body to sound substantial. Add gain and the pickup moves naturally into more aggressive territory without losing that character.

Given the Ragnarok’s specifications and its association with modern progressive metal, it would be easy to assume that it is designed to spend its entire life at full throttle. That is not really the case. The pickup certainly has an aggressive character, but there is enough balance in the overall tonal response to make it useful in situations where maximum brutality is not the objective.

LOWS

The low end is powerful and big, but it leans more toward punch than sheer mass. That is an important distinction with a high-output pickup because there is a considerable difference between a bottom end that becomes boomy or flabby and one that becomes so dry and rigid that the guitar loses some of its natural character.

The Ragnarok sits comfortably between those extremes. The low strings have authority, particularly with high-gain rhythm playing, but they do not simply turn into a wall of indistinct bass. Palm-muted passages have plenty of punch, while open chords retain a useful amount of bloom.

Players looking for the extremely precise, almost gated bottom end associated with some modern metal pickups may find the Ragnarok a little more relaxed. I consider that a benefit because it gives the pickup more room to work in other styles. There is enough control for complex high-gain rhythm work without sacrificing the natural qualities that make a guitar sound like a guitar.

MIDS

The midrange is where the Ragnarok really gets interesting for me. I cut my teeth on a very mid-centric pickup, so the middle frequencies are an important part of how I evaluate a pickup. The resonant peak and the way a pickup handles the mids can have a tremendous effect on how well it works with a particular guitar and amplifier combination.

The Ragnarok delivers plenty of midrange character. It can bark, snarl, growl, roar and bite, but those qualities do not completely overwhelm the fundamental character of the guitar. There is enough complexity in the mids to keep the pickup useful across different gain levels and playing approaches.

With the amplifier dialed in appropriately, changing the amount of gain, adjusting the EQ or simply changing the way the strings are attacked produces noticeable changes in the pickup’s response. The strong midrange therefore becomes more useful than simply having a pronounced mid hump.

For rhythm playing, the mids give the guitar authority and definition. For leads, they help notes remain present and expressive without requiring excessive treble.

HIGHS

I’ll admit that the high end initially gives me some concern. Bare Knuckle describes the Ragnarok as having a smooth high-frequency response, and its tonal profile reflects a more controlled top end. With a pickup designed for high-gain applications, I wonder whether that approach leaves enough treble available for clarity and articulation.

Once I spend some time with it, that concern goes away. Higher-register leads and solos have plenty of clarity and edge in both positions, and the Ragnarok does not need an exaggerated treble peak to maintain definition.

The combination of the midrange and high end also makes harmonics easy to produce. Squeals and other artificial harmonics respond readily to the player’s technique, while the controlled top end keeps them from becoming excessively sharp.

For players who want high-frequency detail without allowing the pickup to dominate the overall tonal balance, that combination works particularly well.

VERSATILITY

This is where the Ragnarok exceeds my expectations. Its obvious applications include prog metal, djent, metalcore, tech metal, hardcore and extreme metal. The pickup has the output, aggression and clarity those styles demand, so there is no mystery about where it fits in that territory.

What interests me more is how naturally it moves into other territory. Prog rock makes sense. Thrash makes sense. Hard rock makes sense. Classic rock is not nearly as strange as the name Ragnarok might suggest.

I also find the set quite suitable for heavy blues and what I like to call spandex-clad riff rock. The combination of a substantial low end, strong mids and controlled highs gives the pickup enough personality to remain interesting as the gain comes down.

That makes the Ragnarok a particularly useful choice for players who move between different styles rather than spending an entire evening trying to make the amplifier sound like it is preparing for the apocalypse.

SPECS

16 K? Yep. There’s a lot of wire on that neck pickup. Sometimes it’s not the amount of the wire, but what you can do with it. And maybe sometimes, it’s both. The Ragnarok neck position definitely has power on tap. But it does so without putting it in your face. There’s a lot of transparency going on and a lot of sustain as well. If you’re looking for a powerful neck humbucker that doesn’t fall into the stereotypical traps of sounding dull or stuffy or honky, give the Ragnarok a tumble.

DEMO

Here’s a demo of Misha Mansoor playing a 7-string Ragnarok set:

Looking for something of the 6-string variety and in a different genre? Look no further:

Conclusion

The Ragnarok is a pickup set that earns its reputation for high-output performance, but its usefulness does not stop there. The ceramic magnets, substantial output, focused low end, aggressive midrange, and controlled high end give it the characteristics needed for modern progressive metal and other demanding high-gain applications.

For my money, the Ragnarok succeeds because it does not require the player to stay inside one particular musical lane. It provides the output and aggression expected from a Misha Mansoor signature pickup while retaining enough tonal balance to make it useful well beyond its obvious home territory.

Prog metal, prog rock, thrash, hardcore, extreme metal, tech metal, classic rock, hard rock, heavy blues, and spandex-clad riff rock all have a place on the Ragnarok’s resume. And that makes this one of those pickups that is considerably more interesting once you get past the name, the specifications, and the obvious association with djent.

For reference, this Bare Knuckle Pickups Ragnarok humbucker pickup set evaluation was conducted with a Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier.  Real cabs in use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s, Classic Series G12M Greenbacks, and Heritage Series G12-65s.

Bare Knuckle Pickups Website | Facebook | Twitter | YouTube | Instagram

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The post Bare Knuckle Ragnarok Set appeared first on Darth Phineas.

ENTER THE MORSE CODE

Steve Morse has never been particularly interested in keeping his guitar playing inside a neat little box. His work with the Dixie Dregs blends progressive rock, jazz, country, fusion, and rock, while his later work with Kansas, Deep Purple, Flying Colors, and his solo projects takes that musical vocabulary even further.

That kind of playing puts some unusual demands on a guitar. Morse moves from intricate passages and rapid picking to melodic leads and heavy rock phrasing, often covering a considerable portion of the fretboard in the process. His signature DiMarzio pickups are designed around those demands rather than simply following the usual formula of a hot bridge and a warm neck.

The DiMarzio Steve Morse Signature humbucker set are particularly interesting because each pickup has a very specific role. The neck model intends to provide a smoother, fuller response for higher register playing, while the bridge model delivers more attack and power for lower notes. They work together without trying to sound like two versions of the same pickup.

There are also some interesting numbers hiding in the specifications. They don’t necessarily tell the story you might expect, which makes these pickups worth examining from both the engineering and playing perspectives.

BEFORE THE SIGNATURE

Steve Morse’s reputation as a guitarist comes from more than technical ability. His playing combines precision with an unusually broad musical vocabulary, and the Dixie Dregs provide an early showcase for that approach. The band’s music moves freely between progressive rock, jazz, country, fusion, and instrumental rock, giving Morse plenty of room to develop the techniques and phrasing that become central to his career.

His work later expands into Kansas, Deep Purple, Flying Colors, and numerous solo projects. Across those settings, Morse continues to move between rhythm work, melodic passages, intricate instrumental sections, and technically demanding lead playing. A conventional pickup design doesn’t necessarily address all of those requirements equally well.

Morse’s relationship with DiMarzio begins before the Music Man signature guitar becomes available to the public. The Steve Morse Model Bridge arrives in 1983 and becomes DiMarzio’s first artist signature pickup. The pickup is developed around Morse’s requirements for a powerful bridge position, particularly when playing lower notes that need to remain prominent.

The Steve Morse Model Neck follows in 1985 as the Music Man signature guitar is in development. The instrument itself becomes available to players a few years later, but the pickup designs are already established around Morse’s preferred approach to the instrument.

That history helps explain why the two pickups are so different. Morse doesn’t use the neck and bridge positions simply as two places to get roughly the same sound. He uses them for different musical purposes, and DiMarzio builds each pickup accordingly.

The neck model provides a smoother and fuller response for higher register notes, particularly during leads and solos. The bridge model takes a more forceful approach, giving lower notes additional attack and power so they can jump out with authority.

GETTING WIRED

The Steve Morse set use a conventional full size humbucker format, so installation is straightforward for a guitar already equipped for standard humbuckers. The electrical differences between the two models make the final setup more important than the physical installation itself.

Pickup height deserves particular attention with this set because the bridge and neck models have substantially different output levels. Setting both pickups at the same physical height isn’t necessarily going to produce the best balance. The final adjustment should account for the output of each pickup as well as the way each responds to the strings.

The neck pickup needs to retain the smooth and full character intended for higher register playing. The bridge needs enough authority to deliver its additional attack without overpowering the rest of the guitar. Small changes in height can alter volume, attack, and the overall balance between the two positions.

As with any pickup installation, the best setup comes from making adjustments while the guitar is tuned to pitch and connected to the actual amplifier and effects used for playing. This is particularly important with a design around such different output characteristics.

DC RESISTANCE VS. OUTPUT

The Steve Morse models provide an excellent opportunity to clear up one of the more persistent misconceptions surrounding guitar pickups. DC resistance is useful information, but it isn’t a direct measurement of pickup output. Treating the resistance number as a simple hotness rating can produce some seriously misleading conclusions.

The reason starts with the pickup winding. Different wire gauges occupy different amounts of space on the bobbin, so the number of turns that can fit into that space changes with the wire. Thicker wire takes up more room with each turn, while thinner wire allows more turns to fit onto the same bobbin.

That means two pickups can have very different resistance measurements without producing similar levels of output. Magnet characteristics, inductance, winding configuration, and other design factors also affect how much signal a pickup produces and how it responds to the strings.

The Steve Morse Model Neck demonstrates this particularly well. Its 21.00 kΩ DC resistance is a number that many players would associate with an extremely hot humbucker. DiMarzio rates its output at 250 mV, however, and places it in the company’s Vintage / PAF Output category.

The bridge model provides the opposite example. Its resistance measures only 9.94 kΩ, yet its output reaches 450 mV. DiMarzio classifies that as High Power, with a listed output that exceeds both the Super Distortion at 425 mV and the Super 3 at 435 mV.

The important point isn’t that DC resistance doesn’t matter. It provides useful information about the winding and can be helpful when comparing pickups from the same manufacturer. It simply shouldn’t be treated as an output measurement. The Steve Morse models make that distinction particularly difficult to ignore.

TWO PICKUPS. TWO JOBS. PLENTY OF ATTITUDE.

Steve Morse Model Neck

The Steve Morse Model Neck makes a lot more sense once you consider where Morse uses it. The neck position needs to give higher register notes a smoother, fuller character for lead playing and solos. It doesn’t need to punch the amplifier in the throat to complete the assignment. Morse wants the neck position to provide a smoother, fuller feel when he moves into lead playing and solos. The pickup therefore doesn’t need to overwhelm the amplifier to do its job.

The response gives higher notes some additional body while maintaining the definition needed for detailed playing. That matters with Morse because his lead work can move quickly between individual notes, bends, and intricate passages. A neck pickup that becomes excessively soft or indistinct would work against that style.

