Jackson Soloists 1984-1988
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Most small pictures are thumbnails, so click on them to enlarge
To begin, the Soloist existed before 1984, but it was labeled as a 'Custom Strat' model. Because the numbers of these guitars made was rather low, I am going to begin with the first factory named 'Soloist' models, the first being serial #J0158 completed August 28, 1984. Four other Soloists were completed that day. The Candy Apple Red Student below was one of them.
1984 Specs
Stock finishes were Black, Ivory, Ferrari Red, and Pink with platinum. Special colors and special graphics were available at an additional cost. Anything was possible here as these were truly custom guitars.
3 piece neck
Shield plate
Binding Nibs
Changes 1985
Click the picture above for the story of this guitar
By the very end of 1984 the company began changing some of the specs of these guitars. The neck received some modifications first.
The three piece laminate of maple was changed to a one piece, still with no scarf joint for the headstock. I am unsure exactly when they began the change, but I own an early January 1985 completed Soloist with a one piece neck and a early February Soloist with a 3 piece neck, so it is safe to assume they began changing by December 1984 at the latest with residual 3 piece necks being used up by early 1985. The factory often uses a separate piece of maple on the treble side of the headstock. This does not appear to be a standard feature, but appears often.
Black fiber headstock overlays replaced black painted headstock faces in the Spring of 1985.
Occasionally guitars have been seen with decals that lack the "Made in U.S.A." portion, but retain the period "TM" next to the "N" in Jackson. It is possible that the USA portion was too close to the headstock edge and destroyed in the the finish process. Another style of decal worth mentioning are versions of the "Made in USA" placed after the N along with the TM. These appear to have had the "Made in U.S.A." portion trimmed off and hand positioned after the N.
This logo was placed too close to the edge and part of the "Made in USA" was damaged
By late 1984 Jackson had begun manufacturing their own brand of pickups in-house and stopped using the Seymour Duncan brand as a standard. The Jackson pickups of this era have no 'Jackson' logo on the tops and are identifiable by the black screws and magnets in the humbuckers. Stock models were J50 humbuckers (J50B for bridge and J50N for neck positions) and J100 single coils.
Hardware changed slightly through the year. The knobs were changed to a different style by mid 1985. The shape and set screw location changed too. The "PAF" Kahler soon was stamped with a patent number. This change took longer on gold and chrome plated units as they were used less often than black, so old stock took longer to use up. The original jackplates were thin black anodized aluminum part was replaced with a stamped steel plated parts which was much more durable and continues to be found on Jacksons made to this day. This change occurred late in the J0001-J1000 range. Some of the end of year changes are truss rod covers switching to an early notched style that allowed for easy removal to adjust the truss rod. Before this change San Dimas covers were installed and the lock nut was mounted right on top of it. This was a hassle when it came to adjusting your guitar making the later design a major improvement.
In regards to the Floyd Rose pivot studs, it appears that Jackson began using the hex key style with a body bushing during the spring of 1985, but continued to use the stock Floyd Rose style wood screw type standard. The hex style becomes more and more common through 1985 until 1986 when it becomes the standard.
1986 San Dimas Swansong
Bushing tremolo post
Although the Jackson plant moved to Ontario by fall 1986, many people consider this year the last of the "San Dimas Soloists". Many changes occurred to the Soloist over the 1986-early 1987 timeframe. Many happened by fall 1986. It is hard to say exactly what changes happened first, but many started around the same time. Here is a list of changes that occurred:
Binding 'Nibs' next to the frets are replaced with fret ends that lay over the binding.
Decal is changed to silk-screened style (decals are still found on occasion). "TM" is replaced with "R" in a circle. First style decal is still found through the entire year, but on fewer guitars later in the year.
SG36 tuners feature "Jackson" silkscreen
Kahler 'Traditional' tremolo is offered in the catalog.
Late year Soloists can feature covered humbuckers with larger pickup rings.
Truss rod covers become tailored to fit the new locknuts unlike old style where the locknut sat on top of the truss rod cover.
Black fiber headstock overlays return, but not exclusively. Painted heads are still very common.
No Nibs
1987-1988 Ontario era
The move to Ontario was marked with further changes to the Soloist over the course of 1987. Though many changes occurred in this year, not all changes took hold on a strictly standard basis. Old style specs can easily be found through the year. The main changes that were made that define this era are:
Enlarged controls cavity route
Single coil pickup routes modified to no longer accept traditional Strat style pickups
3 mini switch systems replaced with 5 way switch as a standard
Gotoh SG36 tuners replaced with SG381 models with "Jackson" silk-screened on the rear.
Jackson brand JT6 tremolo units become standard equipment. These have a Kahler style behind the nut locknut rather than a Floyd Rose style true locknut.
Brass shielding plates are often replaced with shielding paint or copper shielding tape.
Scarf joints are brought in creating a seam in the back of the neck between the nut and second fret.
Standard inline horizontal knob placement on TITE and H/S/S configurations changes to a diagonal configuration.
3 mini on/off switches on TITE and H/S/S configurations is dropped as a standard and replaced with a 5 way blade switch. The older switches are still available on request.
