North Hollywood, CA (December 18, 2018) -- Artist-designed guitars and basses under the ESP and LTD Signature Series have long been among the more popular product offerings by the company. For 2019, the Signature Series expands with new models by players such as Reba Meyers (Code Orange), George Lynch, Stephen Carpenter (Deftones), Frank Bello (Anthrax), Bill Kelliher (Mastodon), Gary Holt (Slayer/Exodus) and more.
The Reba Meyers LTD RM-600 is the first Signature Series guitar ever offered by ESP based on the design of a female guitar player (the company has previously done a signature bass for Doris Yeh of Chthonic). Based on the Viper shape, the RM-600 features neck-thru-body construction, a mahogany body in a new Black Marble Satin finish, a 3-piece maple neck with Macassar ebony fingerboard, a reverse headstock based on the LTD M Series, a single EMG 81 pickup with special orange logo, and an EMG TKO kill switch. Code Orange’s album Forever was nominated for 2018 Grammy award in the “Best Metal Performance” category.
Other new Signature Series models include the LTD SC-607B1H, a new signature model for Stephen Carpenter (Deftones). Built at 27” baritone scale, it’s a 7-string guitar that features neck-thru-body construction, a single Fishman Fluence SRC Signature pickup, and a new Purple Satin finish. The LTD GL-200MT is a new signature model for iconic guitarist George Lynch, and is a lower-priced version of Lynch’s famous ESP M-1 Tiger guitar with its yellow finish and tiger stripe graphics. Similarly, the LTD FBJ-400 is a new and more affordable version of the signature model for Anthrax bass player Frank Bello. It’s available in a Black Satin finish, and includes EMG P-HZ/EMG LJ-HZ pickups with red covers. The LTD TED-600T is a new TE shaped guitar for Ted Aguilar of Death Angel with neck-thru-body construction, a mahogany body with maple cap, a set of EMG 60/EMG 81 pickups with white covers, and a matching Snow White finish with white binding. The LTD KS-M6 is a 6-string version of the signature model for guitarist Ken Susi of Unearth. ESP has also updated available finishes on two other popular Signature Series models, with Gary Holt’s LTD GH-600 model now being offered in Snow White, and Bill Kelliher’s LTD Sparrowhawk now being offered in Black.
LTD Deluxe “1000 Series” guitars have long been among ESP’s most popular and best-selling models due to their combination of professional-quality designs and components along with appealing, affordable pricing for instruments of their caliber. ESP has announced a number of new “1000 Series” models for 2019.
The unique and bold Arrow guitar shape is now being offered in the LTD Deluxe series for the first time with the Arrow-1000, being offered in Snow White and Violet Andromeda finishes. These guitars offer neck-thru-body construction and high-end components including Grover tuners, Floyd Rose bridge, and an EMG 85/EMG 81 pickup set. The Arrow is also being added to the LTD Black Metal Series with the Arrow Black Metal, featuring a Black Satin finish, black hardware, and single EMG 81 pickup.
The popular LTD EC guitar shape, based on the single-cutaway ESP Eclipse, is getting three new models. The EC-1001T/CTM is being offered in Silver Sunburst Satin and Snow White finishes. These guitars offer set-thru construction, a full-thickness chambered mahogany body with maple cap, and a set of EMG 66-TW/EMG 57-TW pickups. These “TWIN” pickups are being offered for the first time on a production guitar, and allow users to split the active neck and bridge pickups with push-pull controls. The EC-1000T is another chambered full-full-thickness model, available in Honey Burst Satin finish. This model offers Fishman Fluence Open Core Classic Humbucker pickups with three voicings, also the first production guitar to offer this innovative pickup.
The new LTD TE-1000 EverTune is the first TE guitar shape ESP has offered that includes the powerful and innovative EverTune constant tension bridge. It also features the new independently splittable EMG 57/66 TWIN set, and is available in an attractive Black Natural Burst finish. The classic-shaped SN-1000FR, offered in Pearl White finish, has a traditional bolt-on roasted maple neck on an alder body, a Floyd Rose bridge, and an H/S/S pickup set with two Seymour Duncan Hot Strat single coils and a Seymour Duncan Custom 5 humbucker with a push-pull coil split control. Several new LTD Deluxe “1000 Series” models offer exciting and innovative new color fade finishes. The H-1001FR is available in Violet Shadow Fade; the MH-1000HS is being offered in Violet Shadow Fade and Black Cherry Fade; the 7-string MH-1007 comes in Black Fade finish. The LTD Xtone Series also has new “1000 Series” additions with the PS-1000, available in Violet Shadow and Purple Sparkle finishes and employing Seymour Duncan Phat Cat overwound single-coil pickups.