The lower output also leaves more room for picking dynamics. The amplifier isn’t being driven as hard by the pickup, so the player’s attack has more influence over how the note develops. A lighter touch can keep things smooth, while digging in brings more edge and authority without simply turning everything into a louder version of the same note.

Steve Morse Model Bridge

The Steve Morse Model Bridge has a very different job. Morse wants more power and attack from the bridge position, particularly when he’s working the lower register. This pickup brings plenty of both without needing some ridiculous DC resistance number to prove its credentials. Morse wants the bridge position to provide more power and attack, particularly when playing lower notes. The pickup delivers that extra authority without relying on an unusually high DC resistance figure.

The stronger output gives the amplifier more signal to work with, which becomes increasingly useful once the amplifier starts getting dirty. Notes respond more immediately, and the additional attack helps lower register passages retain their definition when the playing gets dense.

That extra push also makes the bridge pickup particularly well suited to rock and heavier applications. It has enough output to drive a high gain amplifier aggressively, while the attack keeps individual notes from collapsing into one big bucket of fuzz and regret.

The bridge model therefore feels more forceful than the neck, but that isn’t the same thing as simply being louder. Its attack and response are part of what makes it appropriate for the lower register. Morse can move to the bridge position and get a distinctly different response from the guitar rather than simply getting another variation of the neck sound.

The Two Pickup Combination

The real trick to the Steve Morse set is how these two very different pickups work together. Their differences are intentional, and instead of creating an obvious mismatch, they give each position a distinct job. Their differences are intentional, and those differences make the guitar more versatile rather than creating an obvious mismatch.

The neck model is smoother and fuller, with the output characteristics suited to higher register lead work. The bridge model has substantially more power and attack, giving lower notes the additional push Morse wants from that position.

That approach also explains why the specifications look so strange when viewed together. The neck has more than twice the DC resistance of the bridge, yet the bridge produces considerably more output. Once the musical purpose of each pickup is understood, the numbers make much more sense.

That’s what makes the Steve Morse set more interesting than a conventional matched pair. Resistance, magnet characteristics, winding, inductance, output, and frequency response all contribute to the final result, but none of those characteristics exists in isolation. DiMarzio has to make all of them work with the way Morse actually plays, and that is ultimately what makes these two pickups such an effective combination.

WHEN THE NUMBERS GET WEIRD

Series – 9.94 K
Output – 450 mV
Magnet – Ceramic

Series – 21.00 K
Output – 250 mV
Magnet – Ceramic

CRANK IT AND FIND OUT

CONCLUSION

The DiMarzio Steve Morse signature set isn’t designed around the idea that a matched pickup set needs matching output. Instead, each pickup addresses a different requirement in Morse’s playing, with the neck providing a smoother and fuller response for higher register work and the bridge delivering additional power and attack for lower notes.

That approach makes the set more interesting than its signature status might suggest. The two pickups aren’t simply different flavors of a high output humbucker. They occupy different roles and give the player meaningful tonal and dynamic changes when moving between positions.

More importantly, the pickups demonstrate what happens when those design decisions begin with a guitarist’s technique rather than a specification sheet. Morse needs the neck and bridge to do different things, so DiMarzio gives him two distinctly voiced tools that work together because they are different.

That’s what makes the Steve Morse Model set worth a closer look. It isn’t simply a pair of pickups carrying the name of a legendary guitarist. It is a deliberately engineered system built around how that guitarist actually uses the instrument.

For reference, this DiMarzio Steve Morse signature pickup evaluation was conducted with the following: Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier. Physical cabs use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

DiMarzio Website | Facebook | Twitter | YouTube | Instagram

7 string 59 Airbucker Alnico 2 Alnico 3 Alnico 4 Alnico 5 Alnico 8 Bare Knuckle BKP Brown Sound Celestion Ceramic Charvel Custom Shop David Shepherd DiMarzio Dual Resonance Edge EVH Fishman Floyd Rose Gibson HSP90 Humbucker Ibanez JB Jimmy Page John Petrucci MJ Mojotone P90 PAF Pariah Pickup Satch Satriani Seymour Duncan Singlecoil Single Width Speaker Steve Vai Tech Tip Tremolo Virtual Vintage

The post DiMarzio Steve Morse Signature Set appeared first on Darth Phineas.

The late 1980s and early 1990s were a particularly interesting period for electric guitar design. The market was full of instruments aimed at players who wanted speed, sustain, tremolo abuse and enough output to make a Marshall stack reconsider its life choices. ESP was right in the middle of that movement, and the Horizon became one of the company’s signature high-performance designs.

In 2024, ESP brought the late-’80s version of the Horizon into the LTD ’87 Series with the Horizon Custom ’87. The model joined the company’s ’87 Series, which draws from some of ESP’s most recognizable instruments of that era. The formula is deliberately familiar: an archtop body, neck-thru construction, a three-piece maple neck, Macassar ebony fingerboard, 24 extra-jumbo frets, Floyd Rose tremolo and premier pickups.

There is a particularly good reason for me to take a close look at this guitar. I bought a Kramer Stagemaster Deluxe I new in 1989 and have more than 35 years of experience with this particular body style and general approach to this guitar design. The relationship between the ESP Horizon and Kramer Stagemaster is also part of the history of these instruments that deserves more attention than it usually receives.

The Horizon Custom ’87 is not simply another retro-styled shred guitar passing through the Darth Phineas review department. It is a modern LTD interpretation of a guitar design I have known since these instruments were actually new, which gives me a rather useful reference point for evaluating it.

ESP, Kramer and the Original Horizon

The history of the ESP Horizon and Kramer Stagemaster goes back to a period when ESP was becoming increasingly important as an OEM manufacturer as well as a guitar brand in its own right. ESP supplied Kramer with necks and bodies that Kramer incorporated into its instruments and assembled at the company’s New Jersey operation.

The Stagemaster was somewhat different from the typical arrangement. Among the instruments ESP produced for Kramer, the Stagemaster was one of the models that ESP shipped as a substantially completed instrument, ready for Kramer to sell. That distinction matters when looking at the similarities between the Stagemaster and Horizon. These guitars were not simply two companies independently arriving at a similar Super Strat design.

The Family Resemblance

Put an original late-’80s ESP Horizon next to a Kramer Stagemaster and the family resemblance is immediately apparent. The archtop body, proportions, contours and overall silhouette are remarkably close. These were not simply two companies arriving independently at similar ideas; the connection between ESP and Kramer helps explain why the two instruments share so much of the same design language.

The ESP Horizon itself developed a substantial reputation during the period. These were serious professional instruments at a time when ESP built guitars for players who demanded considerably more from their instruments than the average Stratocaster or Les Paul specification provided. Michael Wilton of Queensrÿche was one of the more visible Horizon users, especially during the Operation: Mindcrime era. The guitar received plenty of exposure in the hands of a player who knew exactly what he wanted from a high-performance instrument.

ESP also has the advantage of never really abandoning the Horizon. While Kramer eventually moved in other directions and the original Stagemaster became a vintage instrument, ESP continued producing Horizon models.

That continuity matters with the LTD Horizon Custom ’87. ESP did not have to recreate the model solely from old photographs and catalog pages. The company has continued to understand the Horizon as part of its own product history.

The 2024 Horizon Custom ’87 came in Black, Candy Apple Red and Pearl White. The Black and Candy Apple Red versions use black hardware, while the Pearl White version receives chrome hardware. For me, I am going with the Candy Apple Red version.

FIRST IMPRESSIONS — A Very Good Start

The circumstances surrounding this particular guitar are worth mentioning because they are part of the reason it ended up here in the first place.

By June 2026, the Horizon Custom ’87 is starting to phase out of production. One retailer reduced the price by $600, and at that point the decision became considerably easier. A guitar with this specification and history was already interesting; at $600 off, it was difficult to justify leaving it behind.

The guitar’s condition upon arrival made the purchase look even better.

One of the frustrations of buying guitars, including some fairly mid-level guitars, is that “factory setup” can mean anything from genuinely ready to play to “the strings are installed and the instrument technically produces sound.” Shipping, changes in temperature and humidity, and the realities of production can all mean that a new guitar needs some attention before it performs at its best.

This Horizon Custom ’87 did not need that attention. The setup was exceptionally good straight out of the box. The neck, frets, action and the Floyd Rose are all in the sort of condition that allowed me to pick up the guitar and start evaluating it rather than immediately reaching for tools.

In more than three decades of buying and playing guitars, there have probably been five or fewer instruments that arrived this ready to go from an online retailer. That is a surprisingly short list considering how many guitars have passed through my hands.

The Candy Apple Red finish also works extremely well with the design. Paired with the black hardware, it has the right visual connection to the late-’80s Horizon without becoming an exaggerated reproduction of a hair-metal prop. The body shape remains distinctive, while the relatively restrained presentation keeps the attention on the instrument itself.

BODY — The Horizon Carve

The body is where the LTD Horizon Custom ’87 separates itself from the many generic Super Strat designs that have appeared over the years.

ESP retained the archtop construction of the original Horizon rather than flattening the body into a more conventional modern shred guitar. The body is alder, and the neck-thru construction extends the three-piece maple neck through the body rather than attaching it as a conventional bolt-on.

The archtop gives the guitar a different visual character from the flat-top instruments that dominated much of the high-performance market. It is also one of the details that makes the Horizon recognizable even when the headstock is not visible.

The overall proportions are equally familiar to anyone who knows the original guitars. This becomes particularly apparent when comparing the LTD with an original Kramer Stagemaster. After living with a Stagemaster since 1989, I can recognize the basic design language without having to consult a tape measure.

The lower bout, horns, top carve and overall body proportions have the same general character as the original Horizon. The LTD does not look like someone took a contemporary Super Strat and added a decorative top in an attempt to make it resemble an older ESP.

The lack of excessive decoration is also appropriate. The original Horizon had a straightforward visual presentation, and the ’87 Series version follows that philosophy. There are no unnecessary graphics or elaborate appointments competing with the shape of the instrument.

The result is a guitar that looks distinctly late-’80s without looking dated. Plenty of guitars from that period should remain exactly where they are: in old music videos and someone’s attic. The Horizon is not one of them.

NECK/FRETS — Built for the Upper Register

The Horizon Custom ’87 uses a three-piece maple neck with neck-thru construction. The Macassar ebony fingerboard has a 25-1/2″ scale length. ESP gives the neck its Extra Thin U profile, and the fingerboard uses a 350mm radius with 24 extra-jumbo frets.

Anyone familiar with ESP’s high-performance necks will immediately understand the basic approach. The profile is thin and fast, but it does not feel insubstantial. There is enough material in the neck to give the instrument some substance while still allowing the fretting hand to move easily through the neck.

The 350mm radius is also well suited to the design. It is flat enough to accommodate aggressive bending and fast playing while remaining comfortable for conventional chord work. The 24 extra-jumbo frets provide plenty of room for bends and vibrato. The scale length keeps the instrument firmly in familiar Fender territory.

