
The DIY guitar that shook the world: Eddie Van Halen's Frankenstein.
The simple circuit that rocked the world.
Hello! This month we're going to explore a very unique wiring created by a guy from the Netherlands named Edward Lodewijk Van Halen, better known as Eddie Van Halen. The development of his playing style is inextricably linked to his famous DIY guitar, nicknamed Frankenstein, which Eddie put together out of factory-second Charvel parts in the 1970s. The result was one of the most unique guitar designs ever, both electronically and cosmetically.
Frankenstein's ash body and maple neck were produced by Wayne Charvel, one of the godfathers of so-called "Super Strat" guitars, which are characterized by their use of humbuckers, simple wiring, and sophisticated tremolo hardware. The body Eddie bought had HSS routing, and he was fascinated by the idea of using a bridge humbucker for a Gibson-like tone. Eddie installed a PAF humbucker from his ES-335 and cannibalized the tremolo unit from his Strat. (The Floyd Rose unit was added later.) The pickup was installed at a slight angle to compensate for the differing string spacings of the Fender tremolo and the Gibson humbucker. Later he replaced the PAF with a Seymour Duncan humbucker.
The cosmetics.Ā
This guitar was repainted several times. Initially Eddie painted it black, applied masking tape strips to the dry paintjob, and then painted it white. (He also stuck a Gibson decal on the headstock.) For a while, he switched to a guitar nicknamed the Bumblebee for its flashy black and yellow paintjob. This guitar didn't perform as well, so he switched back to Frankenstein, but not before re-taping the body and adding a coat of red bicycle paint.
In order to mislead companies trying hard to sell "EVH guitars," Eddie installed a red single-coil pickup in the neck position, but it wasn't connected to the circuit.
Other visual "upgrades" were a quarter coin screwed into the body to fill a gap between the body and the tremolo. He also added reflectors on the rear of the body and two hook-eyed screws as substitute strap buttons. A strip of double-sided masking tape served as a pick holder.
Eddie also changed the neck pickup often and tried several different tremolo systems. He originally made his own pickguard from a vinyl record, using the lower part of a standard Strat pickguard as a template. He later replaced this with a similar part made from regular black/white/black pickguard material.
The electronics. Eddie drilled all the standard Strat holes into his DIY pickguard, but added only a single 500k audio volume pot topped by a standard white Strat tone knob, leaving the other holes unpopulated. This is one of the simplest circuits ever: a single humbucker connected to a volume control and an output jack! This simple wiring supports Eddie's trademark tone very well, and companies like Charvel and ESP have also used such minimal controls to get a pure sound. With only a volume control, you're just one step away from wiring the pickup directly to the output jack. This provides a lot of high-end definition, perfect for Eddie's tapping techniques.
Fig. 1: The original Van Halen wiring. Diagram courtesy of Seymour Duncan.
To get close to Eddie's tone, use a Strat with a bridge humbucker, wiring it to a single 500k audio volume pot, as shown in Fig. 1. (The color scheme shown applies to Seymour Duncan pickups. Pickup wire colors vary between brands.)
For a humbucker with two-conductor cables, the hot wire goes where the black wire appears in the diagram, and the outer shield goes to ground (indicated in the diagram by the bare and green wires taped together).
Before we talk mods, a funny side note: In order to mislead companies trying hard to sell "Van Halen guitars," Eddie installed a red single-coil pickup in the neck position, but it wasn't connected to the circuit. Eddie even mounted a standard 3-way switch in the middle pickup rout, but it too was unconnected. This is a prime example of the famous Dutch sense of humor.
Possible mods. With such a simple circuit, mods are always possible. Here are some suggestions for improved flexibility:
- Add a standard tone control like on a Telecaster. Experiment with both 250k and 500k resistances and try various tone-cap values."
- If you use a humbucker with four-conductor wiring, you can add a coil-cut switch (or replace the volume pot with a push/pull or push/push pot). This provides a single-coil tone from the humbucker in split mode.
Fig. 2: This mod adds a fixed tone control and a kill switch. Diagram courtesy of guitarwiring.blogspot.com.