During this year early versions of the Pearl Logo can be found. The early versions simply say "Jackson" and do not feature the "R" or "Made in USA" silk screening.
Black fiber overlays become more predominant and all pearl logo heads use them.
Archtops- I should mention the archtop model Soloists. From the few that I have seen, most appear to be string through the body construction. Some early models have Floyd Rose tremolos and by 1988 the JT6 was used. The two most common finishes are transparent amber and cherry sunburst. Both appear to be lacquer, not poly. The fretboards are Brazilian Rosewood with real mother of pearl inlays. In 1987 a pearl logo was made available and is found on some models. Indian rosewood fretboards followed shortly after. Active and non-active electronics were used. These guitars have an interesting neck construction where there is not only a scarf joint at the headstock, but at the body joint as well. The joint at the body could have been done for strength or because mahogany in that length could be hard to acquire.
Pickup and Controls Configurations
Seymour Duncan equipped Soloists tend to use 59 or JB humbuckers and flat poled vintage Strat style single coils with cloth covered wire. The 80's Seymour Duncan's found in stock Soloists have "Seymour Duncan Pickups" embossed on the bottom plate (perhaps pre-production guitars may have blank metal plates on the bottom). By the early 90's the stamp changed to read "Seymour Duncan Made in America". From what I have seen Jackson used imported pots from the start on the Soloists (1983 and some 1984 Rhoads models have Dimarzio). Switches were CRL for 5 way blade, Switchcraft for the large 3 way Gibson style, and a couple of various different brands of mini switches. Output jacks are Switchcraft. The switch tips used in this era on the Gibson style 3 ways is a conical shaped anodized aluminum Jackson/Charvel unique design which resembles some late 60's Mopar dash switches.
3 way switch tip
1960's Mopar switch Coincidence?
Pickup Rings
By very late 1984 Jackson had began manufacturing their own brand of pickups in-house. The initial models were the J100 single coil and J50 humbucking pickups. From the top these pickups were identifiable by their black pole pieces and adjustable screws. Underneath they had a foil "Jackson Made in USA" sticker applied to the bottom before potting. One early set of factory pickups I have encountered were made either as custom pickups, or before the foil decals were delivered. The pickups were labeled "Neck" and "Distortion" in a handwriting often seen in the factory logs (and eerily like my own handwriting). These tapes were applied before potting and were protected with wax. By late 1986 Jackson expanded the pickup line to include high output and low impedance pickups both in their guitars and available as replacement. You can view the entire electronics manual with Jackson pickup specs as well as wiring schematics here.
On an interesting note, John Page stated February 24, 2005 ""We had our own winders, Tanaka's, we bought them from Jackson Guitars. In fact when I bought them, Abby (Yabarra) was working for them (she got caught up in the CBS layoffs of '85). I was fortunate enough to be able to hire her into the CS at that time. " Fender's famous Masterwinder of pickups was winding pickups for Jackson in the mid-late 80's! On the very same machines used in the Fender Custom Shop today!
Early Jackson pickups
Tuning Keys
Standard SG36
SG36 1986
SG381
Decals
Original decal
Original logo on left hand guitar
Occasional late '85-'86
Late '86
No USA mention San Dimas era
Early Pearl Logo
Truss Rod Covers
Looking at these pictures you can see how the truss rod cover changed in mid 1985. Earlier units were slightly narrower and the material was thicker.
Neck Laminations
Click pic above to view the different styles used
Control Cavities
San Dimas Style
Ontario Style
Work Order Numbers
All guitars from the above timeframe feature a work order number, but sometimes are concealed with paint. This number is often found in the tremolo route on Kahlers and in the tremolo springs route on Floyds. This work order number corresponds to a slip that lists the specs of the order. On earlier guitars this number is simply penciled in sometimes with other important initials. As an example a 5 way switch option had the initials VT5W, likely meaning Volume, Tone, 5 Way. Another Soloist factory equipped with two EMG humbuckers has "VMTP" written under the work order number, which almost fits the controls of the guitar, which is a Volume, Mid-boost and Tone. I am not sure what the "P" means. On some bolt ons you will see "OBD", which means "Oiled, Black head, Decal".
Around late 1987 the factory began stamping Soloists with a work order stamp in the tremolo spring cavity. This stamp looks like a form and lists some basic specs such as finish color and due date. This stamp only was used for a couple of years.
Penciled #s
Stamped form
Bridges
Kahler 2300 series Cam
Jackson offered a few different bridges over this timeframe. The vast majority were equipped with Kahler cam tremolos. Two different cam tremolo models were used. There was the 2300 series professional models which featured steel cams and steel rollers. Often these had a cool set screw that allowed you to keep the cam from moving up. The most commonly used Kahler cam tremolo was the 2320 Standard. This looks almost identical to the Professional model but has a brass cam and brass rollers. Other variations in these bridges is in the metal used in the mounting plates on gold models. Earliest units feature a solid brass plate with a clear finish. By mid '85 the plate is steel, chrome plated and finished with a gold transparent finish. There were three different arms, the standard, the finger control arm (aka "Bear Claw tip") and a heavy Floyd Rose style bar. Heavy bar equipped bridges usually have heavier springs to give more of a Floyd Rose feel. Earliest examples of these have "Patent Applied For" behind the fine tuners. After late 84 a patent number is used. There is an overlap on when each was used. P.A.F.'s can be found in black until late 84, very early 85. P.A.F. versions in Chrome and gold can be found into mid-1985.
