诺斯兰（Northlane）的乔什·史密斯（Josh Smith）设计了他低调的新杰克逊签名

的故事Jackson’scollaboration with Northlane’s乔什·史密斯- 就像许多好故事一样 - 始于脖子的折断。幸运的是，吉他的脖子，但仍然是一个令人震惊的事件：“我们在蒙特利尔弹奏，我从拖车上拿出吉他。”“外面是负15摄氏度，就像合适的暴风雪一样。然后，我将其带入了25至30度的场地，潮湿。脖子只是破裂了。”

• READ MORE:“每个故事都有三个方面。”戴夫·穆斯塔恩（Dave Mustaine

“The guitar had this fancy wenge-maple five-piece neck, and also 200 pickup voicings, three of which are the only ones that I ever used,” Josh tells us. “Then and there I was like alright, I need to get in touch with Jackson.”

为什么要杰克逊？“我不得不玩[玛雅的面纱这是给予的马克·奥古巴（Marc Okubo）然后，吉他，我认为它们很棒：只是我需要的一切。大约两三天后，我手中有一个杰克逊B7，我再也没有回头。”

现在，乔什（Josh）与杰克逊（Jackson）的密切关系的结果在这里：职业系列乔什·史密斯（Josh Smith Smith）SL7。乔什（Josh）告诉我们他想采取的核心方法是简单的，摆脱了200个拾音器的声音和过度结构的脖子。“这些并不是您永远不会使用的功能的吉他。它们的建造是为了做一件事情的确做得很好，而且他们碰巧做了很多其他事情。”

乔什（Josh）的签名在低调的海雀绿色饰面上呈现，并带有stratocaster床头柜 - 这里没有武器的尖头或无果黑的侵略性。乔什说：“几年前，我从杰克逊（Jackson）订购了一把定制的吉他，这是一个独奏家模特，上面有策略​​。”“该吉他部分是签名模型的基础。我和杰克逊团队喜欢它的外观 - 这种“经典/现代”的七弦：这是独一无二的，就像没有别的东西一样。”

“So, I started playing it live a lot. I actually preferred the body shape to the B7s that I’ve been playing – I found it a little more ergonomic. Then I had some 29.5-inch scale guitars made with that same Soloist body shape. I used three-by-four headstocks on those because of the length, to minimise the neck dive. In hindsight, I don’t really think it makes a difference at all,” Josh says, and laughs. “You’re talking about grams of wood. So if I get another 29.5-inch scale guitar, it’ll have aStrat床头库，因为我只是认为它看起来很恶心。”

当他对定制版本进行道路测试时，乔什已经获得了基本上被钉住的签名规格。“I was at a point where I was just experimenting with body shapes, really, because everything else that I’ve been using, I figured out a very long time ago, what works for me as a player, and what I want on a guitar that I take on the road.”

“我发现吉他越复杂，它的某些东西越可能破裂。当您在全球三到六个月的比赛中玩耍时，这些事情都会发生。”乔什回忆起蒙特利尔事件。

A simple guitar also makes for an easy mod platform. “I’m all about that,” Josh says. “If people buy my signature guitar, and they want to do their own thing to it. A really long time ago, when Northlane wasn’t making much money, I used to work as a guitar tech for other bands and local people in my area – and I was always modifying my own stuff. I think it’s the best way to get in tune with your instrument: to rip the guts out of it and put it back together howyousee fit. So I did that a lot, a long time ago, and found what worked for me and just stuck to it.”

签名的极简主义性质扩展到拾音器的性质。“它们是我的标志性裸指关节套装 - 桥梁的拾音器尤其是非常平坦的中性声音。它的底端非常紧，中距离非常平坦 - 没有强调的频率。如今，很多吉他都有拾音器真正推动了高中，尤其是对于现代金属声音而言。我认为您不需要做到这一点 - 如果您想要该声音，请等到您到达信号链的其余部分。”

考虑到这一点，拾音器的平坦响应使吉他可以通过在高增强头前的超速踏板的经典组合弹奏。“在最后两个记录中，放大器和踏板只是J Rockett射手进入我的Diezel. That was it. And live, we’ve just gone over to neural DSP. And most of it is just that exact same signal path as a patch, using a cab impulse from when I recorded it.

