The eruption was coming. As far back as Les Paul and Mary Ford’s 1951 hit, “How High the Moon,” guitar enthusiasts were treated to (for the time) lightning-fast sweeps of notes. Years later, classic rock virtuosos such as Jimi Hendrix, Ritchie Blackmore, Alvin Lee, Jimmy Page and others upped the ante for feverish spurts of speed on record, on stage, and, perhaps most importantly, on the pop charts.

Soon, an emerging community of players evolved rock guitar technique to the point of ferocious, mind-blowing intensity. They adopted and reengineered techniques such as sweep picking, tapping, hammer-ons, trills, arpeggios, tremolo-arm dive bombs and other actions to devise fluid, warp-speed solos, licks and riffs. It was an onslaught that captured the imagination of guitar fans, seriously challenged players and transformed popular music culture in the 1980s.

But these shredders needed new tools. Modded and hot-rodded. Their own machines. For the most part, the guitars loved by their parents and grandparents simply would not do precisely what the speed maestros wanted a guitar to do. It was time for a change.

There’s the famous quote from Eddie Van Halen—published in the April 1980 issue of Guitar Player when he was just 23 years old—about the obsession with building his own instruments: “I’m just a punk kid trying to get a sound out of a guitar that I couldn’t buy off the rack.”

Well, Van Halen was an epic visionary, but to be fair, not all guitar makers were unaware of this burgeoning wave of extreme stylists and their performance requirements. Brands such as Charvel, Ibanez, ESP, Schecter, Kramer, Jackson, Dean, B.C. Rich and Carvin were answering the call, and building models that accommodated light-speed fretboard gymnastics.

What did these players want that was different from standard, “off the rack” guitars from Gretsch, Gibson, Fender, Epiphone and other manufacturers of the day? Well, let’s dig into the features that typically distinguish a shred-ready guitar, before you embark on your own search for the best guitar for metal.

Table of Contents

What Makes a Guitar a Metal Guitar?
The Top Metal Guitars
   Charvel Pro-Mod DK24
   Epiphone Tony Iommi SG Special
   Ernie Ball Music Man John Petrucci Majesty 6
   ESP LTD James Hetfield Signature Iron Cross
   EVH Striped Series Frankie
   Gibson ’80s Flying V
   Ibanez JEMJR Steve Vai Signature JEM
   Ibanez Nita Strauss JIVA10 Signature
   Ibanez RG6003FM
   Ibanez TOD10 Tim Henson Signature
   Jackson American Series Soloist SL3
   Jackson American Series Soloist SL2MG
   Jackson Pro Series Misha Mansoor Juggernaut HT7FM 7- String
   Jackson X Series Rhoads RRX24
   Schecter Guitar Research Synyster Custom-S Relic
   Schecter Guitar Research Hellraiser C-1 FR
   Wylde Audio Warhammer FR Norse Dragon Bullseye
   .strandberg* Boden Standard NX 6 Tremolo
Unleash the Riffin’

What Makes a Guitar a Metal Guitar?

The not-so-hush-hush secret is that almost any guitar could be a metal guitar. A player’s technique, talent, creativity and preference for whatever instrument inspires them should be more important than adhering to trends or style concepts. For example, Billy Duffy of The Cult plays decidedly non-shred guitars from Gretsch, and one of the godfathers of metal—Tony Iommi—has stuck with old-school Gibson SGs since the first Black Sabbath album. So, while you shouldn’t rule out any models that may fit your personal approach to burning up the fretboard, there are reasons why so many uber-technical players gravitate to certain features and designs. Here’s a basic look-see at what those elements are.

