(heavy rock guitar music)
- We try not to put any limits or any rules on what we do.
Society will do that for you,
but The time you come out as a band
and depending on what type of music
or what song is popular, you know?
I mean Slipknot was doing funk
and jazz and things like that, combining it with tribal
and very heavy low tuned stuff.
All of us have very different influences.
Everybody from the band came from different places.
Music wise, some similar, some dissimilar,
but we all are very passionate about our instruments
and what we do.
We tried not to put any limits on what it is we do
and we're trying to evolve as a band and learn.
Everything's an evolution in life.
As you write music, you're trying not to be bored with it
and you're trying to move and evolve.
- The idea of guitar as a voice,
do you see yourself as somebody who
everything comes through there?
You sing through it. - 100%
I'm not a singer.
I can't write lyrics.
Everything I do has to come through the guitar.
That's my outlet for my voice.
That's the thing to mean that is more special
and it means a lot more when you can be defined by a style
or a way you play.
- [Interviewer] Let's get into the guitar.
This is your third model?
- [Man In Jean Shirt] Yes.
- [Interviewer] What's the difference between this
and the other two?
Why would you tell a kid, "try the Jazzmaster one."?
- Well, there's a few differences.
One, new pickups.
EMG's high output, there's a lot of guys in the band,
there's a lot of different instrumentalists
you gotta cut through and these are my new Demons pickups
that EMG and I came up with.
Totally new neck, binding on the neck,
the shape of the neck.
It's a little bit thinner,
It's got a 12° radius rather than a 9.5 radius.
More comfortable for people playing chords
and things like that.
My previous Jazzmaster had no fret markers at all,
so I wanted to deal with the big block style.
I think it's really classy looking.
It's a tip back to the classic rock era.
And then, another thing that they did
for me is there's luminol in here,
so, if you're playing on a dark stage,
those will light up and they'll glow really bright.
- Oh, So this is reflective?
- Yeah, and these dots on the top here actually glow
which was kind of rad because when the stage is pitch black,
it's like I got - you're screwed. (laughs)
to sit there and try to (mumbles),
but then, the stage went black, I had my first prototype,
all the lights went off and I saw these things glowing up
at me and I was like, - yes.
- "Yes, I can see where I'm at!" (laughs)
- [Interviewer] That's so cool.
(melodic guitar music)
do you remember the first time that you saw just
a one knob thing?
I remember seeing Eddie Van Halen's rig and being like,
"Whoa!"
- Yeah, I mean, I always liked to tear things apart
and see if I can put them back together
and I found that I'm much better at tearing them apart
than putting them back together,
but the one knob thing for me,
essentially, came from when we first started touring
and I first started using EMG pickups.
It's like, what do I need a tone knob for?
It's just, kind of, getting in the way, you know?
A three way switch, I do a lot of soloing on the neck pickup
and all the clean stuff I flip up to the neck pickup.
Main rhythm for the songs back on the bridge, of course.
- Right, so, you're flipping all the time?
- Quite a bit, yeah.
between those, but the tone knob is just something
I wanted less.
I still don't think I would ever use a tone,
I never use the tone knob when I'm sitting
at home playing bluesy type a stuff.
Less is more to me.
- [Interviewer] What's the deal with the hard tail bridge?
- Well, I don't use a tremolo that often in the band
and the traditional hard tail bridge on a Jazzmaster,
It's got that big metal plate with the tremolo built into it
and I don't really need that
because it's not like I'm doing (strums guitar)
that kind of Vibrato-y jazzy kind of stuff.
- Is this the Jim Root tuning or the uniformed slipped knot-
- This is just a slip knot tuning.
It's a C sharp tuning with the low string dropped to B
- But then it's...
- but we're down two steps lower.
- So it's... (plucks guitar strings)
- Yep.
So, it's like B, F sharp, B, E, G sharp, C sharp.
- Important for the kids at home.
(heavy rock guitar music)
- [Interviewer] It's kind of like an evolution.
Your evolution and your relationship with guitar shapes,
this is the latest one.
This is the thing that you love and you-
- Yeah, I just love that it's so well balanced
and it feels so good to play on stage.
It's, really, all I want to play right now. (laughs)
You know what I mean?
(high pitched guitar music)
To me, that's a lot of what all this is, it's attitude.
Taking it and making it your own.
- Yeah, yeah, totally.
You're going to fuck it up no matter what
so it's gotta sound like you.
- So much attitude can attain for a vibe
or a feeling or a notion,
that vibe, that thing that got me loving guitars.
- This guitar is really, really cool.
It's really, really cool.
Thanks for making it.
- I thank Fender for making it.(laughs)
(fast rock guitar music)