
ESP debuted new Signature Series, limited-edition models and basses at NAMM 2024.
LTD GH SV-200
The LTD GH SV-200 is the newest Signature Series guitar for Gary Holt, one of the most influential musicians in the world of thrash metal. The LTD SV GH-200 is a more affordable version of Holt’s LTD GH-SV model announced in 2023, with the same offset ESP SV body shape, black finish, and red multi- binding as its higher-end version. Its features include bolt-on construction at 24.75” scale with a mahogany body and three-piece mahogany neck, a roasted jatoba fingerboard, 22 extra-jumbo stainless steel frets, a Floyd Rose 1000 double-locking tremolo, LTD tuners, and a set of direct-mount high-output ESP LH-301 pickups with red covers.
LTD GL Desert Eagle
ESP debuted a new Signature guitar for the company’s longterm artist endorsee George Lynch (Dokken, Lynch Mob) with the LTD GL Desert Eagle, a re-imagining of his famous Kamikaze model. It features an alder body and maple neck, joined with bolt-on construction at 25.5” scale. Its neck profile implements George’s original U shape, and it includes a Macassar ebony fingerboard and 22 extra-jumbo stainless steel frets. Components on the LTD GL Desert Eagle include a Floyd Rose 1000 SE double-locking tremolo with stainless steel screws, a special low-friction volume pot, and a special pickup combination that includes a Seymour Duncan Distortion pickup in the bridge, with push-pull coil splitting on the single volume knob, and an ESP SS-120 single-coil in the neck position. A portion of the proceeds of every LTD Desert Eagle will be contributed to George’s non-profit charity that assists Native American communities and causes. This guitar includes a deluxe ESP hardshell case.
LTD MK EC-FR
The LTD MK EC-FR is a new addition to the Signature Series for Mille Petrozza, founder of pioneering and influential thrash band Kreator. The MK-EC FR starts with the familiar single-cutaway shape of the ESP Eclipse, but offers a flat-top alder body with no bevels, horn scoop, or arm cut, and features black binding on the body, neck, and headstock. Other features include neck-thru-body construction at 25.5” scale, a three-piece thin u-shaped maple neck, and Macassar ebony fingerboard with mother-of-pearl dot inlays, Luminlay glow-in-the-dark side markers, and 24 extra-jumbo stainless steel frets. The all-black hardware on the MK-EC FR includes a Floyd Rose 1000 SE double-locking tremolo with stainless steel screws, precise Grover tuners, and a set of direct-mount EMG 81X (bridge) and EMG 85X (neck) active pickups with brushed black chrome covers. It includes a deluxe ESP hardshell case.
LTD Royal Shiva
The 2024 NAMM Show also saw the debut of a brand new Signature Series guitar for Bill Kelliher of award-winning American metal band Mastodon. Based on a guitar that Kelliher had built by the ESP Custom Shop, the LTD Royal Shiva has a completely unique double-cutaway body shape with a Silver Sunburst finish that extends to the back of the guitars body and neck. The Royal Shiva uses traditional set neck construction at 25” scale, joining a maple-capped mahogany body with a three-piece u-shaped maple neck. Its Macassar ebony fingerboard has large mother-of-pearl block inlays and 22 extra-jumbo frets. Components on the Royal Shiva include a TonePros TOM bridge and tailpiece, LTD locking tuners, a bone nut, a multi-ply black pickguard, and a set of Kelliher’s signature Mojotone Hellbender humbucker pickups. This guitar also includes a deluxe ESP hardshell case.
LTD TED-EC
The LTD TED-EC joins the Signature Series of Ted Aguilar, guitarist of Bay Area thrash band Death Angel. This single-cutaway EC has a Black finish sharply contrasting with white pickup covers/rings and white pearloid tuners. The TED-EC features special design aspects like neck-thru-body construction at 24.75” scale, mahogany body with maple cap, thin u-shaped three-piece mahogany neck, and Macassar ebony fingerboard with mother-of-pearl dot inlays and 24 extra-jumbo frets. Components on the TED-EC include a recessed Gotoh TOM bridge with string thru body, LTD locking tuners, and a set of EMG 81 (bridge) and EMG 60 (neck) active pickups with white covers. The TED-EC includes a deluxe ESP hardshell case.
LTD FL-4
Two new Signature Series basses also made their debut at the 2024 NAMM Show. The LTD FL-4 is the new signature bass for Fred Leclercq, bass player for German thrash metal band Kreator. The FL-4’s body shape is an adaptation of ESP’s Forest/F shape, but with a cutout at the tail end. It has an equally distinctive finish, with Satin Black that bursts to Red on the front and back edges of its body. The FL-4 features neck-thru-body construction at 34” scale, pairing an alder body with an extra-thin five-piece maple/purpleheart neck and Macassar ebony fingerboard with black binding, red offset dot inlays, and 24 extra-jumbo stainless steel frets. Its sound is driven by a single active EMG 35P pickup. Other components of the FL-4 include a Hipshot A Style bridge and Grover mini-tuners. The FL-4 includes a deluxe ESP hardshell case.
