Back in the mid-70's, virtuoso George Benson had a vision of the cutting edge features a jazz guitar would need to survive in the world of amplification. The result was his GB10, a jazz guitar for the modern world. New generations of cutting edge jazz guitarists continue to record and perform with the GB, unimpeachable testimony

GB, unimpeachable testimony that the GB is still a jazz guitar for the today's world. Anytime, anywhere and at any volume.

Thanks to a loyal legion of dedicated Steve Vai/JEM fans (an amazing number of whom are impressive guitaris's in their own right), each JEM guitar becomes an almost instant collector's item. Why "almost?" Because Steve Vai and Ibanez designed his guitars to be so playable and capable of such a wide range of tones that they simply can't be left in the case.

We can't think of a better tribute to the artist who has done so much for Ibanez and instrumental rock than - what else - a new Ibanez instrument. With Joe Satriani guitars, the last word is always tone. This is why the crowning touch on the JS2000 is the FX EDGE Bridge. A real break-through in bridge technology, the FX Edge combines the unchallenged tuning stability of the Ibanez EDGE double locking design, with the full tone and sustain of a fixed bridge. The other 2003 JS models feature the new EDGE PRO or EDGE PRO II tremolos. NOW you really can have it all. Best of all, you can return home to traditional sounds and styles anytime and your more conservative listeners will never suspect where you've been.

Props where props are due. Two of the biggest reasons for the resurgence of the 7-string in rock are Head and Munky of Korn. Ibanez proudly pays tribute to the dynamic duo with Ibanez's first co-signature models, the Korn K-7 7-string guitars. These rock machines come from the factory already tuned to the Korn "A" tuning and feature all kinds of Head and Munky inspired specs including DiMarzio PAF-7 pickups, the K-7 logo inlaid in the 12th fret AND glow-in-the-dark side dots. The unique U-bar trem system featured on the K-7 allows you to palm the bridge for trem effects without palming the fine tuners.

Why a baritone? Because it goes to 11. With the baritone guitar's higher neck tension, I can tune down low and play with heavier strings and not have them feel like rubber bands. With a regular guitar, tuning down can become a real nightmare with the guitar going in and out of tune. But with my signature guitar, I can bite into it and play aggressively.

- Mike Mushok

There is nothing quite like neck-through construction for massive sustain and resonance. Just ask Mike.

The Mike Mushok model features a specially designedbridge, which comes complete with a sustain block routed into the body. Needless to say, the bridge provides maximum sustain and supreme flexibility in intonation adjustment, allowing for the use of the massive string gauges with the large ball ends that Mike has been known to use.

"I like the idea of having something different. Duct tape is so much a part of what we musicians do on the road, especially in the van days when we couldn't afford to buy new equipment - just fix things with duct tape and hope that it helps. There were already lots of pretty guitars on the market that are very expensive, but aren't really "players."

But this is a real rugged, solid guitar that's also unique. Each one is individually wrapped, so every one is going to have its own "fingerprint." You're not going to find another guitar like it. And on top of all that, it's just an easy playing, versatile guitar that you can get a bunch of great sounds out of. I really am stoked with how this has all turned out."

- Noodles.

An artist possessing both style and speed, Paul Gilbert also turns a mean phrase in the language arts. So who better than Paul himself to describe his guitars: "When I pick up another brand of guitar, I have to think about so many things. The volume knob is always in the wrong place; the frets are too small; there are too many controls; the body shape pokes me in the ribs; the balance isn't right. Those are things I don't have to worry about with my Ibanez".

If you respect traditional jazz, but find yourself drawn to newer styles, you should consider one of Pat Metheny's signature models. With a maple back and sides and humbucking pickups, the PM models have all the hallmarks of the traditional jazz box. They're just not boxy. PM guitars are slimmer and they're also double cutaway. The neck joins the body at the 17th fret instead of the traditional 14th so your fingers and the ideas that flow through them can travel beyond the borders of the traditional jazz guitar. Best of all, you can return home to traditional sounds and styles anytime and your more conservative listeners will never suspect where you've been.