Pointy headstocks. In the 1980s, a pointy headstock was primarily a fashion—or product design—statement that usually characterized an aggressive metal guitar. The sharp tip did not provide a significant tonal advantage, it wasn’t a particularly new idea (check out Gibson’s 1958 Explorer for one example) and the phrase itself was sometimes used divisively to mock players in the shred, spandex and big hair crowd. But few headstocks projected such outright menace and danger as the spike topping a Charvel, Jackson, Ibanez or similar shred guitar. Other headstocks—even the Explorer’s “child safe” rounded point—would leave you defenseless during a zombie apocalypse. The “bayonet” on a Jackson, however, could hold off undead hordes for hours. How metal is that?

Frets and fret access. Many shredders prefer guitars with 24 frets, because—well, a few more notes. Duh. However, being able to zoom up to the sky-high, dweedly-dweedly frets is critical, and it’s not easy to get there unless you’re wielding a double-cutaway guitar with a comfy, sculpted neck heel. Any guitar built for speed should ensure there are no impediments that prevent your hand and fingers reaching the top notes from the low-E string all the way across to the high-E string. This is why shred-oriented guitars tend to join the neck to the body near or at the 24th fret, and promise “enhanced” or “easy” upper-fret access.

Low action. Most metal and shred guitars are set up with low actions, meaning the strings are positioned as close to the frets as possible without triggering fret buzz or any other sonic anomalies. A low action makes it almost effortless to zip around the fretboard—an obvious advantage for any player seeking to break speed records.

Scale length. A guitar neck with a long scale length—meaning the distance between the nut and the bridge—of at least 25.5" is the sweet spot for shredding. The longer the scale, the more tension imposed on the guitar strings, which provides two very nice benefits—you can set the action low without risking fret buzz, and you can use lighter string gauges (.009 or .008) that are easier to fret and bend.

Neck profile. If a guitar neck with substantial girth is typically the enemy of speed, then you don’t want a chunky, baseball bat-sized neck if you’re aspiring to emulate speedsters such as Michael Angelo Batio, Tosin Abasi or Nita Strauss. Guitars manufactured for metal players usually offer a C profile—as those necks are slim, slightly curved and are very comfortable to play—or a D profile, which is flatter than a C, and, for some players, provides a more satisfactory foundation for anchoring the thumb. Try each profile to see what works best for you. Unless you have big hands, prefer a challenge or dig subverting expectations, you should probably avoid bulky neck profiles such as U and V.

Fretboard radius. Every fretboard is curved, and the radius figure alerts you to the specific degree of curvature you’ll encounter while playing the guitar. For shredders, a fretboard radius of at least 15" is preferable, because the larger the number, the flatter the curve. A more even and level curvature is beneficial, as it accommodates a low action sans fret buzz and favors fleet fingers. By contrast, a lower fretboard radius of around 12" is more curved, and while that’s not necessarily a deal breaker, it’s a radius typically more suitable for chord work than blazing riffery. Some guitars let you have it both ways by providing a compound radius neck that changes the degree of curvature as a player works down the fretboard. You’ll most likely see a designation of 12" to 16", as it’s the most familiar compound radius neck.   

High-output or active pickups. A must. It would be extremely difficult to play metal with feeble pickups struggling to push an amp into delicious overdrive and creamy saturation. Replacement pickup pioneers such as Larry DiMarzio (recognized as the “originator” with his 1972 Super Distortion), Seymour Duncan and EMG’s Rob Turner aided and abetted the hard rock and metal crowd from the early ’70s onward. While DiMarzio and Duncan initially produced high-energy passive pickups—and all DiMarzio models remain passive to this day—Turner devised active designs that require a power source (typically a 9V battery) to produce gobs of gain, increased headroom and enhanced EQ. As both circuits—active and passive—deliver more roar, it comes down to which type of pickup generates the sound you want.

Tremolo system. It’s certainly not required that metal guitarists play tremolo-equipped instruments—Tony Iommi, who pretty much invented metal guitar, rarely uses a tremolo—but it’s super fun to have one at hand. Floating bridge systems, such as the original Fender design and Floyd Rose locking tremolos, let you vary pitches, perform “dive bombs,” incorporate stutters and swoops into solos, and transform conventional melodic passages into high drama.

