If you’ve ever been to a GWAR show, you know the drill. You’re covered in fake blood, your ears are ringing, and you’re staring at a seven-foot-tall monster in leather loincloths playing a guitar that looks like it could actually bite your head off. That’s Balsac the Jaws of Death. Honestly, it’s one of the most iconic sights in heavy metal history. But here’s the thing: most people just see the costume and the "bear-trap" face. They miss the fact that the Balsac Jaws of Death guitar itself is a piece of custom engineering that has evolved over decades of touring. It isn't just a prop. It's a functional, high-output weapon.
GWAR has been around since the mid-80s, emerging from the weird, creative art scene in Richmond, Virginia. Mike Derks—the man behind the mask—joined the band early on and took over the persona of Balsac. While the character is known for his signature "cloven hooves" and that massive, serrated metal snout, guitar nerds are usually more obsessed with how he actually plays anything while wearing those giant foam hands.
The Evolution of the Balsac Jaws of Death Guitar
Early on, the gear was a bit of a mess. When you’re an intergalactic barbarian, you can’t exactly go to a local music store and buy something off the shelf that fits the aesthetic. In the beginning, Derks was using modified instruments that could survive the "fluids" sprayed during a GWAR set. If you know anything about GWAR, you know that everything on stage gets soaked in gallons of water-based dye. That stuff kills electronics. It’s a nightmare for gear maintenance.
The first truly iconic Balsac Jaws of Death custom model was produced by Schecter. This was a game-changer. Before this, the band was basically hacking together whatever they could find. The Schecter version featured a distinct, jagged body shape that looked like a cross between a Gibson Explorer and a medieval torture device. It had a flat black finish, which was practical because it didn't show the stains from the "blood" as much as a lighter finish would.
Why the Schecter Model Mattered
Schecter didn't just slap a logo on a standard guitar. They built something that could handle the physical abuse of a GWAR tour. The specs were surprisingly high-end. We’re talking about a mahogany body for that deep, resonant chug and a three-piece mahogany neck. It featured a 25.5-inch scale length, which is pretty standard for metal players who want a bit more tension for down-tuning.
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The pickups were the real heart of it. Most versions used Seymour Duncan Blackouts or EMGs. Why? Because active pickups are sealed. When you're getting sprayed with "Spew," you need electronics that won't short out the second a drop of red liquid hits the pots. It’s about survival as much as it is about tone. Derks has talked about how they used to have to plastic-wrap their wireless packs and seal every cavity of the guitar with silicone just to make it through a forty-minute set.
Custom Shop Rarities and the ESP Era
Eventually, the partnership moved around. You might have seen Balsac playing an ESP or a custom-built boutique model. Some of the most interesting versions were the ones with the "hook" on the headstock. It wasn't just for looks; it balanced the guitar. When you're wearing a costume that weighs 50 pounds, the last thing you want is a guitar that’s neck-heavy. You’ll kill your back before the second song.
The Balsac Jaws of Death aesthetic is defined by its sharp angles. It’s aggressive. But if you look closely at the fretboard, it’s often kept quite simple. Usually just a single inlay at the 12th fret—often the GWAR "G" or a skull. Derks isn't a flashy shredder in the traditional sense; he’s a riff-master. He needs a fretboard that’s easy to navigate when his peripheral vision is limited by a giant latex mask.
Dealing with the "Hooves"
Think about this for a second. Balsac wears "hooves" on his feet, but his hands are also massive. In the early days, the gloves were so thick that playing technical thrash riffs was nearly impossible. Over the years, the costume design team (Slave Pit Inc.) had to thin out the palms of the gloves.
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Derks basically plays with his bare fingertips poking through the foam so he can actually feel the strings. It’s a classic example of "stage vs. reality." To the audience, he’s a monster with giant claws. In reality, he’s a highly skilled musician using a very specific grip to maintain precision while his armor is sliding off his shoulders.
The Technical Specs That Define the Sound
If you’re trying to replicate that GWAR tone, you have to understand the rig. It’s not just the Balsac Jaws of Death guitar; it’s the way that guitar hits the preamp.
- Tuning: Usually D Standard or Drop C. This gives GWAR that thick, muddy-but-defined wall of sound.
- Strings: Heavy gauge. You can't play light strings when you're hitting the guitar that hard.
- Bridge: Almost always a Tune-O-Matic or a string-through-body setup. Floyd Roses are a nightmare in the GWAR environment because if you break a string mid-set while covered in goo, you’re done.
- Finish: Distressed. The guitars are meant to look old, rusty, and dangerous.
There was a limited run of signature guitars released to the public years ago. They are incredibly hard to find now. If you see one on Reverb or eBay, they usually go for a premium because they weren't mass-produced like a Squier or a standard Ibanez. Collectors want them because they represent a specific era of shock rock history.
What Most People Get Wrong About GWAR’s Gear
People think GWAR uses "junk" instruments because they treat them so badly. That's a total myth. Actually, the opposite is true. Because the environment is so hostile to electronics, they have to use better gear than your average bar band.
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I’ve seen photos of the "pit" where the guitars are stored between shows. It looks like a workshop for a horror movie. Every instrument is meticulously cleaned after every show to remove the sugar and dye from the "blood." If they didn't, the fretboards would rot and the hardware would seize up within a week. The Balsac Jaws of Death guitar is a survivor. It’s a testament to the roadies and tech crew who keep those things screaming night after night.
The Legacy of the Jaws of Death
Balsac is more than just a character; he’s the harmonic anchor of the band. While the lead guitar (traditionally played by Pustulus Maximus or Flattus Maximus) handles the solos, Balsac provides the rhythmic foundation. That requires a guitar with massive low-end clarity.
The Balsac Jaws of Death design has influenced a lot of the "pointy" guitar trends in the underground metal scene. You can see echoes of its jagged silhouette in brands like BC Rich or Ironbird designs, but nothing quite captures the specific "scrap metal" vibe of the original Slave Pit creations.
Honestly, it's impressive that Mike Derks has kept this going for so long. Playing in GWAR is a physical feat. It’s hot, it’s smelly, and it’s exhausting. Doing all of that while maintaining a high level of musicianship on a custom-shaped guitar is why he’s respected by his peers in the industry. He’s not just a guy in a suit; he’s a luthier’s nightmare and a fan’s hero.
How to Achieve the Balsac Sound and Style
If you are a guitarist looking to channel your inner Scumdog, you don't necessarily need a custom-built trap-jaw guitar, but you do need the right mindset.
- Prioritize Active Pickups: If you're playing high-gain metal, especially in a live setting with lots of humidity (or fake blood), active pickups like the EMG 81/85 set are non-negotiable for that compressed, aggressive "crunch."
- Simplify Your Layout: Balsac’s guitars often move the volume knob out of the way so he doesn't hit it with his giant foam hands. If you’re a "heavy" hitter, consider a single-volume-knob setup.
- Go Heavy on the Strings: Use a gauge like .011-.054 for D Standard tuning. This prevents the "flub" and keeps your riffs sounding tight through the PA.
- Weather Your Gear: The Balsac look is all about "industrial decay." You can achieve a similar look with matte finishes and slightly oxidized hardware, though maybe skip the actual meat-grinder attachments for safety.
- Seal Your Electronics: If you plan on doing a theatrical show, use clear silicone to seal the edges of your pickup rings and control cavities. It’s a trick the GWAR techs have used for years to prevent moisture from killing the signal.