ESP Guitars has announced a collection of new premier-quality guitar models in their ESP E-II Series. ESP E-II are guitars that are produced at the ESP factory in Japan.
The E-II Arrow-NT is being debuted in three finishes: Black, Snow White, and Black Silver Fade, while the E-II Arrow also gets new Snow White and Silver Fade finishes. This bold V-shaped guitar features neck-thru-body construction with alder body and 3-piece maple neck and ebony fingerboard. It offers a Floyd Rose Original bridge, or a Gotoh TOM bridge with string-thru-body for Non-Trem (NT) version. Other high-end components include an EMG 85/EMG 81 pickup set and Gotoh locking tuners.
The E-II Eclipse-7 EverTune is a 7-string guitar in the popular single-cutaway Eclipse shape that includes the innovative EverTune constant tension bridge system. Available in Black Satin finish, the guitar includes set-thru construction, a mahogany body with maple cap, and a Seymour Duncan Sentient/Pegasus pickup set with push-pull coil splitting. Three new finishes/tops have been announced for the E-II Eclipse: Blue Natural Fade with a Buckeye burl maple top, Black Natural Burst with a flamed maple top, and Snow White Satin with a maple cap. These models include the new EMG 57/66 TWIN set for coil splitting each active pickup.
Three new ESP E-II Horizon models have been announced for 2019. These include the E-II Horizon-III FR, available in Black Cherry Fade finish. It’s a neck-thru-body design with a Floyd Rose Original bridge and a set of Seymour Duncan SH-2n/Custom 5 pickups. The E-II Horizon FR comes in Black Natural Burst finish and also includes an Original Floyd, along with a Seymour Duncan Sentient/Pegasus pickup set. The E-II Horizon NT-II comes in Tiger Eye Amber Fade finish, and includes an EMG 66/57 pickup set. All three models have quilted maple tops and coil splitting control. The E-II M-II NT offers a Buckeye burl maple top in Black Natural Fade finish, and includes a Hipshot bridge and a set of Bare Knuckle Aftermath Tyger pickups. A 7-string version, the E-II M-II 7, comes in Purple Natural Fade finish with a set of Bare Knuckle Warpig 7st Tyger pickups. The E-II SN-2 is a new model in Blue Natural Fade finish. A classic shape with an alder body and bolt-on neck, it includes a Floyd Rose Original bridge and Bare Knuckle Aftermath Battleworn pickups. The E-II Viper offers a premium-quality version of the asymmetrical double-cut Viper shape, with set-thru construction and high-end components, including an EMG 66/57 TWIN pickup set with coil splitting, and is available in Black and Urban Camo finishes.
ESP Guitars is introducing 13 new bass models in their popular and affordable LTD Series for 2019.
The AP-4 Black Metal is the first bass addition to the LTD Black Metal Series, a collection that debuted in 2018 to immediate acclaim. The AP-4 Black Metal offers the classic shape of the AP Series basses, with a bolt-on maple neck and an alder body, but adds the distinctive menacing cosmetic vibe of Black Satin finish, all black hardware, and a black LTD logo on the headstock. The bass includes pro-quality components including Grover tuners, a Babicz FCH-4 bridge, and a single EMG 35CS pickup. The AP Series bass series also expanded with new Pelham Blue finishes for the AP-4 and AP-5 basses, as well as a new Snow White finish for the affordable AP-204.
Four big updates to basses in the LTD B Series are also being debuted at NAMM 2019. The B-1004 Multi-Scale and B-1005 Multi-Scale now make use of environmentally-friendly and great-looking ziricote tops on swamp ash bodies, and the basses also now include an upgraded black bone nut, as well as the angled fret multi-scale design, Gotoh tuners, Hipshot Solo bridge, and Nordstrand Big Splits pickup set of the previous model. The updated B-1004 and B-1005 basses have been switched to tops made of bocote, an exotic figured wood that is sustainable, and offer Gotoh tuners and bridge along with the Nordstrand Big Splits pickup set. All four of the updated B Series basses have a Natural Satin finish.