LTD MLB-4
ESP also announced the new LTD MLB-4, the company’s first Signature Series bass for Mike Leon of Brazilian-American groove/thrash metal band Soulfly. The MLB-4 is based on the musician’s personal ESP Custom Shop B Series bass, and features a textured sandblasted finish on its swamp ash body, a complementing black satin headstock, and an open-pore finish on the back of its extra-thin five-piece wenge/purpleheart neck. The MLB-4 features sturdy 6-bolt construction at 35” scale, a Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets, and a premium active pickup set with two Nordstrand Big Splits. Other controls and components include individual volume knobs for each pickup, ABQ-3MS three-band EQ controls, Gotoh tuners, and a Gotoh 404BO-4 hardtail bridge. This bass includes ESP deluxe hardshell case.
ESP LTD Deluxe EC-01FT
The LTD Deluxe EC-01FT is a single-cutaway guitar with a flat-top body and clean electronics layout. It features a comfortable 24.75” scale with a smooth set-thru heel construction. It features a mahogany body and a distinctive brushed black pickguard. Its mahogany neck has a 43mm nut, slightly wider than is standard for EC models, allowing for comfortable ergonomics in power chords and fluid lead lines. It features a Macassar ebony fingerboard with pearloid block inlays and 22 extra-jumbo stainless steel frets. A recessed TonePros TOM bridge with string thru body keeps string height low and comfortable while maximizing resonance. Other components include LTD locking tuners.
Perhaps the biggest feature of the EC-01FT is the Custom 14, a new custom pickup designed exclusively for ESP by Seymour Duncan. Purpose-built to cover the specific needs of the ESP player, the EC-01FT’s flexible and dynamic Custom 14 pickup offers the range of tones needed by the contemporary guitarist, able to handle everything from clean, chimey intros to sizzling rock, classic metal, and hardcore tones, as well as the most crushing modern chugging and articulate, angular rhythm lines. A push-pull control on the volume knob splits this pickup to a wide-ranging single coil bridge tone.
Horizon Custom '87
The Horizon Custom ’87 takes the archtop body of the ESP Horizon, and offers it with minimal adornment for unencumbered playability. It offers neck-thru-body construction at 25.5” scale, pairing an alder body and an extra-thin three-piece maple neck. The Horizon Custom ’87 features a Macassar ebony fingerboard with 24 extra-jumbo frets and no inlays (using side position dots, like the 1980s Horizon version). Its components include a Floyd Rose 1000 double-locking tremolo, a Seymour Duncan TB-5 Custom Trembucker pickup in the bridge, and a Seymour Duncan Hot Rails pickup in the neck position. Coil spitting for single-coil tones on either or both pickups is available via push-pull controls on the volume and tone knobs.
ESP also announced updates to the Signature Series guitar of Lars Frederiksen of the iconic punk rock band Rancid. The LTD Volsung is now being offered in a new Oxblood Satin finish, and its design has been modified to a 22-fret design, maximizing the sweet spot for the neck pickup. The Volsung’s components include a TonePros locking TOM bridge and tailpiece, Gotoh tuners, and a set of Lars' signature EMG pickups, the LF-DMF. It also offers a unique three-control configuration, with individual knobs for each pickup volume plus a tone control. It includes a deluxe ESP hardshell case.
For more information, please visit espguitars.com.
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Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BlueThe Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, we’re talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ’84 to their shared guitar journey and how they both thought about gear. And in case you’ve heard otherwise, Kurt was never a Melvins roadie!
Osborne’s latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborne’s life. We dig into that and how it all relates and much more.
In challenging times, sometimes elemental music, like the late Jessie Mae Hemphill’s raucous Mississippi hill country blues, is the best salve. It reminds us of what’s truly essential––musically, culturally, and emotionally. And provides a restorative and safe place, where we can open up, listen, and experience without judgement. And smile.
I’ve been prowling the backroads, juke joints, urban canyons, and VFW halls for more than 40 years, in search of the rawest, most powerful and authentic American music. And among the many things I’ve learned is that what’s more interesting than the music itself is the people who make it.
One of the most interesting people I’ve met is the late Jessie Mae Hemphill. By the time my wife, Laurie Hoffma, and I met Jessie Mae, on a visit to her trailer in Senatobia, Mississippi, she’d had a stroke and retired from performing, but we’d been fortunate to see her years before at the New Orleans Jazz & Heritage festival, where she brought a blues style that was like quiet thunder, rumbling with portent and joy and ache, and all the other stuff that makes us human, sung to her own droning, rocking accompaniment on an old Gibson ES-120T.