The Macassar ebony fingerboard is another detail that works particularly well here. ESP left the face of the fingerboard without conventional inlays and used side position markers instead. That approach is faithful to the late-’80s Horizon and gives the instrument a cleaner appearance.

It also suits the guitar’s intended personality. The fingerboard does not need a bunch of decoration to tell the player what this guitar is about.

The fretwork on the review instrument was excellent, which ties back into the unusually good setup. There were no obvious rough fret ends or other issues requiring immediate attention. The combination of the thin neck, large frets and smooth ebony board makes the guitar particularly comfortable for players who spend a lot of time working in the upper registers.

For a design that originated more than three decades ago, the playing experience remains remarkably relevant.

ELECTRONICS — High Output, No Nonsense

ESP selected a Duncan Custom for the bridge and a Hot Rails for the neck.

The electronics are controlled with a master volume, master tone and three-way toggle switch. The tone control is push-pull, allowing the pickups to be split for additional tonal options.

As with most coil-splitting arrangements, I would treat this as an expansion of the guitar’s vocabulary rather than a claim that the pickups suddenly become vintage single coils. The split sounds provide useful alternatives when less output or a somewhat leaner sound is appropriate. The fundamental personality of the guitar, however, remains that of a high-performance instrument. That is entirely appropriate.

One thing I appreciate about the Horizon Custom ’87 is that ESP did not turn the electronics into a control panel. There are no unnecessary switches or complicated wiring schemes to distract from the basic functionality of the guitar. The controls are straightforward, and the player can get from a rhythm sound to a lead sound without needing a diagram taped to the back of the guitar.

For a guitar based on a late-’80s design, that simplicity feels particularly appropriate.

HARDWARE — Lock, Load and Dive Bomb

The LTD Horizon Custom ’87 comes equipped with a Floyd Rose 1000 double-locking tremolo and locking nut, along with LTD tuners and black hardware on the Candy Apple Red model.

A Floyd Rose is not an optional accessory on a guitar like this. It is part of the design’s original purpose. The Horizon came out of the same period in which the Floyd Rose had become one of the defining pieces of equipment for high-performance guitarists. Replacing it with a conventional bridge would change an important part of the instrument’s identity.

The Floyd Rose 1000 is a sensible choice for the LTD version. It is not the German-made Original Floyd Rose, and players who want the highest-specification version of the hardware can certainly make that argument. At the same time, the 1000-series unit on this guitar has performed exactly as expected. And I have no complaint about its operation.

More importantly, the tremolo arrived properly set up. That matters because a poorly adjusted Floyd can turn a perfectly good guitar into an afternoon of profanity and Allen wrenches. Fortunately, none of that was necessary here.

The locking nut and tuners round out a hardware package that suits the instrument. ESP did not create the appearance of a high-performance guitar while cutting corners on the components that actually make it function.

SPECS

DEMO

AREAS OF OPPORTUNITY — The Little Things

There really isn’t much to put here, which is a good problem to have.

If I were specifying the guitar for myself, I would probably step up from the Floyd Rose 1000 to the Original Floyd Rose. I am willing to pay a little more for the top-tier version of the tremolo. But I also understand that the LTD line is designed to bring this level of instrument to a more accessible price point. The 1000 is a perfectly appropriate choice for the Horizon Custom ’87.

My bigger concern is that ESP now lists the Horizon Custom ’87 among the discontinued ’87 Series models. That is a shame because this guitar occupies a very useful place between the LTD line and the considerably more expensive ESP Horizon. It gives a beginner ready to step up, a budget-conscious player, or a working musician who would rather take a $1,500-ish guitar to the gig than worry about a $5,700 instrument getting introduced to a stage floor, a genuinely excellent option.

If there is an opportunity here, it is simply to keep making them.

FINAL THOUGHTS — A Horizon Worth Having

The LTD Horizon Custom ’87 is an exceptionally convincing interpretation of one of ESP’s most important designs. The archtop body, neck-thru construction, thin maple neck, ebony fingerboard, and Floyd Rose 1000 all work together as they should. And the excellent setup on my example only strengthened the impression.

Having owned a Kramer Stagemaster Deluxe I since 1989, I am comfortable saying that anyone looking for that particular combination of body shape, feel and attitude should have the Horizon Custom ’87 very high on the list. An original Stagemaster remains the obvious choice for someone who absolutely has to have the original. While the ESP Horizon is the step up for players who want the top of the line. The LTD sits nicely between those two options.

The June 2026 one retailer’s $600 price reduction made this particular guitar an especially easy decision. But I would have been happy with it at its regular price. If ESP has indeed finished production of the Horizon Custom ’87, I hope that decision gets reconsidered. This is not simply a nostalgic recreation of an ’80s guitar. It is a genuinely excellent high-performance instrument that happens to carry a very good piece of ESP history with it.

For reference, this ESP LTD Horizon Custom ’87 guitar evaluation was conducted with a Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller.  Real cabs in use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

ESP Guitars Website | Facebook | Twitter | YouTube | Instagram

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Bare Knuckle’s Boot Camp series gives players a more straightforward path into the company’s pickups. The True Grit humbucker set brings a healthy dose of late 70s through 90s rock attitude along for the ride.

With an Alnico V magnet and medium output, the True Grit isn’t chasing the vintage PAF crowd or trying to flatten the front end of an amp with nuclear output. The bridge has enough push for hard rock and old school metal. The neck keeps enough definition to handle lead work without getting all nasal and pinched.

That leaves plenty of room for blues, grunge, punk, progressive rock, and the other places where a guitar needs some muscle without becoming a completely different animal.

The Boot Camp lineup also makes the True Grit’s position pretty easy to understand. The Old School leans vintage, the Brute Force heads toward modern high output territory. The True Grit spends its time in the middle making trouble.

BACKGROUND

Bare Knuckle introduced the Boot Camp series in 2018 as a more accessible range built around the company’s core pickup designs. The idea is refreshingly simple: fewer choices, less customization, and a pickup that’s ready to get installed and played.

The True Grit uses Alnico V magnets and a medium output wind. Bare Knuckle describes the set as punchy and driven, with enough flexibility for everything from hot blues and hard rock to grunge, punk, stoner rock, old school metal, and progressive rock.

The company also builds the True Grit for six and seven string guitars, with standard and wide spacing options. Four conductor wiring comes standard, along with short leg baseplates and tri tab mounting feet. Nickel and gold covers are available, along with black and zebra bobbins.

There isn’t a laundry list of boutique options to navigate before ordering one. Pick the configuration, choose the cosmetics, and get on with making some noise.

INSTALLATION

For this evaluation, I’m using the same double cut that serves as my test platform for the Bare Knuckle Silo, Aftermath, and previous Boot Camp humbucker evaluations. It has a mahogany body, maple neck, maple 25-1/2″ inch fingerboard, and a genuine Floyd Rose double locking tremolo.

The electronics remain consistent with those previous evaluations. Bare Knuckle 550k pots with a 0.022μF capacitor for the bridge and a 0.015μF capacitor for the neck. The guitar is strung with 10-46 strings and tuned to E standard.

Keeping the guitar, electronics, strings, and tuning consistent gives the True Grit the same test environment I’ve used for the other pickups in this series. That makes the differences I hear more about the pickups themselves rather than changes to the rest of the signal chain. 

EVALUATION

Bridge

The True Grit bridge has a firm attack and plenty of authority behind the note, with a healthy dose of low midrange muscle that gives riffs some real weight. Palm muted passages have a satisfying thump without the low end getting loose or bloated. There’s enough upper midrange bite to keep the attack audible when the gain starts piling up.

Chords retain their individual voices rather than turning into one large block of distortion. There’s enough compression to make a dirty amplifier feel responsive, but not so much that picking dynamics disappear. Dig into the strings and the sound gets more aggressive. Ease up and the response follows along.

There’s a familiar hot rodded quality when the amp gets pushed. Classic rock crunch comes easily, while more gain brings out the thicker side of the pickup for hard rock and old school metal. The True Grit doesn’t have the hyper focused character of some modern high output designs. It leaves the notes with some air around them.

Single note lines have enough midrange density to stay prominent through a busy gain setting. Higher up the neck, sufficient treble keeps the sound from getting overly thick, while the low end continues to give the notes some substance.

Rolling back the guitar volume produces a useful change rather than simply making everything quieter. Some saturation falls away, the attack becomes more apparent, and the pickup moves toward a crunchier rock voice while retaining its basic character.

Neck

The True Grit neck pickup has a noticeably different balance from the bridge. More emphasis on smoothness and body without losing the articulation needed for lead work. The low end has enough substance to give the notes some authority. But it doesn’t turn into the soft, woolly quality that can make some neck humbuckers difficult to use with gain.

The midrange keeps the pickup present, while the upper frequencies provide enough definition for chords and single note lines. Moving into the higher registers doesn’t produce the exaggerated nasal quality found in some hotter neck designs, so sustained notes remain full without sounding pinched.

Clean playing brings out a rounder side of the pickup, with enough clarity to keep chords separated and enough warmth to make the neck position sound like a deliberate choice rather than the automatic setting for mellow rhythm parts.

Add gain and the neck becomes thicker and more vocal. Sustained notes have some weight behind them, while faster phrases retain enough articulation to keep individual notes from disappearing into the distortion.

The output balance between the two pickups also works well in practice. Moving from bridge to neck doesn’t produce the kind of dramatic volume change that makes you reach for the amp every time you change positions.

Clean Tones

The True Grit has more personality on a clean channel than its medium output designation might suggest. The bridge has enough weight to give chords some authority. Meanwhile the neck brings additional body without becoming dark or indistinct.

There is a smoother quality to the top end than you get from many lower output humbuckers. But the response still has plenty of definition. Pick lightly and the sound stays open. Dig into the strings and the attack becomes more pronounced, with the extra energy showing up in the note rather than simply increasing the volume.

That makes the set particularly responsive to the picking hand. Small changes in attack produce noticeable changes in character, which becomes useful when moving between cleaner rhythm parts and more expressive lead playing.

The four conductor wiring also leaves room for coil splitting or parallel operation. Neither option turns the True Grit into a single coil, nor should it, but both can reduce some of the thickness and provide a leaner sound when the guitar needs it.

I particularly like the parallel option when the switching scheme allows it. The basic character remains recognizable while the response opens up and loses some of the compression associated with the full humbucker configuration.

High Gain

With a high gain amplifier, the bridge pickup develops considerably more aggression while retaining the punch that gives the riffs their shape. Palm muted notes have enough low end to hit with authority. But the response stays controlled enough for faster rhythm work.

The low mids provide much of the weight, while the upper mids keep the guitar audible when there is a lot happening elsewhere in the mix. Pick attack remains apparent without pushing the treble into the unpleasant end of the spectrum.