比例运动

With his own guitars, Josh tells us that the biggest thing that changes between this is the scale length, depending on what (brutally low) tuning they’re in. “For the 27-inch ones, I play from G♯ down to F. We sometimes go lower than F – like on our last two records, we had a lot of songs in D♯.” Yes, that D♯ – one semitone below a standard-tuned bass. “For that on the外星人记录我们使用了27英寸吉他来做到这一点，有时会带有音高变速杆。完成记录后，我想为这些特定歌曲尝试更长的时间，所以我去了29.5英寸。这些被谨慎使用 - 我想说的是，我的游戏的75％是在27英寸的七弦上进行的。而且它更加舒适：一旦您超过27岁，事情就会变得更加困难。实际上，我的左肩有问题，只是因为那29.5英寸吉他的巨大。”

“I feel like for most modern metal stuff that’s tuned low, 27 really is the sweet spot. It’s not too unfamiliar from 25.5. But I don’t think 26.5 is long enough for what I use it for – for me it’s a bit of a half measure. 27 is where baritone starts. If you’re tuning below about B, it’s probably the right thing for you. But like I said – everyone’s different. There’s artists that tune super low on 25.5-inch scale guitars, but for us, with this it gets us, this big, thick sledgehammer-type sound. And I also really like to hear perfect intonation, and big sustain.”

The intonation point in particular, Josh says, is the reason for the presence of theEvertune桥上的签名。如果您不熟悉，那么事情本身就是一项令人难以置信的技术：正确设置，他们可以将吉他保存几个月。“当我们在录制时遇到一些语调问题时，这不仅仅是较短的吉他。从字面上看，任何东西都没有任何东西。我不是always完全与Evertune一起上车 - 我很久以前就有一个，但是吉他有一个问题。我认为这座桥可能已经弯曲了，所以我离开了它们。

“但是当我们做第四张唱片时，Mesmer, I just remember having so much difficulty in the studio with intonation on that, that we decided we would just move to Evertune. Once we started playing Evertune guitars live and in the studio, we couldn’t go back. It just makes life a lot easier.”

View this post on Instagram

乔什·史密斯（Josh Smith）（@northlanejosh）分享的帖子

脖子穿过

As well as being passionate about the benefits of an Evertune, Josh has clearly considered every part of his signature’s construction holistically. “There are three things that really don’t get talked about a lot, and I think matter when it comes to sound,” he tells us. “One of them is neck construction and how it impacts sustain. When you’re tuning really low, and you have an Evertune, it’s very revealing for a guitar that doesn’t sustain well. In my experience, neck-throughs are a lot better for low tunings in terms of sustain. You also get things like better upper fret access, which is undeniable. It also just looks sick.

“The other thing – and a lot of people get upset about this and tell me I’m wrong – is that the neck construction matters in a lot of ways that most people don’t realise. For me, by far, the best construction for a neck is a one-piece quarter-sawn maple. That’s as good as it gets.

“当您将一块木头粘合在一起以从脖子上扎成脖子时，所有的木材都以不同的频率振动。这些频率会互相抵消。这可以创建吉他的某些音调方面。就像您的脖子上有很大的痛苦，其余的都是枫木，它听起来有点活泼，但通常不太维持。”

乔什然后谨慎地补充说：“第三件事是油漆的厚度……但是我不会介入，因为我在互联网上烤了，因为谈论它。”我们不会按他的要求避免重复……

It’s unsurprising, really, that Josh is so keen on one-piece necks, given the dramatic structural failure he experienced with a multi-laminate one. And the prototype’s already passed some severe temperature testing, albeit on the other end of the thermometer to a Canadian blizzard. “We use a lot of pyrotechnics when we tour in Australia – when you’re playing guitar in front of pyro, you know, I’ve seen other bands do it and you can literally hear their guitar detune while the pyro goes off. So the prototype was going through all that, and getting flown around Australia – and it didn’t move at all.” For one final word on the matter, Josh adds: “Oh, and the thing about one-piece necks twisting is really a crock of shit. If they’re made properly, it’s not an issue.”

Northlane的Obisdian现在出去了。