Fig. 2 shows a clever and versatile mod for any heavy axe. It has a fixed tone control, plus a kill switch for stunning stuttering effects (and to shut down the guitar when not playing). That way, you can get warmer distortion tones if needed. Choose your preferred cap value. (I wouldn't use the indicated .047 µF cap myself.)
That's it! Next month we'll explore a much more complex mod. Until then, keep on modding!
[UpdatedĀ 9/9/21]
- The World's Weirdest Guitar Mods and Builds - Premier Guitar āŗ
- The Legend of Slash's Appetite for Destruction Les Paul - Premier ... āŗ
- In Memoriam: Edward Lodewijk Van Halen - Premier Guitar | The ... āŗ
- The Worldās Weirdest Guitar Mods and Builds - Premier Guitar āŗ
- The Worldās Weirdest Guitar Mods and Builds - Premier Guitar āŗ
- How to Get the Most out of Hum-Sing-Hum Wiring - Premier Guitar āŗ
- Mod Garage: Strat-PRS Crossover Wiring - Premier Guitar āŗ
- Mod Garage: How to Shield Single-Coil Pickups - Premier Guitar āŗ
- Quintessential Rock Rigs by Decade - Premier Guitar āŗ
- Mammoth WVH Wolf Van Halen Guitar Rig Rundown - Premier Guitar āŗ
- Mammoth WVH Wolf Van Halen Guitar Rig Rundown - Premier Guitar āŗ
- Inside Van Halenās Casbah - Premier Guitar āŗ
- How to Wire a Passive Treble and Bass Circuit for Guitar āŗ
- Wolf Van Halen and EVH announce new signature guitar āŗ
In the ā80s, Peter Buckās clean, chime-y arpeggios defined the sound of alt-rock to come.
In the ā80s, Peter Buckās clean, chime-y arpeggios defined the sound of alt-rock to come. From R.E.M's start, his post-Roger McGuinn 12-string style served as the foundation for the bandās simple, plain-spoken approach, offering a fresh take on what an independent band could be and inspiring generations of artists to come. Buck not only found his sound quickly, he evolved throughout the bandās career. By the ā90s, R.E.M.ās sound had evolved to incorporate organic, acoustic textures, and eventually leaning into a glam- and grunge-inspired, distorted-guitar-focused sound on 1994ās Monster.
This episode is sponsored by Voodoo Lab.
The solo artist and leader of Asking Alexandria and We Are Harlot finds inspiration in an innovative new guitar that he calls āabsolutely game changing.ā
āIām a big fan of old things,ā says Danny Worsnop. āFrom cameras to guitars to microphones to cars, I like the stories they tell and the lives theyāve lived. I think old stuff has more soul.ā
Best known as the lead vocalist of rock bands Asking Alexandria and We Are Harlot, British-born Worsnop has also released two solo albums that explore country and blues. Heās currently in the studio working on his third solo release.
With his love of vintage aesthetics and appreciation for instruments that age with character, heās spent much of his life searching for a guitar that feels like home. āIām always on the quest to find the perfect thing,ā he says.
For years, Taylorās GS Mini-e Koa Plus has been his go-to songwriting companion. āI donāt need a bunch of things to do the job,ā he explains. āThis guitar was the first one that did that, and itās been with me for years. The finish is beat up. Itās got shiny spots from the sweat on my arm. This has been my daily driver and workhorse and life partner since I got it. Itās more than a guitar. It has a life and a personality and a sound. You pick up any other GS Mini-e Koa Plus in the world, it doesn't sound like this one.ā
With his love of older things, Worsnop acknowledges the challenges of making a deep connection with an out-of-the-box acoustic. āAll the nice, shiny new guitars that anyone has sent me over the years are greatāI have fun with them,ā he says. āBut I've never loved them. I find it hard to love new stuff because it kind of doesn't have a life or personality yet.ā
Worsnopās done his best to infuse them with some of his own personality by tweaking them in different waysāchasing a specific feel and sound that makes a guitar feel more like an extension of himself rather than just another utilitarian tool. But his most recent acoustic arrival was different.