Swagger. Like pointy headstocks, a guitar with “swagger” won’t improve your technique or tone, but a flamboyant finish may inspire you to rock like a hurricane. Since the ’80s, metal soloists have boosted their stage charisma by playing guitars emblazoned with neon colors, geometric designs, animal patterns, bold stripes, faux snake skins, vibrant crackle effects, exaggerated pinstripes and stickers of all types. While you can play just as fast on a guitar with a classy satin-black finish as you can on a model bearing garish purple-and-orange tiger stripes, elegance and sophistication may not elevate the awesome theater that is metal guitar. Just some food for thought …

The Top Metal Guitars

Whether you’re a student seeking a nurturing and comfortable shred machine, or an experienced metal guitarist looking for a rocket ship to elevate your already formidable chops, we’ve curated the fastest, most popular, gig-proven and artist-approved collection of metal electric guitars to meet everyone’s needs. Let’s plug in …

Charvel Pro-Mod DK24

The metal roots of the Charvel Pro-Mod DK24 HH 2PT run as deep as the Mariana Trench. Founder Wayne Charvel and Grover Jackson (who bought the Charvel company in 1978) can quite convincingly be portrayed as the architects of modern, high-quality built-for-speed guitars. (Eddie Van Halen’s iconic “Frankenstein” guitar was made from parts supplied by Charvel.) The Pro-Mod DK24 struts the celebrated Charvel/Jackson Dinky body style, a scalloped lower bout for unfettered access to all 24 frets, a caramelized maple bolt-on neck and fingerboard, two Seymour Duncan humbuckers (a Custom Full Shred SH-10B bridge pickup and an Alnico II Pro APH-1N neck pickup), a Gotoh Custom 510 tremolo bridge and a choice of elegant finishes, such as Matte Blue Frost, Satin Burgundy Mist and Gloss Black.

Pictured: Charvel Pro-Mod DK24 HH 2PT CM Electric Guitar

Epiphone Tony Iommi SG Special

Interestingly, the godfather of metal did not conjure heavy metal guitar playing with a pointy headstock, a DIY project or even a tremolo bar. Tony Iommi gravitated to a Gibson SG—which Eric Clapton had used in the band Cream—for the recording of Black Sabbath’s first album in 1969, and he has been famously loyal to the model ever since. The Epiphone Tony Iommi SG Special is based on the original 1964 SG that birthed the sound of metal. Unlike typical shred guitars, the Tony Iommi SG Special features two P-90 pickups, 22 frets, a 24.75" scale length and a rounded neck, but its massive imprint on metal guitar cannot be argued or ignored. 

Pictured: Epiphone Tony Iommi SG Special Electric Guitar

Ernie Ball Music Man John Petrucci Majesty 6

Ernie Man Music Man John Petrucci Majesty series guitars come in a dizzying number of drool-worthy wood and finish options, as well as 6-string, 7-string and 8-string configurations. We’ll focus on the Dream Theater fretboard wizard’s Ernie Ball Music Man John Petrucci Majesty 6, which offers comfy body contours, access to all 24 medium-jumbo frets, Petrucci’s signature DiMarzio Dreamcatcher and Rainmaker humbuckers, Fishman Powerbridge piezo saddles, a 20dB boost, coil tapping and mono or stereo output. Playing the Majesty 6 is like riding a champion thoroughbred stallion to victory at Churchill Downs, and, similarly, the price to compete can be rich. Happily, amongst the wide range of Majesty offerings are more affordable models, such as the Sterling by Music Man Majesty. Pro Tip: You can really zero in on nailing the Petrucci vibe by pairing the Majesty 6 with his signature MESA/Boogie amp, the JP-2C.