There’s enough saturation for hard rock and traditional metal without forcing the pickup into the ultra high output camp. Chords remain reasonably separated, and individual notes retain enough character that heavily distorted playing doesn’t become an exercise in identifying which noise belongs to which string.

The pickup also responds well to backing off the guitar volume. The amp cleans up, the attack becomes more prominent. The sound moves toward a more traditional rock crunch while retaining some of the True Grit’s thicker character.

The neck pickup takes the gain in a different direction. It becomes thick and vocal, with enough low end for sustained lines and enough upper frequency information to keep the sound from turning indistinct. It works particularly well for singing lead tones where a little extra body is welcome.

What It’s Not

The True Grit isn’t a PAF clone. Even though it retains enough dynamics and touch response to make that comparison tempting.

It isn’t a modern high output metal pickup either. The bridge has plenty of output and compression when the amp is working hard. But it doesn’t try to squeeze every last drop of saturation from the signal.

The advertised Alnico V magnet doesn’t tell the whole story, either. That specification is useful as a reference point, but it doesn’t make every pickup using the same magnet sound alike.

The winding, coil geometry, magnet charge, materials, and overall voicing all contribute to what comes out of the speaker.

The True Grit has its own personality within the Bare Knuckle catalog. There are models that move further toward vintage territory and others that push much harder into modern high gain territory. While this one has enough attitude for the heavy stuff without giving up the cleaner and lower gain sounds that make a guitar more useful.

True Grit vs. the Boot Camp Family

The Boot Camp lineup makes the True Grit’s position pretty easy to understand. The Old School takes the more vintage flavored approach, while the Brute Force pushes harder toward modern high output territory.

The True Grit has enough output to get a hard rock amp moving. But it doesn’t require a wall of gain to sound substantial. That gives it room to cover hot blues and classic rock before moving into hard rock, grunge, punk, stoner rock, and old school metal as the gain increases.

Progressive rock also fits comfortably into the picture. Because the pickup retains enough articulation for more complex chord work and lead playing.

The difference isn’t simply a matter of output. The True Grit’s response leaves enough room for the amplifier, guitar volume, picking dynamics, and playing style to shape the final sound.

That’s what makes it such a useful middle ground in the Boot Camp lineup. It has some dirt under its fingernails without requiring the rest of the rig to live there permanently.

SPECS

DEMO

Bare Knuckle has an assortment of official offerings in the demo department.

Let’s start with this one from Dave Brons, who also includes some 7-string action. The True Grit humbucker is throughout this rundown, so be sure to catch it all.

Next we have a 2-minute example from Danny Beardsley. This one starts with some really cool clean tones that show off the versatility.

Then there is the demo from Rabea Massaad, This details all formats of the True Grit line. I have the demo starting at about the 2:11 mark, when the humbucker section begins. Be sure to watch the entire demo if you are interested in the single coils, Tele style, or P90s.

CONCLUSION

The True Grit has enough muscle for hard rock and old school metal, enough attitude for punk and grunge, and enough touch sensitivity to spend some time on the cleaner side of the amp without sounding out of its element.

The bridge brings the punch and aggression, while the neck delivers the body and articulation needed for everything from warm rhythm work to singing leads. There’s enough range here to cover a lot of ground without making the guitar sound like it’s trying to be five different pickups at once.

That puts the True Grit right where it belongs in the Boot Camp lineup. The Old School handles the vintage end, the Brute Force brings the modern artillery, and the True Grit sits between them with its boots firmly planted in rock and metal territory.

It’s a set with plenty of grit, but there’s still plenty of guitar left underneath it.

For reference, this Bare Knuckle Pickups Boot Camp True Grit humbucker set evaluation was conducted with the following: Fractal Axe-Fx II XL+ featuring Celestion Impulse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier. Physical cabs use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

Bare Knuckle Pickups Website | Facebook | Twitter | YouTube | Instagram

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Some pickups do not need an artist’s name attached to them to have a certain pedigree. The DiMarzio MegaDrive DP107 is one of these. Released in the 1980s, the MegaDrive becomes associated with players including Leslie West of Mountain, Tony MacAlpine and Scott Dalhover of Dangerous Toys. West’s massive hard rock sound is probably the most recognizable connection, but the pickup finds its way into several different styles.

DiMarzio now offers the MegaDrive through its Custom Shop, which makes it less common than many of the company’s regular production models. That alone makes finding one a little more interesting, particularly for players who know the model from its earlier years. It has been around since the 1980s. Apparently, it still has a few amps left to piss off.

The MegaDrive also predates several later DiMarzio designs that use a similar one blade / one screw arrangement. One coil uses conventional screw pole pieces while the other uses a blade. This gives the pickup an unusual physical design that becomes part of the company’s pickup lineage.

There is no shortage of hot ceramic humbuckers from the era, but the MegaDrive has more going on than a big number and a loud amp. The combination of its two different coils gives this old school high output pickup a few tricks that are still worth exploring.

DUAL RESONANCE

MegaDrive uses DiMarzio Dual Resonance design, which changes the way the coils interact with each other.

Dual Resonance is basically mis-matched coils. It’s common for several pickup companies to allow about a 5% variance. But Dual Resonance is an intentional mis-matching of the coils to produce a specific “tuning” of the pickup’s voice. According to the patent, it is pretty much about putting a similar number of turns on each coil. But with different wire gauges.

In the image below, you will see that the left bobbin has a skinnier wind than the right bobbin. Yet both bobbins have a similar number of turns. It is the wire gauge that is different. with the left having a smaller gauge and the right having a larger.

INSTALLATION

The MegaDrive goes into the same two humbucker super strat used for several other DiMarzio pickups. The guitar has a maple body, maple neck and maple fingerboard, along with a German double locking Floyd Rose tremolo. A Switchcraft three way toggle and CTS volume controls handle the electronics.

The guitar also has independent switching for series and parallel operation, giving the MegaDrive more than its standard humbucker configuration. That makes it possible to explore the pickup’s different wiring options without changing the basic installation.

The pickup initially goes in with the screw coil toward the bridge. After spending time with it in that orientation, the MegaDrive gets flipped so the blade coil sits toward the bridge.

The change is straightforward. There is no need to modify the wiring or alter the guitar. The pickup simply comes out, rotates 180 degrees and goes back into the same route.

That makes orientation particularly easy to experiment with during an evaluation. Both coils remain part of the same humbucker, but their physical relationship to the bridge changes.

EVALUATION

Overall Character

The MegaDrive has plenty of output, but it does not have the congested quality that sometimes comes with high output humbuckers. The low end is punchy and controlled, with enough weight to keep the notes substantial without allowing the bass to become loose under heavy gain.

The mids have a combination of snarl and growl without dominating the sound. There is enough upper frequency presence to keep the pickup articulate, while the overall voice retains some heft.

Pick attack comes through clearly, and changes in picking pressure produce noticeable changes in the response. The pickup also responds well to finger movement and makes pinch and tapped harmonics easy to coax out of the guitar.

Clean Tones

The MegaDrive’s output becomes immediately noticeable on a clean amp. A strong picking hand can push the front end toward breakup. The guitar’s volume control becomes useful for bringing the pickup back under control. Players who prefer a completely clean response may need to adjust the amp rather than simply plug in and forget about it.

Parallel wiring reduces some of the density and output, although the pickup can still push a clean amp harder than expected.

Splitting to the lower resistance screw coil provides another option, producing a brighter and more open sound when a cleaner, more chimey voice is needed. It does not turn the MegaDrive into a vintage single coil. But it gives the guitar another useful sound without adding another pickup.

High Gain

The MegaDrive’s output and voicing work particularly well with higher gain. The low end remains controlled, while the midrange keeps distorted notes from becoming indistinct. There is enough upper harmonic content to keep the sound lively without making the pickup feel thin.

The pickup has plenty of punch for hard rhythm work, but it does not flatten the attack when the gain comes up. Chords retain enough separation to hear what is being played, while single notes have enough weight to stay substantial.

The response also rewards aggressive picking. Dig into the strings and the MegaDrive responds immediately. Back off the attack and it cleans up enough to change the character without requiring a different pickup or amp setting.

Pinch harmonics and tapped harmonics come easily, and sustained notes develop enough harmonic content to keep them from sounding static. There is plenty of aggression here, but it does not come at the expense of the player’s hands showing through.

That’s where the MegaDrive gets particularly useful for high gain work. It can hit the front end hard without turning everything into the same wall of distortion.

Pickup Orientation

The ability to reverse the MegaDrive is more useful than it might initially appear. With the screw coil toward the bridge, the pickup has a balanced and aggressive voice. Flipping it so the blade coil sits toward the bridge produces a little more focus and articulation.

The difference does not turn the MegaDrive into two completely different pickups. The overall character remains recognizable in either orientation, but the emphasis changes enough to make the experiment worthwhile.

The blade toward the bridge provides a little more concentration. While the screw coil gives the pickup its own slightly different response. Neither orientation is inherently correct, so the choice comes down to the guitar and the player’s preference.

SPECS

Series – 16.49 K
Inducatance – 5.873 H
Split – 4.887 K
Split – 11.631 K
Parallel – 3.445 K
Magnet – Ceramic
Output – 350 mV

DEMO

CONCLUSION

The MegaDrive covers hard rock, high gain metal, progressive styles and thrash particularly well, while its response gives it enough flexibility for fusion, funk and other applications. It has plenty of horsepower when you need to hit an amp hard, but it does not lose its personality when you back things down.

There is no separate MegaDrive neck model. DiMarzio has recommended the PAF Pro as a suitable companion, which makes sense for a guitar where the bridge position is doing the heavy lifting. The PAF Pro brings a more traditional DiMarzio voice to the neck without trying to duplicate everything the MegaDrive is doing at the bridge.

It may not be one of DiMarzio’s most visible pickups today, but the design still works. There is plenty of output, harmonic response and aggression here, along with enough openness to keep the MegaDrive from turning into another compressed, one trick high gain pickup.

For reference, this DiMarzio MegaDrive DP107 bridge humbucker pickup evaluation was conducted with the following: Fractal Axe-Fx II XL+ featuring Celestion Impulse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier. Physical cabs use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

DiMarzio Website | Facebook | Twitter | YouTube | Instagram

7 string 59 Airbucker Alnico 2 Alnico 3 Alnico 4 Alnico 5 Alnico 8 Bare Knuckle BKP Brown Sound Celestion Ceramic Charvel Custom Shop David Shepherd DiMarzio Dual Resonance Edge EVH Fishman Floyd Rose Gibson HSP90 Humbucker Ibanez JB Jimmy Page John Petrucci MJ Mojotone P90 PAF Pariah Pickup Satch Satriani Seymour Duncan Singlecoil Single Width Speaker Steve Vai Tech Tip Tremolo Virtual Vintage

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Introduction

Some guitars quietly disappear from production and are eventually forgotten. Others leave enough of an impression that players spend years hoping they’ll return. The MV-1000 brings back one of ESP‘s most recognizable body designs while introducing a new generation of players to a guitar that has spent decades living just outside the spotlight.