Three different Kahler tremolo arms
Floyd Rose tremolos while not the majority still made up large number. It appears that Jackson may have had standardized routing for vintage style Strat tremolo bridge as many factory Floyd Rose models of the era have a hand modified route around the arm socket assembly to accommodate the slightly larger Floyd. Note: Floyd Rose equipped San Dimas era guitars should be closely inspected to be sure the guitar is a factory Floyd Rose equipped guitar. A tell tale sign the bridge was converted is by looking at the rear of the guitar. Factory Floyd Rose equipped Soloists ALWAYS have a recess for the tremolo spring cover plate. If the recess is not there, suspect it is a converted from Kahler guitar. Also look for signs of a patch on the face (these guitars are refinished to hide patches). Also, the locknut should not be the Kahler style and have a factory shelf the nut sits on. On Custom models this shelf will be covered in binding that extends up from the fretboard. On Student models it will have fretboard material extending up to create the shelf.
Click on pics above to see Floyd Rose and Kahler locknut profiles.
For a brief time in 1985-1986 Jackson also offered Kahler 'traditional' fulcrum tremolo units. This tremolo unit required a Stratocaster sized tremolo route rather than a larger Floyd Rose route. It used a standard Kahler behind the nut locknut as well.
Kahler Traditional Fulcrum Model
Original Floyd Rose system
By 1988 the factory had imported tremolo units made with the Jackson name on them called the "JT-6". It had a push in arm and the fine tuners and locking screws were combined into a concentric system with the lock screw was in the center and the fine tuner was the outer screw. These units feature a Kahler style locknut with slotted screw locking screws. An interesting observation I have made is that while some early JT6 equipped guitars can easily be interchanged with Floyd Rose tremolos, this can't always be pulled off. On two 1988 Soloists I have tried to retrofit with genuine Floyds I encountered slight problems with the stud spacing making the tremolo mount and string up, but not rock smooth as it should.
JT6
Floyd Rose mounting posts were the wood screw style until 1985 when a body bushing/machine screw style was slowly phased in. The machine screw style was used with the JT6 tremolos as well.
The rarest bridge through this whole timeframe has to be the string through fixed bridge. These guitars had a Rhoads style tune-o-matic and rear ferrules, and only differed in that rather than have a black anodized aluminum V on the face, it was a rectangular shaped. Maybe just as rare is the vintage Fender style tremolo units. Examples do exist, but are exceptional examples rather than a rare option.
They Didn't Do That!
1984 and 1992 Soloists Proving anything was possible
One of the fascinating aspects of Jackson/Charvel guitars of the 1980's is the fact they were all made to order. If there was a part you wanted on your Jackson, it was yours for the asking (and for a price). Tuning keys, bridges, pickups, controls configurations, locknut style, straplocks, etc...were all subject to vary upon customer request. As examples, J0794 left the factory with Grover tuners, J0604 (Kelly) has factory ash body wings and J0425 (flying V) has alder wings versus the standard poplar. Students can be found with binding and/or ebony fretboards. Customs can be found with rosewood boards. Odd pickup configurations exist, like one hum in the bridge and one single in the middle position. If you could dream it up, Jackson made it possible. The only thing I question is if they ever made a bad guitar!
Side Dot Evolution
One item I have noticed a small change in between 1984 and 1985 on bound neck guitars is in the side dots. 24 fret models made before J0200 tend to have a side dot marker for fret positions 3, 5, 7, 9, 12, 15, 17, 19, 21, and 24. Around J0200 this changes to 1, 3, 5, 7, 9, 12, 15, 17, 19, 21. In the mid-J0300's it changes again to 1, 3, 5, 7, 9, 12, 15, 17, 19, 21, and 24.
Finishes
The sky was really the limit when it came to finishes. Above I outlined the stock finishes. One could custom order just about any shade of finish and there were endless amounts of graphics done over the years. In the early era the graphic model Soloists were a very small number compared to standard finishes. By 1987 graphics become more common but also more diverse. You can see some nice examples of their work here at the Jackson Museum.
GMW guitars in Glendora California offer refinishing work. The talented Dan Lawrence does airbrushing for most of the guitar manufacturers out there, including Jackson. It can be difficult spotting a GMW refin from a factory finish as they often both come from the same source. There are clues to look for to see if your guitar is original or restored. Up until recent years, GMW used to offer replacement of the headstock logo. These would be silk screened logos rather than San Dimas era style waterslide logos. You can spot the difference by looking for a ghost outline around the logo. In recent years GMW has been preserving the old logos, so this is not a good clue for recent work.
Another tip is on neck through guitars look for additional holes at the bottoms of the pickup routes. These would have been used for mounting a handle.
A look at the GMW website also has a nice gallery of refinish work they have performed here in their Custom Refinishing page.
If you would like to see some Jackson's I have owned Click Here to view the original version of this site.