Pictured: Ernie Ball Music Man John Petrucci Majesty 6 Electric Guitar

ESP LTD James Hetfield Signature Iron Cross

Metallica’s James Hetfield is far more renowned as a rhythm player than a barnstorming soloist, so his ESP LTD James Hetfield Signature Iron Cross is designed to favor mammoth riffs and thick, powerful chords. The thin U-shaped profile is thicker than most shredders go for, but it’s a great neck for really digging into ferocious licks. There’s unhindered access to all 22 frets—just in case you do want to blast out some note flurries—and an EMG JH Signature set of active pickups ensures your tone is ballsy as all hell.

Pictured: ESP LTD James Hetfield Signature Iron Cross Electric Guitar

EVH Striped Series Frankie

The EVH Striped Series Frankie pays homage to one of Eddie Van Halen’s legendary DIY builds—the “Frankie” or “Frankenstrat”—that forged a massive cultural insurrection regarding the guitar platforms scores of metal players choose to create their music. The EVH Striped Series Frankie emulates the battered, carved-out and duct-taped body of the original “workshop” guitar that Van Halen constantly tinkered with, and it includes one EVH Wolfgang humbucker, an EVH-branded Floyd Rose locking tremolo and the EVH D-Tuna. Of course, Eddie Van Halen continued to explore guitar design and tone, and his EVH company offers models from his 5150 to the Wolfgang Special, and even left-handed Stripes and Wolfgangs.

Pictured: EVH Striped Series Frankie Electric Guitar

Gibson ’80s Flying V

Made in 1958, the Gibson Flying V could have been considered a guitar from mom and dad’s generation by shredders looking for something new and exciting. However, the Flying V’s futuristic and iconic body spoke boldly to some exceptional ’80s metal players (Randy Rhoads, anyone?), and also inspired slight rethinks of the design by other manufacturers. The Gibson ’80s Flying V is based on the company’s 1984 model that was launched to appeal to metal players of the day. The Gibson SlimTaper neck is shred ready, and the Gibson ’80s Tribute pickups capture the roar of the MTV era. Another eminent design from Gibson’s space-age class of 1958—which was also prized and co-opted by metal players and guitar makers during the Ronald Reagan presidency—is the Gibson ’80s Explorer. Fans of mid-century modern trends should also check out the many other Gibson Flying V and Explorer models, and more affordable options are available, such as the Epiphone Flying V and Epiphone Explorer.

Pictured: Gibson '80s Flying V Electric Guitar

Ibanez JEMJR Steve Vai Signature JEM

The affordable Ibanez JEMJR Steve Vai Signature makes the transcendent guitarist and composer’s distinctive and immediately recognizable instrument available to more players. The JEM’s distinguishing characteristics are present and accounted for—the Monkey grip, Tree of Life inlay and Lion’s Claw tremolo cavity—as well as shred-approved features, such as a 15.75" fretboard radius, a 25.5" scale length, an HSH pickup configuration, access to all 24 frets and a thin, flat Wizard III neck. If you’d prefer to go "upscale Vai," check out the Ibanez JEM77P or Ibanez PIA3761 Steve Vai Signature.

For more of Ibanez's top metal-leaning axes, be sure to check out The Best Ibanez Guitars for Metal.

Pictured: Ibanez JEMJR Steve Vai Signature JEM

Ibanez Nita Strauss JIVA10 Signature

After joining Alice Cooper’s band in 2014, the hurricane that is Nita Strauss has captivated rock audiences and blown the minds of guitar players—ultimately becoming Ibanez’s first female signature artist and the featured guitarist for Guitar Center’s 2019 Guitar-A-Thon. The Ibanez Nita Strauss JIVA10 Signature is modeled after the Ibanez S Series, but modified with Strauss’ own stylistic and sonic preferences. The JIVA10 includes her signature DiMarzio Pandemonium pickups in the neck and bridge positions (a DiMarzio True Velvet is in the middle), a Zero Edge II tremolo bridge, 25.5" scale, Wizard III neck and 24 frets. There’s also a left-handed version, as well as an affordable JIVAJR.