The Maverick first appears during the late 1980s, when guitar manufacturers compete to build faster, lighter, and more technically capable instruments. Players want deeper cutaways, flatter fingerboards, locking tremolos, and necks that seem to disappear in the hand. It is also a period when ESP manufactures components for several major brands, including Kramer.

That relationship helps explain why the original Maverick shares so much of its DNA with the Kramer NightSwan. Both feature a 24.75 inch scale, Floyd Rose tremolo, maple neck, ebony fingerboard, and an uncompromising approach to upper fret access. Rather than copying the NightSwan outright, ESP develops its own interpretation, creating a body shape that remains unmistakably Maverick more than three decades later.

The Maverick Returns

The original ESP Maverick appears in vintage and custom runs from the late 1980s through the mid 1990s before quietly disappearing from the catalog. It becomes one of those guitars that longtime ESP enthusiasts remember fondly while newer players may never have encountered at all.

ESP officially revives the Maverick in 2026 through three different product lines. At the top sits the handcrafted ESP Original Series model at roughly $6,000, followed by the Japanese built E-II version at approximately $3,200. The MV-1000 joins the LTD Deluxe lineup as the most accessible Maverick ever produced.

The surprising part isn’t its price. It’s the fact that the LTD remains closer to the original Maverick than either of its Japanese counterparts.

Both the ESP Original Series and the E-II adopt the now familiar 25.5″ scale used by most modern superstrats. The MV-1000 keeps the original 24.75″ scale, preserving one of the defining characteristics that separated the Maverick from its contemporaries during the late 1980s.

That decision says quite a bit about what ESP wanted this guitar to be.

First Impressions

The Maverick doesn’t rely on elaborate finishes or exotic woods to stand apart from the crowd. Its body shape does that all by itself.

The elongated lower access immediately draws your attention, yet the overall design avoids the exaggerated points and sharp angles that define so many performance guitars from the shred era. Instead, the curves feel fluid and almost organic. Thirty years later, the Maverick still looks modern because it follows function more closely than fashion.

Pearl White proves to be an excellent choice for highlighting those lines. Without a figured maple veneer competing for attention, the body’s contours become the focal point. Black hardware provides enough contrast to frame the design, while the reverse matching headstock ties everything together without feeling overdone.

Many manufacturers chase visual impact through increasingly elaborate cosmetics. ESP simply lets the shape speak for itself.

Body

ESP builds the MV-1000 around an alder body and roasted maple bolt on neck, a combination that has earned its reputation through decades of real world use rather than marketing copy. Alder provides balanced mids, controlled bass response, and enough high end detail to remain articulate across a wide range of musical styles without overly coloring the guitar’s voice.

While neck through guitars often dominate conversations about premium performance instruments, a properly executed bolt on neck offers a lively attack while remaining easier to service throughout the instrument’s life. Considering the Maverick’s origins as a working musician’s guitar, the decision makes practical sense. Bolt on construction also fits the Maverick’s personality.

The generous body contours deserve just as much attention as the wood selection. The elongated lower access isn’t simply a styling exercise. It allows the neck joint to sit farther into the body, giving players unrestricted access to all 27 frets without dramatically increasing the instrument’s overall size.

Everything about the body feels intentional. Nothing feels decorative.

Scale Length

The most unusual specification on the MV-1000 isn’t something you immediately notice. It’s something you feel. Modern superstrats almost universally use Fender’s 25.5″ scale because it complements lower tunings, tighter string tension, and a brighter overall response. The Maverick has always done things differently.

By retaining the original 24.75″ scale, ESP gives the LTD a playing feel that immediately separates it from its Japanese siblings. Wide bends require less effort, vibrato feels more expressive, and legato passages flow naturally beneath the fingers without sacrificing tuning stability.

That shorter scale also reinforces the Maverick’s identity. Rather than becoming a less expensive version of the ESP Original Series or E-II, the MV-1000 stands as the most faithful interpretation of the original concept currently available.

Design Decision

Why Didn’t ESP Change the Scale?

One of the more interesting engineering decisions on the MV-1000 involves something ESP could have changed without anyone questioning it. The company didn’t.

When the Maverick returned as an ESP Original Series and E-II model, both adopted the industry standard 25.5″ scale. The LTD instead preserves the shorter scale found on the original Maverick. It’s an unusual decision because manufacturers typically standardize specifications as products move through different price points.

Here, the opposite happens. The most affordable Maverick carries forward one of the original model’s defining characteristics, giving the MV-1000 a personality that extends well beyond its price tag.

Electronics

ESP could have equipped the MV-1000 with any number of familiar pickup. Instead, they went in another direction.

An ESP-exclusive humbucker occupies the bridge position. While ESP doesn’t publish detailed specifications for this pickup, its voice sits comfortably between vintage restraint and modern aggression. There’s enough output to push today’s high-gain amplifiers without sacrificing note definition, allowing complex chords and fast alternate-picked passages to retain their clarity.

Pulling up on the master volume splits the bridge pickup, extending the guitar’s usefulness well beyond hard rock and metal. It isn’t intended to replace a traditional single coil, but it does add another layer of versatility without complicating the control layout.

The neck position may be the more interesting choice. Instead of reaching for one of a more traditional neck humbuckers, ESP installs a rail-type hum-canceling single-width pickup. That decision makes considerably more sense when viewed alongside the guitar’s 27-fret neck, where pickup placement becomes just as important as pickup selection.

Hardware

The overall hardware package avoids unnecessary gimmicks. Every component serves a practical purpose, reinforcing the idea that the MV-1000 is designed as a professional instrument first and a display piece second. The MV-1000 is clearly intended to be played rather than admired from across the room.

Its Floyd Rose 1000SE double locking tremolo offers exactly what players expect from a modern performance instrument. Dive bombs, pull-ups, flutter effects, and wide vibrato all remain on the menu while the locking nut helps preserve tuning stability through aggressive use.

Grover tuners complete the system. Although the locking nut handles most of the tuning security once the guitar is clamped down, quality machine heads still contribute to smooth tuning adjustments and dependable long-term operation.

Floyd Rose 1000SE

One specification deserves a closer look.

Unlike the standard Floyd Rose 1000 Series, the 1000SE replaces several of the traditional black oxide alloy steel screws with stainless steel hardware. The change immediately catches your eye against the otherwise black bridge, and stainless steel certainly offers improved corrosion resistance for players whose perspiration tends to be particularly acidic.

The tradeoff is less obvious.

Although stainless steel excels at resisting corrosion, it generally doesn’t match the tensile strength of the alloy steel fasteners traditionally used throughout Floyd Rose hardware. For most players, that difference will never matter. Anyone who regularly services their own tremolo, however, should simply be mindful not to over-tighten components during maintenance.

The bridge itself remains every bit as functional as the standard Floyd Rose 1000. The stainless hardware simply reflects a different balance between corrosion resistance and ultimate fastener strength. Whether that balance is worthwhile depends largely on the individual player.

Neck

Roasted maple has become increasingly common on premium guitars, but the process offers benefits that extend beyond appearance.

Heating the wood in a controlled environment removes moisture and volatile compounds while improving dimensional stability. The result is a neck that tends to react less dramatically to seasonal humidity changes, an advantage that touring musicians and players living in variable climates quickly learn to appreciate.

ESP shapes the neck into its familiar Extra Thin U profile, creating a comfortable balance between speed and substance. Some ultra-thin necks begin to feel almost fragile after extended playing sessions. This one maintains enough shoulder to remain comfortable without slowing your hands down.

The generous lower access and sculpted neck joint complement that profile perfectly. Reaching the highest frets feels surprisingly natural, which is exactly how it should be on a guitar designed around lead playing.

Frets

Twenty-seven frets still feel unusual, even in today’s performance guitar market. Most players rarely need notes beyond the 24th fret, but that’s only part of the story. The additional three frets extend the guitar’s range while subtly changing the instrument’s overall geometry. That, in turn, influences neck pickup placement, string vibration, and ultimately the guitar’s voice.

ESP specifies extra jumbo stainless steel frets throughout the fingerboard. Players who have never owned a stainless-equipped guitar often notice two things almost immediately. String bends feel exceptionally smooth, and fret wear becomes almost nonexistent under normal playing conditions. While traditional nickel silver frets eventually require dressing or replacement, stainless steel can remain virtually unchanged for years of regular use.

For players who spend their weekends performing rather than maintaining guitars, that’s a meaningful advantage. Like so many of the MV-1000’s specifications, the frets reflect long-term practicality rather than marketing appeal.

Specs

Demo

ESP Presents 2026, feat the MV-1000 at the 13:06 mark

Areas of Opportunity

The MV-1000 arrives with a thoughtfully assembled specification sheet, making it difficult to identify genuine shortcomings. Most of what I’d change falls into the category of refinement rather than correction.

The Floyd Rose 1000SE is a good example. Its stainless steel fasteners certainly resist corrosion better than the traditional black oxide alloy hardware found on the standard Floyd Rose 1000 Series. Players with particularly acidic perspiration may appreciate that choice over the long term. From an engineering standpoint, however, stainless steel generally gives up some tensile strength in exchange for corrosion resistance. The difference is unlikely to affect day-to-day playing, but anyone who performs their own maintenance should simply remember that stainless fasteners don’t tolerate over-tightening quite as well as their alloy steel counterparts.

Personally, I think ESP should specify the traditional black oxide hardware.

Not because the stainless screws perform poorly, but because I’d gladly trade a little corrosion resistance for the additional strength of the conventional hardware. Besides, if visual appeal was part of the motivation, I’d rather see the Maverick offered in additional finishes than rely on a few bright screw heads to catch the eye. This body shape deserves more than a single color option.

Locking strap buttons would also make a welcome addition. A guitar clearly intended for stage use shouldn’t require an immediate hardware upgrade before the first rehearsal. Luminlay side markers are another feature I’d happily accept, particularly for players working under less-than-ideal stage lighting.

None of these observations changes the overall character of the instrument. They’re simply the sort of refinements I’d suggest if ESP ever asks for a second-generation MV-1000.

Conclusion

Every generation produces a handful of guitars that refuse to fit neatly into established categories. The Maverick has always been one of them.

It borrows ideas from the superstrat movement without becoming just another Strat-style guitar. It embraces modern performance while holding onto a shorter scale length more commonly associated with Gibson designs. Even after three decades, the body shape still manages to look distinctive without feeling dated. The MV-1000 continues that tradition remarkably well.

Rather than treating the Maverick as a nostalgic reissue, ESP updates it with roasted maple, stainless steel frets, dependable hardware, and a carefully considered Seymour Duncan pickup combination. More importantly, the company resists the temptation to erase the guitar’s identity in pursuit of modern convention. That decision deserves recognition.

