BODY:
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Arched mahogany
Set-in mahogany w/rosewood fingerboard
Aged, body, neck and headstock
Blocks
22 medium-jumbo
24.75"
2V, 2T (coil-split), 3-way switch
Malden BK-252P (bridge), BK-252C (neck)
Gold
Satin Black

GP reviewed Malden's standard Karma in the October 2004 issue, but the Bad Karma is different enough in design and features to warrant a look. The model bears an obvious resemblance to the world most famous set-neck solidbody, although the Bad Karma's cutaway horn dives south a little more prominently, its waist and bouts follow slightly different lines, and the body is thinner with an extensive back contour in the rib-cage zone for improved comfort. Whereas the Karma carries a maple-capped body, the Bad Karma is all mahogany with a carved arched top. The matte-black finish masks the uniformity of timber, but the lack of maple has sonic repercussions theoretically adding a little more warmth and depth, while subtracting a touch of clarity and definition.

The Bulldozer's super-slim neck carve resurfaces here, although the Bad Karma's neck feels a little different, thanks to its satin finish. If anything, it's an even faster ride, boosted by a low setup, and another extremely smooth fret job. The gold-plated hardware, black finish, and nicotine-stained binding give the Bad Karma a good dose of LP Custom vibe, and the mother-of-pearl blocks in the fretboard are a nice touch.

Pickup readings of 11.40k ohms for the bridge, and 8.10k ohms for the neck indicate that the Bad Karma's alnico 5 humbuckers are similar to the Bulldozers-although the coverless units allow a little more treble into the brew. The Bad Karma carries independent Volume and Tone controls for each pickup, with individual coil-splitters on each Tone pot-a simple setup that offers a lot of tonal variation.

Despite its similar pickups and body woods, the Bad Karma offers a sharper note definition than the Bulldozer, with just a touch extra bite amid the bluster of the full-humbucking modes. Through the Dr. Z and the TopHat, I achieved chewy and round bluesy tones from the neck pickup that were extremely pleasing. Jacked into the Marshall set for high gain, the neck pickup oozed round, slightly scooped lead tones that nailed that Queens of the Stone Age grind, and the bridge pickup provided a wailing, aggressive, and super-saturated alternative. Either position yielded great sustain, and an easy slide into harmonic feedback.

The Bad Karma is a rock lead player's guitar, for sure, but one that also dabbles in more subtle tones with nuance and authority.

Guitar PLayer

The Bad Karma has a body that is comfortably thin and reasonably lightweight, with a satin-black finish accented with antiqued binding. Its graceful arch aligns the strings and pickups with the set neck, creating a natural-feeling geometry. Malden designed the 24.75 inch-scale neck with a thin profile that's expertly rounded and sensibly narrow. The rosewood board is bound, and the 22 frets are set and planed with a level of quality that belies the Bad Karma's reasonable price. Gold hardware includes a stop tail piece, Tune-O-Matic bridge and kidney tuners.

The Bad Karma’s pickups are wound to have a smooth vintage spirit and an insolent attitude. Each has its own volume and tone pots, and pulling up on a tone pot taps its respective humbucker for single-coil operation.