Pictured: Ibanez Nita Strauss JIVA10 Signature Electric Guitar

Ibanez RG6003FM

For three decades, the high-performance Ibanez RG has inspired metal players to achieve greater heights of speed, as well as elevate their riff, lick and song composition. The Ibanez RG6003FM brings on the same flat, thin Wizard III neck used for the Steve Vai and Nita Strauss signature models, but struts its own Ibanez Quantum humbuckers and a fixed bridge.

Pictured: Ibanez RG6003FM Electric Guitar

Ibanez TOD10 Tim Henson Signature

Based on an Ibanez AZ model, the Ibanez TOD10 Tim Henson Signature celebrates the Polyphia guitarist with a collaborative design that features his signature Fishman Fluence pickups, a 25.5" scale length, a Gotoh T1502 tremolo bridge and an Oval-C neck shape. Further personalizing his signature model, Henson opted to add thorns to Ibanez’s iconic Tree of Life fretboard inlay, calling it the "Tree of Death."

Pictured: Ibanez TOD10 Tim Henson Electric Guitar

Jackson American Series Soloist SL3

Grover Jackson is one of the most influential and important designers of high-performance guitars, and the Jackson American Series Soloist SL3 is not only the first American-built Jackson model for many years, it also carries the pedigree of the company’s decades-long commitment to producing tools for extreme-velocity players. The Soloist SL3 instigates maximum speed and sonic mayhem with a 12"–16" compound radius fretboard, a 25.5" scale length, 24 frets, a Floyd Rose 1500 double-locking tremolo and Seymour Duncan pickups.

Pictured: Jackson American Series Soloist SL3 Electric Guitar

Jackson American Series Soloist SL2MG

The Jackson Soloist has been a hard rock and metal mainstay for over 40 years. Superior playability is an inherent quality of this Superstrat, available in both floating Floyd and hardtail Hipshot versions—the American Series Soloist SL2MG and SL2MG HT, respectively. A razor-sharp headstock and shark fin inlays are an aesthetic giveaway that this machine is engineered for elite performance, and EMG 81/85 pickups certify the notion. Jackson tops it off with stainless steel frets and a compound 12"–16" fretboard radius assisting smooth bends, easy chording and white-hot lead lines.

Pictured: Jackson American Series Soloist SL2MG Electric Guitar Satin Lambo Orange

Jackson Pro Series Misha Mansoor Juggernaut HT7FM 7-Stringx

Co-designed with Periphery speed demon Misha Mansoor, the Jackson Pro Series Misha Mansoor Juggernaut HT7FM 7-String is an aptly named metal machine. Every element of the Juggernaut is built for high-velocity 7-string workouts, from the comfy wrap-around heel to the 16" flat radius fretboard, 26.5" scale length, 24 jumbo frets, string-through-body hardtail bridge and explosive Jackson MM1 pickups. In addition, Mansoor and Jackson offer a collection of 6-string and 7-string models at various price points, such as the affordable Jackson Pro Series Juggernaut HT6 and the ultraluxe Jackson USA Signature Juggernaut HT6FM. For the full-on Misha Mansoor experience, match your Juggernaut of choice with the amp head he designed with Peavey—an invective MH Mini or invective.120.

Pictured: Jackson Pro Series Misha Mansoor Juggernaut HT7FM 7-String Electric Guitar

Jackson X Series Rhoads RRX24

An otherworldly alliance of guitarist Randy Rhoads, designer Grover Jackson and his team, and inspiration from the original Gibson Flying V created one of the most distinctive and thrilling metal guitars of the shred era. (Of course, it didn’t hurt that a brilliant player such as Rhoads was rocking it.) The Jackson X Series Rhoads RRX24 continues to hold Rhoads’ design DNA in its soul, and at an affordable price. The RRX24 includes a 12"–16" compound radius fretboard, 24 jumbo frets, a 25.5" scale length and two active Seymour Duncan Blackout pickups.