The LTD Stream Series has returned to the ESP lineup by popular demand, with a new flat-top redesign. The Stream-1004 and Stream-1005 have premium features that include a swamp ash body with solid burled maple top, a 5-piece maple/purple heart neck, Macassar ebony fingerboard, Hipshot bridge and EMG pickup set. These new basses are being offered in Black Natural Burst finish. The new Stream-204 and Stream-205 are for more budget-minded bass players, and include a mahogany body, a 3-piece maple neck with roasted jatoba fingerboard, and a Black Satin finish.
Finally, the LTD Signature Series bass for Frank Bello of Anthrax now has an even more affordable version with the FBJ-400. This bass offers a set of EMG P-HZ/EMG LJ-HZ pickups with red covers that look great on the Black Satin finish.
For more information:
ESP Guitars
Philadelphia-raised metal guitarist Xander Raymond Charles has built himself quite a following on YouTube—his subscribers now number over 120,000. But when he’s not YouTubing, he’s playing live, and earlier this year, he went out on a national tour with metalcore artist elijah. Charles formed half of elijah’s brutal dual guitar section, along with Brandon Kyle. Ahead of a recent Nashville gig, the two shredders sat down with PG’s Chris Kies to share what they packed for the road trip.
Brought to you by D’Addario.
Rooting Around
Charles’ go-to metal machine is this Fender Jim Root partscaster with a 2014 Strat body and 2018 neck. He put in a pair of Root’s signature EMG Daemonum pickups, then pulled out the neck one out of “boredom” while on tour. He’s also replaced a lot of the factory hardware with odds and ends from Lowes or Home Depot. Like most of the duo’s guitars, the partscaster is tuned to drop C, and this one rocks a set of Nashville-made Stringjoy .012–.062 strings.
From the Bench to First String
Kyle’s main ride is this ESP LTD TE-401, which started its life as a backup but has graduated to be Kyle’s No. 1. It’s an affordable model from ESP’s line that Kyle maintains is one of the best-sounding guitars he’s ever played. He loves the playability and feel, which are similar to the Fenders he grew up playing. Obviously, the EMG pickups give it more gas than other T-styles.
Backup Warhorse
This single-humbucker, JM-style ESP LTD XJ-1 HT is another warhorse in Kyle’s stable and serves as a backup during elijah’s current set. It’s equipped with D’Addario XL .012–.056s.
Low and Long
This stunning Squier Vintage Modified Baritone Jazzmaster can handle all of Charles’ low-end demands with its 30" scale length.
Fresh from the Lab
Charles was gifted this 7-string Cerberus prototype, which is geared up with locking tuners, a single Guitarmory Pickups humbucker, and a 30" scale length.
Quad Power
Both Charles and Kyle are running Neural DSP Quad Cortexes, and after some testing, both decided to roll with a profile of an EVH 5150 loaded with EL34s. For clean sounds in the set, they lean on a Friedman profile. Sennheiser wireless systems let both guitarists cut loose onstage.
Eric Deaton - Oxford Mississippi
“It’s all about the one,” says Eric Deaton. “You’ve got your one-chord drone, so it’s just a groove and very funky—like James Brown’s bass players.”
Photo by Chris Johnson
Eric Deaton got his break one night when trance-blues patriarch Junior Kimbrough’s bassist didn’t show up at Junior’s juke joint, in the rolling hills outside of Holly Springs, Mississippi. Deaton was already a regular guest there, on guitar, but after he subbed on 4-string that evening, he became a staple of the low end for members of the region’s revered Kimbrough and Burnside musical families, and many other Magnolia State blues and roots players. In fact, if you’ve spent time in the bars and blues festivals of the middle and deeper South, and you haven’t seen the longhaired, cheerful Deaton bobbing to the beat, you probably had your eyes closed.