Players looking for another high-output superstrat have no shortage of excellent choices. Charvel, Jackson, Ibanez, Schecter, and ESP itself all offer compelling alternatives. The MV-1000 appeals to a different player.

It’s for someone who appreciates guitar history, values thoughtful engineering, and wants an instrument that stands apart without resorting to gimmicks. The Maverick has never been the obvious choice. That’s exactly what makes it interesting.

For reference, this ESP LTD MV-1000 guitar evaluation was conducted with a Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller.  Real cabs in use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

ESP Guitars Website | Facebook | Twitter | YouTube | Instagram

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When looking at VHII, the album, you immediately start thinking about a thick, saturated tone. You’re No Good, Beautiful Girls, and Dance the Night Away all bring to mind that late 70s Van Halen sound. A cranked Marshall, a little Phase 90, and a guitar that wants to misbehave. The Bare Knuckle VHII humbucker set understands that assignment.

The interesting thing is that the VHII pickup is not simply a recreation of one specific era. It takes inspiration from those classic tones while giving players much more room to explore. As Eddie Van Halen’s playing evolved through the 80s, his tone became more open and articulate because his technique demanded a voice that could keep up. The VHII follows that same philosophy by offering plenty of aggression while keeping the note separation and dynamics that allow more technical playing to shine.

The VHII falls into Bare Knuckle’s vintage hot category. But that description can be misleading if you are expecting a weak or overly polite pickup. There is plenty of output available to push an amplifier, but the design avoids the compressed and congested response that can happen with some higher output pickups.

Bare Knuckle uses an Alnico V magnet, plain enamel wire, asymmetrical coils, and scatter winding techniques in the VHII. Those design choices contribute to the pickup’s overall character by keeping the response open. It allows the player’s picking attack, guitar controls, and amplifier settings to remain part of the final tone.

That responsiveness is really what makes the VHII interesting. It can cover classic hard rock territory with ease, but it is equally comfortable handling blues rock, fusion, garage rock, and other styles where clarity and dynamics matter.

INSTALLATION: The Soundcheck

The VHII set arrived with the level of craftsmanship expected from Bare Knuckle. The bobbins are cleanly finished, the baseplates are neatly assembled, and the overall construction immediately gives the impression of a pickup designed for long term service.

Installation was straightforward. For this installation, the VHII set was installed in an all mahogany guitar. Maple neck, maple fretboard 22 frets with 25-1/2″ scale. The pickups dropped into place without requiring modification, and the wiring was simple thanks to the generous lead length.

The VHII testing includes clean tones, classic rock crunch, and higher gain settings using standard tuning with .009 to .042 gauge strings.

As with any pickup installation, final setup comes down to adjustment. Pickup height makes a noticeable difference with the VHII. Raising the pickup adds additional punch and midrange authority. Lowering it slightly opens up the response and allows more dynamic range. Spending time finding the right balance is worthwhile because this pickup has a wide range of usable settings.

The VHII is available in six, seven, and eight string versions with standard spacing, wide spacing, and multiscale options. Four conductor wiring comes standard, providing flexibility for coil splits, series switching, parallel wiring, and other custom configurations. Bare Knuckle also offers triangle mounting feet along with a variety of cover and bobbin options.

EVALUATION: Center Stage

The first thing that stands out about the VHII is how responsive it feels. The pickup reacts naturally to changes in picking attack and guitar volume, which makes it easy to move between different shades of tone without constantly adjusting the amplifier.

This is one of the reasons players who enjoy vintage style pickups tend to gravitate toward designs like the VHII. The pickup does not force one sound onto the guitar. Instead, it leaves room for the player and amplifier to contribute.

VHII Bridge: The Business End

The bridge pickup delivers an impressive clean tone that may surprise players expecting a dedicated hard rock machine.

Through a clean amplifier setting, the VHII bridge has a full and chimey character. The highs have enough presence to provide definition without becoming sharp, while the low end remains controlled and musical. Chords maintain excellent separation, and individual notes remain easy to hear instead of blending together.

The volume control is also an important part of the VHII’s personality. Rolling back the guitar volume produces useful clean and edge of breakup tones rather than simply reducing the amount of output. Players who actively work the guitar’s controls will appreciate how much range is available.

Once the amplifier moves into gain territory, the VHII settles comfortably into classic rock territory.

The pickup has enough output to push a Marshall style amplifier into familiar hard rock tones while maintaining the clarity that keeps riffs and chords defined. Palm muted passages stay tight, lead lines have plenty of harmonic content, and sustained notes retain their character without becoming overly compressed.

The “vintage hot” label should not be mistaken for a lack of power. The VHII has enough drive for aggressive rock tones, but it achieves that through an open and dynamic response rather than simply adding more output.

The tradeoff is that the pickup remains very honest about what is happening at the guitar. Clean muting, consistent picking, and controlled dynamics are rewarded because the pickup passes those details along to the amplifier. For players who like a pickup that responds to their technique, that relationship is a big part of the appeal.

VHII Neck: The Secret Weapon

The VHII neck model may be the most impressive part of the set. Neck pickups can be difficult to balance. Traditional designs can become muddy when pushed with gain, while higher output models sometimes lose the warmth and character that make a neck pickup enjoyable. The VHII manages to maintain both qualities.

The low end has enough body to sound full without becoming boomy, which makes it especially useful in darker sounding guitars. Single note lines have thickness and sustain, while chords maintain enough separation that individual notes remain recognizable.

Clean tones are where the neck pickup really shows its versatility. Series wiring delivers a warm, musical voice, while parallel wiring opens the sound up and adds clarity without making the pickup feel thin.

With gain, the VHII neck works extremely well for lead playing. Notes have enough weight to sing, but there is enough articulation to keep faster passages defined. It handles expressive bends, sustained melodies, and more technical playing without losing the character that makes a great neck pickup enjoyable.

Many neck pickups tend to lean heavily toward either vintage warmth or modern clarity. The VHII finds a comfortable balance between the two, which is why it works so well across different playing styles.

Demo

Specs

Tone Chart

CONCLUSION: Final Encore

The Bare Knuckle VHII set arrives with a name that immediately creates expectations. Fortunately, it delivers those classic Van Halen inspired tones while offering much more versatility than the name alone suggests.

Players chasing late 70s and early 80s hard rock tones will find plenty to like here. The combination of an Alnico V magnet, open response, and excellent dynamics makes it easy to cover everything from classic rock rhythm work to more expressive lead playing.

At the same time, the VHII is not locked into one era. It works well for players who need a pickup that can move between clean passages, vintage crunch, and higher gain tones without losing definition.

The VHII is a great choice for guitarists who want their pickup to become part of their playing rather than something that simply overwhelms the instrument. It gives the guitar room to breathe, lets the amplifier contribute its personality, and rewards players who enjoy being involved in the process of creating their tone.

The name may point toward one legendary album, but the VHII earns its place as a versatile Bare Knuckle humbucker set that belongs in many more musical situations than its inspiration might suggest.

For reference, this Bare Knuckle VHII humbucker set evaluation was conducted with a Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller.  Real cabs in use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

Bare Knuckle Pickups Website | Facebook | Twitter | YouTube | Instagram

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A lot of single space humbuckers end up chasing one extreme or the other. They’re either trying to sound like an old Strat pickup, or they’re trying to melt the front end of your amp. The Air Norton S aims for the middle ground. It is designed to retain clarity while offering enough muscle to push an amp without becoming overly compressed. DiMarzio also builds the pickup with enough flexibility to work in either the neck or bridge position, depending on the needs of the guitar.

Dual Resonance Technology

The Satchur8 uses DiMarzio Dual Resonance design, which changes the way the coils interact with each other.

Dual Resonance is basically mis-matched coils. It’s common for several pickup companies to allow about a 5% variance. But Dual Resonance is an intentional mis-matching of the coils to produce a specific “tuning” of the pickup’s voice. According to the patent, it is pretty much about putting a similar number of turns on each coil. But with different wire gauges.

In the image below, you will see that the left bobbin has a skinnier wind than the right bobbin. Yet both bobbins have a similar number of turns. It is the wire gauge that is different. With the left coil using the smaller gauge and the right using the larger.

Installation

Physically, the Air Norton S installs like any standard Strat sized pickup. There are no surprises during the installation process. The rail design provides consistent string coverage regardless of string bends or vibrato use. Players using a Floyd Rose or other floating tremolo will appreciate that wide bends never outrun the magnetic field.

Output balances easily with other modern pickups. Pickup height adjustments make a noticeable difference. This allows the overall response to be tailored from slightly softer and more open to tighter with additional attack. As with most DiMarzio pickups, small adjustments are worthwhile before settling on a final height.

The compact footprint also makes the Air Norton S an attractive choice for anyone looking to expand the tonal range of an existing Strat style guitar without routing the body for a full size humbucker.

Evaluation

Neck Position

The neck position quickly reveals why the Air Norton family has earned such a loyal following over the years. The Air Norton S avoids the overly thick or muddy character that can plague higher output neck pickups. Instead, notes remain well defined while carrying enough warmth to make lead playing feel effortless.

Clean tones have a smooth, rounded voice with plenty of harmonic content. Chords maintain separation, allowing extended voicings to remain intelligible instead of collapsing into a wash of low frequencies. The pickup responds well to changes in picking dynamics. This makes it comfortable for everything from mellow rhythm work to expressive lead passages.

Introducing gain adds sustain without sacrificing articulation. Single note lines develop a vocal quality that encourages phrasing rather than speed for its own sake. Legato passages remain fluid, while alternate picked runs stay focused. Even under higher gain settings, individual notes continue to occupy their own space.

One of the more pleasant surprises is how well-rounded the overall EQ feels. Bass response is full without becoming loose. The midrange carries enough authority to cut through a mix. And the upper frequencies remain smooth instead of becoming sharp or brittle. It is easy to understand why so many players choose this pickup specifically for neck duty.

Bridge Position

Moving the Air Norton S to the bridge creates an entirely different personality. Rather than becoming harsh or overly aggressive, it maintains much of the pickup’s controlled nature while shifting the emphasis toward stronger attack and tighter low end.

Rhythm playing benefits from excellent note definition. Power chords retain their shape, and complex chord voicings avoid becoming congested under distortion. Palm muted passages have enough punch to satisfy modern rock players without drifting into excessively compressed territory.

Lead tones remain smooth, although they naturally carry more bite than the neck position. Harmonics emerge easily, and the pickup tracks fast playing without feeling sterile. There is enough output to comfortably drive high gain amplifiers while still cleaning up well with the guitar’s volume control.

Players expecting the bridge position to behave like an ultra hot ceramic pickup may find the Air Norton S surprisingly restrained. Instead of overwhelming the front end of an amplifier, it focuses on balance and control. That approach rewards players looking for versatility instead of maximum output.

Perhaps the biggest takeaway is how convincing the pickup feels in both positions. Rather than sounding like a compromise because of its single coil footprint, the Air Norton S develops its own identity. It delivers the fullness expected from a humbucker while fitting naturally into a Strat style platform.