Pictured: Jackson X Series Rhoads RRX24 Electric Guitar

Schecter Guitar Research Synyster Custom-S Relic

A7X riff maestro Synyster Gates is a longstanding Schecter devotee who’s had a signature Custom-S shred stick with the metal-centric brand for years. Rocking a brash road-worn look for the first time, the Schecter Synyster Custom-S Relic is “a little piece of heaven” for those who favor its aggressive body shape, Floyd Rose tremolo system, Sustainiac neck pickup and one-of-a-kind Deathbat inlay. Its beaten relic finish is illustrative of over two decades of contemporary metal stewardship, and seemingly a nod to Synyster Gates’ ongoing, unbreakable legacy as a multi-platinum guitar talent.

Pictured: Schecter Guitar Research Synyster Custom-S Relic

 

Schecter Guitar Research Hellraiser C-1 FR

The Schecter Guitar Research Hellraiser C-1 FR is definitely designed to evoke the infernos of hades—as least as far as ferocious metal guitar playing is concerned—with a 25.5" scale neck, 24 extra-jumbo frets, a Floyd Rose 1000 Series tremolo system, and active EMG 81TW and EMG 89 pickups.

Pictured: Schecter Guitar Research Hellraiser C-1 FR

Wylde Audio Warhammer FR Norse Dragon Bullseye

Smithed by the metal-savvy luthiers at Schecter, Zakk Wylde’s Wylde Audio line of axes has been deliberately honed for shredders looking to embark on a blessed hellride into victory or Valhalla. While it’s not a “signature” model in the traditional sense, the double-cutaway Wylde Audio Warhammer is built to the Black Label Society/Ozzy virtuoso’s exacting specs. From Viking-inspired aesthetic appointments like white pearloid “runes” inlays and a flamed maple top featuring a Norse Dragon graphic to EMG 81/85 pickups and a Zakk “C” neck with a 14" fingerboard radius, it’s the ideal tool for your sweeps, pinch harmonics and earth-rumbling chugging riffs alike. Fire up your sonic brew with Warhammer, or let either of its Wylde Audio Norse Dragon Bullseye siblings—Nomad or Barbarian—set you free.

Pictured: Wylde Audio Warhammer FR Norse Dragon Bullseye

.strandberg* Boden Standard NX 6 Tremolo

Much like metal guitarists and shred-devoted guitarmakers disrupted the guitar scene in the 1980s, .strandberg*’s adventurous, headless designs have started a bit of a wave with YouTube sensations (Plini), female shredders (Sarah Longfield) and even some old-school virtuosos (Mike Keneally). The .strandberg* Boden Standard NX 6 Tremolo is a modern, eye-catching design that is as comfortable to play as it is visually striking. The Boden Standard NX 6 features a 20" fretboard radius, 24 medium-jumbo fanned frets, an HSS pickup configuration and a .strandberg* EGS Rev 7 tremolo. These guitars appear to delight iconoclasts of all styles, as well as modern prog players, math rock disciples, fusion fiends, metal heads and more. Not surprisingly, the Strandberg line includes 6-string, 7-string and 8-string variations. Check them all out. Furthermore, as headless guitars in general appear to be reemerging, take a peek at models from Ibanez, Steinberger, Traveler, Legator and other makers.

Pictured: .strandberg* Boden Standard NX 6 Tremolo Electric Guitar

Unleash the Riffin’

From old-school but still-viable shred machines to ’80s-approved guitars built for virtuosos and velocity to radical new designs, there are an incredible number of choices available to today’s metal players. And some models offer even more flexibility by providing 6-string, 7-string and 8-string versions. All of this means that no metal player should ever need to get as frustrated with “off the rack” guitars as Eddie Van Halen was back in the late 1970s. No matter how you play, or how you like to sound, there is a guitar right now that’s calling your name. We hope this list helps you find it. On that note, be sure to check our Used Guitars section, as you might discover an ’80s ESP George Lynch Signature Tiger, a “cult classic” Fender HM Strat or a very pointy B.C. Warlock just waiting to be yours.