āItās more than a guitar. It has a life and a personality and a sound.ā
Striking Gold
Worsnop recently got his hands on Taylor Guitarsā new Gold Label 814e, designed by Andy Powers, the creative visionary behind many of Taylorās guitar innovations since 2011. For Taylorās new Gold Label Collection, Powers drew inspiration from the sound of flattop acoustics from the 1930s and 1940s.
Worsnop was immediately drawn to the Gold Label 814eās vintage-inspired visual aestheticāinfluenced by old banjos and mandolins, early Taylor designs, and Powersā pre-Taylor archtop guitars. But the true revelation came when he played it.
āWhen I saw this guitar... I mean, it looks super cool, like an older guitar,ā he says. āAnd the second I picked it up, it was different. It was like, this plays like a guitar that is so old and has stories and songs in it already. I fell in love with it.ā
Worsnop says that with other Taylors he has owned, including his GS Mini-e Koa Plus, he would often modify them in some way to give them a more vintage sensibility. But not with the Gold Label.
One of the defining features of the Gold Label 814e is its new Super Auditorium body shape. The non-cutaway body bears a clear family resemblance to Taylorās popular Grand Auditorium, but the Super Auditorium is slightly longer and wider at the lower bout, with a slightly shallower depth. The new body dimensions, combined with Andyās version of a long-tenon neck and his new fanned V-Class bracing pattern, are all key ingredients in a new sonic recipe that defines the sound of Taylorās Gold Label collection. The result is a warm, old-heritage voice thatās unlike anything Taylor has ever produced.
Worsnop says the guitar complements him musically because it supports his dynamic vocals with extraordinary volume and responsiveness to a lighter touch.
āBecause I sing loud, having something thatās loud enough, but not so loud that when I do drop down you canāt hear me anymore, is important for me,ā he explains.
The Gold Label 814e comes with back and sides of solid Honduran rosewood or solid Hawaiian koa (Worsnop has the Honduran rosewood model) paired with a torrefied Sitka spruce soundboard. Each model is available with a natural or sunburst top.
The Revolutionary Action Control Neckā¢
One of the standout features of the Gold Label 814e is Taylorās patented new Action Control Neckā¢, an innovative neck joint design that allows for quick, easy, and precise neck angle adjustments. It marks another step forward from the patented, micro-adjustable design Bob Taylor introduced back in 1999. Unlike traditional neck resets, this system, like Bobās, is also glue-less, and in this case enables effortless fine-tuning on the fly without having to remove the neck or even the strings, and without the use of shims. By simply using a 1/4" nut driver (or standard truss rod wrench) on a nut in the neck block (accessible through the soundhole), a player can raise or lower the action to dial in an ideal setup.
āIt is a massive deal,ā says Worsnop. āWhen it comes to traveling musicians, itās absolutely game changing. This allows you to do a micro-adjustment without having to get in the car and drive. When Iām in the studio, I like having that precision to be able to make it just perfect.ā
For professional musicians, service techs, and recreational players who want to quickly fine-tune their action, the innovative neck design marks a paradigm shift.
In Studio and Onstage
In his Tennessee home, Worsnop has an upstairs studio where he records most of his music. Itās where heās tested countless guitars, searching for the right fit. Though his trusty songwriting guitar has been the aforementioned GS Mini-e Koa Plusāperfect for capturing spontaneous new ideasāwhen it comes to recording, the Gold Label 814e has taken center stage.
āIām working on the new album right now,ā he shares. āIf Iām at home and Iām just wandering around downstairs, which is usually where and how writing happens, [the GS Mini] is the guitar Iām walking around with. And then as soon as thereās an idea, Iāll go upstairs, and itās the Gold Label. Honestly, I donāt play anything else up there now. I put the album recording on hold for this guitar. Itās the only guitar on the album.ā
And it wonāt just live in the studio. Worsnop plans to bring the Gold Label 814e on tour, making it his primary acoustic guitar for live performances.
Performance Highlight: "Ain't No Use"
In a recently recorded performance of his song āAināt No Useā, Worsnop showcases why the Gold Label 814e is such a great fit for him. The song, rich with storytelling and emotional depth, aligns well with the guitarās vintage aesthetic and warm tonal character. It explores the universal tension between who we are and who we want to be, while emphasizing the transformative power of acceptance despite imperfections. The guitarās deep, open sound and full-bodied, muscular tone are a perfect complement to Worsnopās soaring, soulful vocals, amplifying the expressiveness of his performance and highlighting a symbiosis between player and instrument. A video of the performance is featured at the top of this article.