Schooled by the Kimbroughs and Burnsides, Deaton’s specialty is the rumbling, loping, snake-charmer’s pulse of north Mississippi hill country, where a subgenre of blues that lays bare the style’s deepest African roots has taken hold for generations. “It’s all about the one,” he explains. “You’ve got your one-chord drone, so it’s just a groove and very funky—like James Brown’s bass players. People talk about how hypnotic it is, and that’s true. Playing it, you feel yourself lifting off a little bit. It takes you to a whole ’nother level. It’s psychedelic!”
While Deaton, who also fronts his own band on guitar, has been a fixture on that circuit almost since he arrived from Raleigh, North Carolina, in the early ’90s with a powerful yearning to play the blues in the land where it began, his profile has risen sharply over the past three years. Major-league raw-and-dirty blues fan Dan Auerbach drafted Deaton for a host of productions, including Jimmy “Duck” Holmes’ Grammy-nominated Cypress Grove, Hank Williams, Jr.’s Rich White Honky Blues, two albums by Robert Finley, and the Black Keys’ Delta Kream. Auerbach also brought Deaton to play bass on the Keys’ 2022 world tour, and special dates to promote his Easy Eye Sound label’s 2023 blues compilation, Tell Everybody.
“I’d never been in front of an audience of that size prior to that, so it was just an amazing experience, to see how a big tour like that is put together and all,” says Deaton, who plays a Blues King PJ made by St. Blues in Memphis. “And musically, it’s been a lot of fun because I am playing the same basslines I’ve been playing since I was 18, but doing that in arenas and Red Rocks and places like that. Because Dan and Pat [Carney, Black Keys drummer] made me a featured artist on the Delta Kream record, we got to share in a Grammy nomination for Best Contemporary Blues Album, too.”
— Ted DrozdowskiDezron Douglas - New York, New York
“To be honest with you, I'm never worried about taking a solo. You know, that's really not my job.,” says Dezron Douglas
Photo by Andrew Blackstein
Dezron Douglas is acutely aware of what he needs to do on any given night. Whether he’s playing challenging modern jazz with saxophonist Ravi Coltrane at Birdland or he’s deep in a spacey horn-fueled funk jam at Red Rocks with Phish guitarist Trey Anastasio, the vibration, according to Douglas, is the same. “Too many bass players are thinking about soloing. And you can hear that when they’re playing,” he Douglas shortly before a recent Birdland hit with Coltrane (who he has been working with for 20 years). “To be honest with you, I’m never worried about taking a solo. You know, that’s not my job.”
Douglas’ style is rooted in jazz, but not bound by it. He was mentored in college by legendary saxophonist Jackie McLean and was taught that real music education needs to happen outside of the classroom. “Jackie let me out of school for my first tour ever,” remembers Douglas. That tour was with guitarist Johnnie Marshall and it was a brutal eight-week run through the chitlin circuit. Young Dezron was ready to solo and show his new employer what he could do. “I took a solo. The crowd was clapping and whatnot. And then for the next week and a half, he didn't give me another solo,” laughs Douglas. It was a tough lesson, but taught Douglas that his role needed to be supportive above all else.
Douglas has released a string of solo albums since 2012, led his own quartet at the Village Vanguard, and developed as a composer. His latest album, Atalaya, is a deep portrait of an artist who has not only an original voice on his instrument, but in his tunes. That is increasingly rare in today’s jazz scene, where there’s a trend to value obsessive technicality over melody and groove.
In 2021, after the death of bassist Tony Markellis, Phish guitarist Trey Anastasio chose Douglas to join his solo band. “Tony and Trey had a report for 30 years,” says Douglas. “And, you know, you can't recreate that. All you can do is learn the material, pay homage, and create something different of your own.” Douglas’ intrinsic versatility has been a perfect fit with Anastasio’s soul-funk outfit. “With Trey, I get to be myself,” he says.
—Jason Shadrick
Paul Bryan - Los Angeles, California
“With the bass, you’re the bus driver, musically,” Paul Bryan explains. “It’s natural to keep your eye on the ball in terms of rhythm, harmony, arrangement, dynamics … developing spaces at the core of all of those things.”
Paul Bryan’s new album, Western Electric, is a journey through melody and groove in service of a futuristic jazz-rock sound that references classic jazz, dub, and post-rock. Bryan’s groovy and lyrical electric bass welds musical elements, intertwining with drummer Jay Bellerose, saxophonist Josh Johnson, and overdubbed synths, all often generously dosed with effects. Each sound is in service of a bigger picture—the kind of cohesive vision he seems to bring to each project.
