Reviews of John Jordan's Instruments

  • Product Review of Jordan Electric Upright Bass that appeared in the April 2004 issue of BASS PLAYER Magazine Magazine Page 50 . -This was part of their coverage of the 2004 NAMM show at which this bass made its public debut. Reviewed by the BASS PLAYER staff.

    "The Jordan Electric Violins Electric Upright was one of the most eye-catching instruments at the show. This being a NAMM show and all, luthier John Jordan pulled out all of the stops for this headless 6 string: maple neck and body, Moses carbon fiber fingerboard, RMC electronics with 1/4" and 13-pin synth-converter-compatabile outputs, iridescent finish, and an "A extension" that goes down to a piano's lowest note. Prices start at $5,000 for a 4 string - the full bells and whistles 6 string pictured here tops out at $8,000."
  • Product Review of Jordan Electric Violins that appeared in the November/December 2000 issue of STRINGS Magazine Page 106
    Reviewed by Stacy Phillips

    "The solid-body (without resonating chamber) Jordan Electric Violin is another successful entry in the burgeoning field of high-volume, no-feedback bowed instruments. The model I tested had five strings and a Barbera pickup (probably the most common model in such instruments), and was made of maple. It had an even tone and volume on all strings and on my small Trace Acoustic amplifier it sounded like a loud violin rather than a generic electronic instrument.
    While pleasing sound is the main factor, there are a couple of extra features that make the Jordan unique. Finally bid farewell to those pesky friction pegs: the head stock is gone! Ball ends are secured where the head stock used to be, and sleek machined tuners are placed on the treble-side ribs. No fine tuners are needed. A volume control is also placed nearby. Despite these changes, the instrument is still well balanced and easy to play.
    No longer will you forget your shoulder rest, nor will it slip off while playing. It is securely bolted to the underside. It can be set to your specifications, as can many other features of the instrument. Other options include a variety of pickup makes, a detachable upper bout (the test model had none), a variety of finishes, four to seven strings, a fretted fingerboard, and even double-necked violins. The manufacturer recommends the use of a preamplifier to realize the full tonal range unless an acoustic instrument amplifier is used. An onboard preamp is another option. For further information, write to Jordan Electric Violins, 1173 Linden Dr., Concord, CA 94520; call (925) 671-9246; or e-mail jjordan@jordanmusic.com." - Stacy Phillips
  • Excerpt from August/September 1999 article in STRINGS Magazine titled "Commission Completed" by Tracy Silverman. The article tells about a custom violin he ordered from another maker and the excerpt covers work I did to make the instrument perform better. The article appeared on pages 46 and 47.

    "But as Ferrington himself predicted, a new invention always has a few bugs. And since there was a bit of distance between Ferrington and me - from Oakland, California to L.A. - some of those details were, in the end, worked out closer to home by the knowledgeable and fastidious John Jordan of Jordan Electric Violins in Concord, California. Jordan turned out to be a real find, coming through with modifications when I needed them on short notice. His abilities include fine work on acoustic violins, violas, and cellos and on his incredibly beautiful guitars. He is also one of the few people on earth who not only know what six- and seven-string violins are but who actually have several different production models of both. He removed as active preamp that went south and switched pickups to the Barbera pickup now in place on the violin. And he filed the frets down to the fingerboard under the E, A, and D strings after I decided I preferred them that way. Jordan also designed and installed a carbon-fiber brace on the inside of the instrument so that the damper could be tightened from the back of the violin to push up under the bridge, further reducing the resonance of the top for high-volume playing where feedback and other tonal properties associated with the natural resonance become an issue."
    -Tracy Silverman