Jackson JS32T Rhoads review

Affordable V is a total victory

  • £274
  • €335
  • $333
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As usual with a V, the only problem is how to play the damn thing seated...

MusicRadar Verdict

If you like the shape, there's very little to dislike about this Rhoads.

Pros

  • +

    Pickups sound snappy, with plenty of definition. Low action setup. Satin finish neck is a delight to play.

Cons

  • -

    Just trying to play it while seated...

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The Jackson Rhoads V-style is about as pointy as guitars get, and Jackson hasn't made any health-and-safety concessions with the JS32T: it can still pierce skin if deployed with sufficient force.

The Rhoads is a sharp player, too. The tune-o-matic-style bridge makes low action a cinch, and the almost waxy feel of the satin neck finish is a dream to speed up and down.

"The pickups haveplenty of snap and presence, providing the definition to handle distorted playing of all styles"

The only problem is how to play the damn thing seated. It requires you to position the short lower horn between your legs (ahem), balancing the body on your left leg, and putting you in a classical playing position - no wonder Randy loved V shapes so much.

According to Jackson, the JS32T is packing the same humbuckers (albeit in zebra form) as the other two affordable JS series models we've recently tested - the Jackson JS12 Dinky and the JS32Q Dinky Arch Top.

However, to our ears, they sound considerably brighter, with plenty of snap and presence, providing the definition to handle distorted playing of all styles.

It could be down to the body's relative lack of wood or the strings-through-body design, but dial in a Marshall-y distortion and bust out Crazy Train, and we dare you to stop grinning: the JS32T just nails that sound.

It's also cheaper than rival Vs, plays like a dream, delivers classic tones and even functions as a weapon off stage. A winner.

Michael Brown
Michael Brown

Mike is Editor-in-Chief of GuitarWorld.com, in addition to being an offset fiend and recovering pedal addict. He has a master's degree in journalism, and has spent the past decade writing and editing for guitar publications including MusicRadar, Total Guitar and Guitarist, as well as a decade-and-a-half performing in bands of variable genre (and quality). In his free time, you'll find him making progressive instrumental rock under the nom de plume Maebe.