Specs

DCR – 11.434 K
Inductance – 6.848 H
Split – 6.26 K
Split – 5.189 K
Parallel – 2.835 K
Output – 280 mV
Magnet – Ceramic

Demo

At this time, there are no official demos or samples for the Air Norton S. While there are plenty of amateur-level examples to be found, we are still waiting on an official example of how DiMarzio would like this to be represented.

When an official sample is published, it will be updated here.

Conclusion

The Air Norton S earns its reputation the old fashioned way. It doesn’t rely on massive output or an exaggerated EQ curve to get your attention. Instead, it delivers consistently musical tones that simply make you want to keep playing.

In the neck position, it produces the warm, vocal character that has made the Air Norton family a favorite among lead players. Chords remain clear, single note lines sustain naturally, and the pickup never drifts into muddy territory. Move it to the bridge, and it takes on a more aggressive personality with enough punch for hard rock and modern gain while avoiding the harsh top end that often comes with higher output designs.

What stands out most is that the Air Norton S never feels like a compromise because it fits into a Strat sized route. It has its own identity, offering genuine humbucker character while preserving the balance and responsiveness that make it enjoyable across a wide range of styles.

There are plenty of rail humbuckers that try to prove something the moment you plug them in. The Air Norton S takes a different approach. It simply sounds good, responds well to your hands, and quietly reminds you why DiMarzio has kept it in the lineup for so many years.

For reference, this Air Norton S DP180 humbucker pickup evaluation was conducted with the following: Fractal Axe-Fx II XL+ featuring Celestion Impulse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier. Physical cabs use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks..

DiMarzio Website | Facebook | Twitter | YouTube | Instagram

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Few signature guitars have stood the test of time like the Ibanez JS series.

Since its introduction in the early 1990s, Joe Satriani’s signature model has never relied on gimmicks or extravagant cosmetics to earn its reputation. Instead, the JS platform evolves through careful refinement. Every contour serves a purpose. Every specification reflects decades of real world experience from one of rock’s most respected instrumentalists. That philosophy continues with the Ibanez JS240PS.

Introduced as part of the Premium Series, the JS240PS brings many of the defining characteristics of Satriani’s higher end signature models to a more approachable price point. Built in Indonesia, it pairs the familiar basswood body with a maple and bubinga neck, a rosewood fingerboard, the legendary Edge double locking tremolo, DiMarzio pickups, and perhaps its biggest attraction, a factory installed Sustainiac system.

On paper, it reads like everything a modern JS should be. The obvious question is whether the experience lives up to the specification sheet. Can a Premium Series instrument deliver the refined feel that has defined the Japanese built JS models for decades? Or do cost cutting measures reveal themselves once the honeymoon ends?

After spending some time with the JS240PS, I came away with an answer that surprised me more than once.

Two Guitars. One Story.

Transparency is important when evaluating any instrument, and the JS240PS reviewed here actually involved two different guitars.

The first example arrived with several issues that prevented it from receiving a fair evaluation. The most significant was unusually high action at the nut. Further inspection revealed that the locking nut was not sitting flush against the nut shelf, which appeared to be caused by the mounting hardware preventing proper seating.

Additional inspection uncovered a bent spring retainer beneath the tremolo block, mismatched screws, and an area inside the tremolo cavity that appeared to have been relieved by hand for additional clearance. None of these issues affected basic operation, but together they suggested this particular instrument had slipped through quality control.

Rather than judge the entire JS240PS platform based on an obvious outlier, the guitar was returned to the retailer.

The replacement arrived in excellent condition and provided a much clearer representation of the model. Fit and finish were impressive, hardware was properly installed, and the guitar required only minor setup adjustments before evaluation.

The remainder of this review is based entirely on that second instrument.

First Contact

The Ibanez JS240PS does not rely on extravagant appointments to make an impression. Finished in Candy Apple with chrome hardware, it has a refined appearance that fits naturally within the Joe Satriani signature family. The design is unmistakable, but it avoids unnecessary decoration and keeps the focus on the shape of the instrument. That shape carries decades of history.

The JS platform traces its roots back to the Ibanez Radius Series, a model Joe Satriani adopted before working with Ibanez to refine it into something uniquely his own. Rather than reinventing the design, the changes focused on subtle improvements that made an already comfortable guitar even more ergonomic. The smoother contours and refined transitions helped create the identity that has defined the JS series ever since.

Those refinements are immediately noticeable when the guitar is strapped on. The rounded body edges, forearm contour, and rear carve allow the instrument to sit comfortably against the player without the sharper contact points found on many traditional superstrats. Despite the 24 fret neck and double locking tremolo, the JS240PS feels compact and balanced in both seated and standing positions.

The basswood body continues the approach that has worked well throughout the JS series. It provides a comfortable weight while maintaining enough resonance and response for both clean and high gain playing. Combined with the excellent finish work, clean hardware alignment, and careful assembly of the replacement instrument, the JS240PS presents itself as a well considered performance guitar designed around playability first.

That focus remains one of the defining characteristics of the JS family.

The Foundation

The JS240PS follows a formula that has served the JS family well for decades, but its success depends on execution rather than specification. On paper, basswood, a bolt on maple and bubinga neck, and a rosewood fingerboard aren’t particularly exotic. Together, however, they create an instrument that feels remarkably cohesive.

Basswood has been unfairly dismissed over the years as nothing more than an inexpensive tonewood, yet guitars like this continue to challenge that perception. The body resonates freely, with an even response that avoids emphasizing one frequency range over another. Chords retain excellent clarity, while single notes bloom naturally without becoming overly compressed or brittle.

The sculpted body contributes just as much to the playing experience as the wood itself. The forearm bevel naturally supports the picking arm, while the rear contour keeps the body comfortably against the player. Even after extended sessions, the guitar remains remarkably comfortable, with very few pressure points reminding you that you’ve been wearing it for hours.

Access to the upper register is equally impressive. The generous lower horn cutaway and sculpted neck heel allow all twenty four frets to remain comfortably within reach. Whether navigating melodic passages or stretching into the highest register for sustained leads, the guitar never feels like it’s working against the player.

Like many premium instruments, the JS240PS eventually fades into the background. Instead of constantly reminding you that you’re holding a guitar, it allows your attention to shift entirely toward making music. That’s one of the highest compliments an instrument can receive.

Built For Velocity

Joe Satriani is not known for relying on exaggerated neck dimensions to achieve speed. His signature neck reflects that philosophy.

The JS240PS features the familiar JS three piece maple and bubinga neck with a comfortable oval profile that immediately feels inviting. Rather than chasing extremes, it settles into a middle ground that accommodates a wide range of playing styles. Fast alternate picking, wide interval stretches, legato passages, and chord work all feel equally at home.

The satin finish deserves special recognition. Your fretting hand glides effortlessly along the neck without the sticky sensation often associated with heavy gloss finishes. Whether practicing at home or playing beneath hot stage lighting, movement remains smooth and predictable.

The 250 mm (9.8″) fingerboard radius also deserves mention because it takes a different approach than many modern superstrats. Rather than adopting an ultra flat profile, Ibanez stays remarkably close to the traditional 10 inch radius found on countless Stratocasters, Telecasters, and even many Gibson models. The result feels instantly familiar. Chords remain comfortable in the lower register, while bends higher up the neck still have plenty of room to sing without feeling cramped. It’s a specification that strikes an excellent balance between old school comfort and modern performance.

Neck stability inspires equal confidence. The three piece maple and bubinga neck already provides an exceptionally rigid foundation, but Ibanez goes a step further by incorporating KTS titanium reinforcement rods beneath the fingerboard. The added rigidity helps resist seasonal movement while maintaining a lively, responsive feel. During the evaluation, the neck remained consistently stable, requiring no unexpected adjustments. While every wooden instrument will respond to changes in temperature and humidity, this construction gives every indication of being built for years of dependable service.

Precision Under Pressure

Excellent fretwork often goes unnoticed, and that’s exactly how it should be. The replacement JS240PS arrived with cleanly dressed fret ends, smooth crowns, and consistent leveling across the fingerboard. There were no high frets to chase, no rough edges to distract from aggressive bends, and no unexpected dead spots anywhere on the neck.

Medium frets continue to be an excellent match for the overall personality of the guitar. They provide enough height for expressive bending and vibrato without making the playing experience feel disconnected from the fingerboard. Intonation remains predictable, while wide bends maintain excellent control.

The Prestige line still enjoys a reputation for some of the finest fretwork in the industry, and understandably so. Even so, the Premium Series makes a compelling case for itself here. Unless both guitars are sitting side by side, many players would be hard pressed to identify meaningful differences in day to day playing. That says as much about the quality of the Premium Series as it does about the evolution of modern manufacturing.

The Flight Controls

For many players, the Edge tremolo alone is reason enough to consider the JS240PS. Decades after its introduction, it remains one of the finest double locking tremolo systems ever installed on a production guitar. Smooth operation, impressive tuning stability, and a natural feel under the hand continue to set it apart from many competing designs.

Flutter techniques come effortlessly. Wide pull ups remain stable, while deep dive bombs return to pitch with reassuring consistency. Even subtle vibrato feels remarkably fluid, making the bridge just as expressive during slower melodic passages as it is during more aggressive playing.

The Edge also benefits from thoughtful ergonomics. The low profile baseplate stays comfortably out of the picking hand’s way, while the arm tension allows the tremolo to remain exactly where it’s placed instead of constantly falling toward the floor.

One feature unique to the JS240PS is the Ultralite tremolo arm. While not stock on this model, I did purchase it separately to better understand what Satch is going for. Compared to a traditional steel arm, the composite construction reduces weight without sacrificing rigidity. Whether players ultimately prefer it will come down to personal taste, but after spending time with it, the lighter feel quickly becomes natural and never gives the impression of being fragile.

Hardware throughout the remainder of the guitar maintains that same attention to detail. The Gotoh machine heads operate smoothly, strap buttons feel secure, and every control moves with reassuring precision. Nothing feels inexpensive and nothing interrupts the playing experience.

The Engine Room

The electronics package is where the JS240PS separates itself from many other signature models. Joe Satriani’s relationship with DiMarzio has always been built around refining specific tools for his playing style, and this guitar follows that same approach with a combination designed for both traditional tones and extended sustain effects.

At the bridge position, the JS240PS features the DiMarzio Satchur8 humbucker. Rather than relying strictly on output, it emphasizes clarity, articulation, and dynamic response. Since I recently published a dedicated review of the Satchur8, I won’t revisit every detail here. Instead, it’s enough to say that it complements the overall character of the JS240PS extremely well, providing everything from articulate rhythm work to smooth, singing lead tones.

The Sustainiac

While the bridge pickup handles traditional duties, the neck position takes an entirely different approach.