“With the bass, you’re the bus driver, musically,” Bryan explains. “It’s natural to keep your eye on the ball in terms of rhythm, harmony, arrangement, dynamics … developing spaces at the core of all of those things.” And he does so on a wide variety of projects. Over the course of his career, Bryan’s played bass on recordings by many artists, including Norah Jones and Mavis Staples, and is in Aimee Mann’s band in addition to having produced five of her albums. He’s also a member of the Los Angeles creative-music scene, where he’s active as a player, engineer, and producer.
As much as Western Electric is a product of that fertile scene—which also includes Johnson and Bellerose—it’s so clearly from Bryan’s brain. The Fender Jazz and Jag player is an obvious record head, citing Jo Jones and Milt Hinton’s Percussion and Bass and Sonny Rollins’Way Out West as references—both of which sound nothing like Bryan’s record to a casual listener. But the concept is clear, foregrounding the relationship of his melodic, effects-heavy playing and Bellerose’s deep grooves.
And beyond the playing, Bryan approaches the album’s sonic details like a dub master: “Once you've heard something for 20 seconds, your brain goes, ‘Okay, I know what that is.’ So, I’ll do some cool reverb trick or add some cool low-end thump. I’m always trying to reset the table throughout the song.”
—Nick Millevoi
Sébastien Provençal - Montreal Quebec
“It’s all about notes duration, my intentions behind the notes, the tones, and being blessed to play in a band with my best friends, who are amazing musicians,” says Sébastien Provençal.
Photo by Vincent Gravel
It was pouring rain when Population II took the stage in Montreal’s Parc La Fontaine on June 23. The hometown trio were headlining a progressive celebration for Québec independence on the eve of St.-Jean-Baptiste Day—the Francophone Canadian province’s equivalent of the Fourth of July. A couple hundred people splashed around in the swampy grass to catch the band’s free set, and it was immediately evident why: Population II are one of the most exciting Canadian bands of the decade.
In a trio, all members are especially responsible for the band’s success or failure, but that feels particularly true for Population II, whose daring arrangements and sonic explorations dart between post-punk, jazz, garage, new wave, psych- and prog-rock, and more. Twenty-nine-year-old bassist Sébastien Provençal, sporting a 1968 Fender Telecaster Bass routed through a playground of pedals into a 1972 Hiwatt DR201 and blasted out an Ampeg 8x10, establishes and carries arrangements forward while vocalist/drummer Pierre-Luc Gratton and guitarist/organist Tristan Lacombe thrash and spark around him. Amid the storm in Parc La Fontaine, the combination was euphoric.
Provençal’s opening bass line on “R.B.,” off of this year’s EP Serpent Échelle, is an instant classic, perfectly setting the tone for the song’s mad ramble. The riff is elastic and fluid, but it’s also martial and commanding. This is the heart of Provençal’s playing: It’s playful and exploratory, but executed with such authority and precision that it feels industrial, ruthless. See also his introductory synth-bass gambit on “Orlando,” the stunning opener from their 2023 LP, Électrons libres, du québec. Provençal’s tones often mutate and morph between movements within single songs—it’s clear he puts a ton of thought into not just his arrangements, but the textures they’re presented with. “It’s all about notes duration, my intentions behind the notes, the tones, and being blessed to play in a band with my best friends, who are amazing musicians,” Provençal says. “With this in mind, my style is intentionally bold with a strong sense of vulnerability.”
Provençal’s top influences also offer a vivid picture of his style. Bootsy Collins and Aston “Family Man” Barrett knock up against punk Mike Watt, Can’s Holger Czukay, Yes’ Chris Squire, synth-rock pioneer Simeon Coxe, jazz-prog wizard Hugh Hopper, and Miles Davis’ fusion specialist Michael Henderson (“The best to ever do it on the electric bass,” says Provençal). Excellent bassists have been making smart, challenging weirdo art with their instrument for decades, carving out new meanings of the word “bassist,” but I’m grateful that I get to hear Sébastien Provençal do it here in Montreal, pushing music and this province, and this country, to weirder, cooler places.
— Luke Ottenhof