For Worsnop, the Gold Label 814e represents the culmination of years of searching, experimenting and refining his sound. Itās an instrument that feels like it has lived a life, carrying with it the soul and character he always craved in an acoustic.
āI have played music since I was 6 years old, and Iāve spent my entire life looking for my instrument,ā he reflects. āAt 34, Iāve found it.ā
Clean power is an essential part of the pedalboard recipe. Hereās a collection of power supplies that will keep you up and running.
CIOKS DC-7
This power supply features a 1" profile, seven DC outlets with four switchable voltages (9, 12, 15 and 18V) on each outlet, plus a 5V USB outlet and can be expanded for even the most power-hungry boards.
$259 street
cioks.com
Strymon Zuma
Strymon Zuma is the quietest and most powerful pedal power supply of its kind, capable of powering a huge number of guitar pedals silently and reliably with a staggering 500 mA.
$279 street
strymon.com
Mission Engineering 529i
This powerful power supply offers eight 9V isolated outputs and an internal rechargeable battery. It powers your pedalboard for four hours on a single charge via USB port or 12V input. It also includes a doubler cable that allows two 18V outputs.
$199 street
missionengineering.com
Voodoo Lab Pedal Power 3 PLUS
From standard battery-operated stompboxes to high-current DSP effects, the expandable 12-output Pedal Power 3 PLUS combines cutting-edge technology and time-tested analog engineering to ensure any pedal will sound its best.
$179 street
voodoolab.com
DāAddario XPND Pedal Power Battery Kit
If you need portable, wireless power, this unit offers 10,000 mAh that can last up to 10 hours on a single charge. It also includes a USB-C power supply and a patent-pending Gateway hub for ultra-quiet operation.
$169 street
daddario.com
In honor of Paul Reed Smith's birthday today, PRS launches a limited-edition model of Paul's personal instrument.
Introduced on Smithās birthday, February 18, the Charcoal Phoenix Limited Edition is part of the PRS Guitars 40th Anniversary celebration. Only 150 of these instruments will be available worldwide, with each including a 40th Anniversary certificate hand signed by Paul Reed Smith himself.
"When we released the Private Stock John McLaughlin Limited Edition in 2023, I was inspired by its exceptional sound and playability. For the Charcoal Phoenix, I wanted to create something equally remarkable but with a stoptail bridge," said PRS Guitars Founder & Managing General Partner, Paul Reed Smith. "Using chaltecoco for the neck and ziricote for the fingerboard, I achieved an instrument that sustains beautifully and rings with clarity. The deep crimson back and the charcoal microburst top inspired the name āCharcoal Phoenix,ā evoking the imagery of a phoenix rising from fire and ashes.ā
Over the past year, Smith has road-tested this guitar, refining its design and tone. Most recently, he played this model on stage at the late-January 2025 PRS Guitars 40th Anniversary concert at the House of Blues in Anaheim. A deep crimson back contrasts with the Private Stock-grade figured maple top in a charcoal microburst finish. The ripple abalone āOld Schoolā bird inlays on the ziricote fingerboard add a vintage touch.
The Charcoal Phoenix also features the PRS TCI pickups, newly updated for 2025, and EQ mini-toggle switches. The TCI pickups are crafted with American Alnico magnets and slightly modified winding, wiring and electronics specifications. Based on Smithās experience playing this guitar live and in the studio for more than a year, these pickups offer clear tones from spanky single coils to full soapbars. The EQ mini-toggles act as tuned high-pass filters when engaged, removing shelved low end and allowing the high frequencies through for more clarity and musical highs.
Rounding out the details are the PRS Stoptail bridge and PRS Phase III Non-Locking Tuners. The bridge is engineered with curved string slots, brass inserts and steel studs. It is designed to maximize the transfer of the stringsā vibrations through the guitar. The lightweight tuners promote tone transfer for a louder, more resonant instrument.
PRS Guitars is planning a year full of new product introductions. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year at www.prsguitars.com/40 and by following @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.