Instead of a conventional humbucker, Ibanez equips the JS240PS with a Sustainiac driver paired with the specially customized “Stealth PRO” preamp. This system provides the near endless sustain that has become closely associated with Joe’s signature sound while offering additional harmonic modes through the three way selector.

The Sustainiac system is one of those features that can appear somewhat specialized on paper, but its usefulness becomes much clearer once the guitar is in hand. With the system disengaged, the JS240PS behaves like a familiar dual humbucker style instrument, with the bridge pickup handling traditional lead and rhythm duties. Engaging the Sustainiac opens up an entirely different set of possibilities, allowing notes to continue blooming long after the initial attack.

The three position mode selector adds another layer of control. Natural sustain mode delivers the expected endless sustain effect, while the harmonic modes introduce textures that move beyond what a standard pickup configuration can provide. Players who enjoy atmospheric leads, controlled feedback, or long evolving phrases will quickly discover why this system has remained part of Joe’s toolkit for so many years.

What makes the implementation successful is that the Sustainiac does not make the JS240PS feel like a one trick instrument. It expands the guitar’s vocabulary without limiting its usefulness when the effect is not active. That balance is important because the best signature instruments don’t force players into the artist’s style. They provide the tools and allow players to develop their own voice.

Numbers Behind the Music

Switching System / Controls

From The Hands Of Satch

Here is an early introduction of the guitar when it was the JS240P, prior to the Sustainiac and Satchur8 additions:

Where It Could Be Better

The JS240PS succeeds because Ibanez resists the temptation to overcomplicate the formula. The guitar delivers the essential elements that define Joe Satriani’s signature models keeping the instrument within reach of players who may not be ready to step into the Made In Japan price range. That balance does come with some considerations that are worth understanding before making a purchase.

The most obvious differences between the JS240PS and its higher end Japanese counterparts come down to refinement rather than design. Players who have spent time with the Japanese instruments may notice subtle differences in areas such as final fret finishing, cosmetic detailing, and the last degree of hand refinement that comes from a flagship production line.

Those differences are an expectation at this price point, but they do not diminish what the JS240PS accomplishes. This guitar does not feel like a compromised version of a Made In Japan model. Instead, it feels like a thoughtfully positioned instrument that captures the core JS experience while making practical concessions to reach a wider audience.

Personally, I still find myself gravitating toward the all passive configuration of the JS2450. The Sustainiac simply falls outside the way I normally use a guitar. That said, after spending considerable time with the JS240PS, I came away appreciating the system far more than I expected. The bigger surprise, however, is the value proposition. Considering the significant price difference between the JS240PS and its Japanese counterparts, I never found myself feeling shortchanged. Unless the Prestige refinements or an all passive configuration are absolute requirements, the JS240PS makes a remarkably convincing case for itself.

The Final Chord

The Ibanez JS240PS proves that a signature guitar doesn’t have to appeal only to collectors or devoted Joe Satriani fans. Like every JS before it, this guitar is built around balance. It favors comfort over flash, expression over excess, and versatility over specialization. Those qualities are what have kept the JS platform relevant for more than three decades, and they remain just as evident here.

The JS240PS carries that philosophy forward with an impressive combination of familiar JS ergonomics, reliable hardware, versatile electronics, and the added creative possibilities of the Sustainiac system. While the Premium Series construction reflects its price point, the core experience remains unmistakably JS.

For guitarists looking for a comfortable, expressive, and highly versatile instrument, the JS240PS represents one of the strongest entries in the Ibanez Premium Series. It delivers the character that has made the JS family a favorite for decades while opening that experience to a wider range of players.

For reference, this Ibanez JS240PS guitar evaluation was conducted with a Fractal Axe-Fx II XL+ featuring Celestion Impluse Responses and Fractal MFC-101 MIDI Foot Controller.  Real cabs in use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

Ibanez Website | Facebook | Twitter | YouTube | Instagram

Look for my other IBANEZ content HERE

7 string 59 Airbucker Alnico 2 Alnico 3 Alnico 4 Alnico 5 Alnico 8 Bare Knuckle BKP Brown Sound Celestion Ceramic Charvel Custom Shop David Shepherd DiMarzio Dual Resonance Edge EVH Fishman Floyd Rose Gibson HSP90 Humbucker Ibanez JB Jimmy Page John Petrucci MJ Mojotone P90 PAF Pariah Pickup Satch Satriani Seymour Duncan Singlecoil Single Width Speaker Steve Vai Tech Tip Tremolo Virtual Vintage

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The Stockholm HSP90 is the first Bare Knuckle HSP90 that ever lands in one of my guitars. It also makes quite an entrance.

The neck position is occupied by the Stockholm, while a Bare Knuckle Warpig humbucker handles bridge duties. A P90 that comfortably keeps pace with one of Bare Knuckle’s highest output humbuckers is enough to raise an eyebrow. It is also a strong indication that this is no ordinary P90.

Bare Knuckle offers one of the broadest HSP90 lineups available today. While every model drops into a standard humbucker route, each one targets a different player and tonal goal. Some embrace classic vintage character. Others lean toward modern aggression. The Stockholm firmly plants its flag in the modern camp.

If your guitar accepts humbuckers but you’ve been curious about the unmistakable punch and responsiveness of a P90, the HSP90 format bridges that gap without requiring any woodworking. The concept has become increasingly popular because it delivers much of what players like about a traditional P90 while fitting a standard humbucker cavity.

The Stockholm, however, has no interest in simply recreating vintage tones. It arrives with a very different mission.

Design and Construction

The Stockholm is Bare Knuckle’s answer for players who want the immediacy and articulation of a P90 without giving up the authority expected from modern high gain pickups. It carries a hotter wind than the company’s vintage inspired HSP90 offerings while maintaining the open character that makes a quality P90 so addictive to play.

That balance is what immediately separates the Stockholm from many high output pickups. Increased output often comes with increased compression. The Stockholm still feels remarkably alive under the fingers, allowing pick attack and playing dynamics to remain an important part of the equation.

Installation

These six string HSP90s find a home in a mahogany body with dual humbucker routing. Electronics consist of Bourns 500K potentiometers, a Switchcraft 3-way toggle switch, and a Pure Tone 1/4″ output jack. Installation is straightforward thanks to the familiar vintage braided lead wire.

The guitar remains in standard E tuning with a set of .010 to .046 strings throughout the evaluation.

Evaluation

First Impressions

I’ve said before that the Stockholm HSP90 straps you into the chair and force feeds you a healthy helping of heavy hitting tone. After spending more time with it over the years, I don’t think I’d change a word.

This isn’t your grandfather’s P90, and it isn’t trying to be. Bare Knuckle already builds pickups that capture that vintage flavor. The Stockholm goes in a completely different direction. It takes that unmistakable P90 attack and openness, then cranks the attitude until it can comfortably hang with some seriously high output humbuckers.

As pointed out, the first time I heard one, it was sitting in the neck position opposite a Warpig in the bridge. Think about that for a second. A P90 that doesn’t feel outgunned by a Warpig. That pairing tells you almost everything you need to know about where the Stockholm lives on the output scale.

Low End Authority

One thing that really sticks with me about the Stockholm is how much authority it has in the low end. There’s plenty of punch available, but it doesn’t come across as oversized or flabby. Palm muted riffs hit hard, yet individual notes still have enough definition to keep everything from turning into a wall of mush.

The low frequencies also do a nice job of filling out the entire sound without stepping all over everything else. That’s harder to pull off than it sounds. Some high output pickups get bigger by becoming darker. The Stockholm gets bigger by sounding more confident.

Before long it feels like the pickup is consuming all the oxygen in the room. Be ready for some sore ribs after a few rounds with this thing. HaHa!

Midrange Grind

If the lows bring the punch, the mids bring the personality.

This is where the Stockholm earns its keep. There’s a healthy dose of growl, grind, and roar that gives rhythm work a lot of focus without making the pickup sound boxy or congested. Chords have some real authority behind them, while single note runs cut through with plenty of confidence.

What I like most is how the mids tie everything together. They reinforce the low end, add some extra grunt to the highs, and keep the overall voice feeling balanced. Nothing sounds exaggerated or disconnected. It all works together as one cohesive package.

Top End Presence

The top end is exactly what I want from a pickup like this. There’s enough edge and bite to make lead work stand out, but it never crosses over into harshness or gets fatiguing after a long playing session.

Harmonics come easily, and the added presence helps every note stay articulate, especially once the gain starts climbing. That’s one of the nice surprises with the Stockholm. For as much output as it’s packing, it never feels like the highs have been sacrificed just to make the pickup louder.

Everything remains open, responsive, and easy to control with your picking hand, which ends up making the pickup feel every bit as dynamic as it is powerful.

Clarity Under Gain

Few topics come up more frequently when discussing Bare Knuckle pickups than clarity. The Stockholm demonstrates exactly why the company has earned that reputation.

Despite its muscular output, notes remain remarkably articulate under substantial amounts of gain. Complex chords retain their definition, fast passages avoid turning into a blur, and individual notes continue speaking clearly even when the amplifier is working overtime.

That level of tonal transparency gives the Stockholm an openness that many high output pickups simply cannot match. It responds to the player’s touch instead of masking it, making the pickup feel every bit as dynamic as it is powerful.

Demo

Lay your peepers on this demo from Belgian guitarist Ulrich Schadeck. If you like his stuff, be sure to go check out his YT channel.

Different housing, same attitude. This is the standard P90 Stockholm, but you’ll hear pretty quickly why the HSP90 version doesn’t stray far from this.

Specs

Tone Graph

Conclusion

Within Bare Knuckle’s HSP90 lineup, the Stockholm sits firmly on the higher output end of the spectrum. Players looking for vintage flavored P90 character have several excellent choices elsewhere in the range. The Stockholm heads confidently in the opposite direction.

It captures the unmistakable attitude of a P90 while delivering enough authority to comfortably stand beside some of today’s most formidable humbuckers. Hard rock, grunge, alternative, progressive rock, and modern metal all feel right at home here.

Available in both six and seven string versions, the Stockholm also offers an impressive range of cosmetic customization, including numerous cover finishes and pole screw options to complement virtually any instrument.

If your idea of a P90 includes aggressive output, outstanding articulation, and enough punch to keep up with the heaviest rigs on stage, the Bare Knuckle Stockholm deserves a very close look.

For reference, this Bare Knuckle Pickups Stockholm HSP90 pickup set evaluation was conducted with the following: Fractal Axe-Fx II XL+ featuring Celestion Impulse Responses and Fractal MFC-101 MIDI Foot Controller. ADA MP-1 Tube Pre-Amp loaded with Tube Amp Doctor ECC83 Premium Selected tubes, using the ADA MC-1 MIDI Controller. Fryette LX II Stereo Tube Power Amplifier. Physical cabs use are Marshall 1960B, Mojotone British, and Peavey 6505 cabs loaded with Celestion Classic Series Vintage 30s and Classic Series G12M Greenbacks.

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