To say she was from a musical family is an understatement. Her grandfather, Sid, was twice recorded by Alan Lomax for the Library of Congress. While Sid played fiddle, banjo, guitar, harmonica, keyboards, and more, he was best known as the leader of a fife-and-drum band that made music that spilled directly from Africa’s main artery. Sid was Jessie Mae’s teacher, and she learned well. In fact, you can see her leading her own fife-and-drum group in Robert Mugge’s wonderful documentary Deep Blues(with the late musician and journalist Robert Palmer as on-screen narrator), where she also performs a mournful-but-hypnotic song about betrayal—solo, on guitar—in Junior Kimbrough’s juke joint.
That movie, a 1982 episode of Mr. Rogers’ Neighborhood (on YouTube) where she appears as part of Othar Turner’s Gravel Springs fife-and-drum band, and worldwide festival appearances are as close as Jessie Mae ever got to fame, although that was enough to make her important and influential to Bonnie Raitt, Cat Power, and others. And she made two exceptional albums during her lifetime: 1981’s She-Wolf and 1990’s Feelin’ Good. If you’re unfamiliar with North Mississippi blues, their sound will be a revelation. The style, as Jessie Mae essayed it, is a droning, hypnotic joy that bumps along like a freight train full of happily rattling box cars populated by carefree hobos. Often the songs ride on one chord, but that chord is the only one that’s needed to put the music’s joy and conviction across. Feelin’ Good, in particular, is essential Jessie Mae. Even the songs about heartbreak, like “Go Back To Your Used To Be” and “Shame on You,” have a propulsion dappled with little bends and other 6-string inflections that wrap the listener in a hypnotic web. Listening to Feelin’ Good, it’s easy to disappear in the music and to have all your troubles vanish as well—for at least as long as its 14 songs last.“She made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag.”
The challenge I’ve long issued to people unfamiliar with Jessie Mae’s music is: “Listen to Feelin’ Good and then tell me if you’re not feeling happier, more cheerful, and relaxed.” It truly does, as the old cliché would have it, make your backbone slip and your troubles along with it. Especially uptempo songs like the scrappy title track and the charging “Streamline Train.” There’s also an appealing live 1984 performance of the latter on YouTube, with Jessie Mae decked out in leopard-print pants and vest, playing a tambourine wedged onto her left high-heel shoe––one of her stylish signatures.
Jessie Mae was a complex person, caught between the old-school dilemma of playing “the Devil’s music” and yearning for a spiritual life, sweet as pecan pie with extra molasses but quick to turn mean at any perceived slight. She also spent much of her later years in poverty, in a small trailer with a hole in the floor where mice and other critters got in. And she was as mistrustful of strangers as she was warm once she accepted you into her heart. But watch your step before she did. On our first visit to her home, she made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag and would make Dirty Harry envious.
Happily, she took us into her heart and we took her into ours, helping as much as we could and talking often. She was inspiring, and I wrote a song about her, and even got to perform it for her in her trailer, which was just a little terrifying, since I knew she would not hold back her criticism if she didn't like it. Instead, she giggled like a kid and blushed, and asked if I’d write one more verse about the artifacts she’d gathered while touring around the world.
Jessie Mae died in 2006, at age 82, and, as happens when every great folk artist dies, we lost many songs and stories, and the wisdom of her experience. But you can still get a whiff of all that––if you listen to Feelin’ Good.
Intermediate
Intermediate
How David Gilmour masterully employs target notes to make his solos sing.
When I was an undergraduate jazz performance major struggling to get a handle on bebop improvisation, I remember my professor Dave LaLama admonishing me, “If you think playing over the fast tunes is hard, wait until you try playing over the ballads. What Dr. Lalama was trying to impart was that playing fast scales over fast changes could get you by, but playing melodically over slow tempos, when your note choices are much more exposed, would really test how well you could create meaningful phrases.
Although getting past the “this scale works over these chords” approach to improvisation generally requires hours of shedding, aiming for particular target notes (specific notes over specific chords) is an optimum strategy to maximize your practice time. In the realm of rock guitar, I can think of no greater master of the melodic target note technique while playing ballads than David Gilmour.
For the unfamiliar few, Gilmour was first enlisted by fledgling psychedelic rockers Pink Floyd in 1967, when original guitarist/vocalist Syd Barrett began having drug-induced struggles with mental health. The band experimented with various artistic approaches for several years before refining them into a cohesive “art rock” sound by the early ’70s. The result was an unbroken streak of classic, genre-defining conceptual albums that included Meddle, The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. Although bassist/vocalist Roger Waters assumed the role of de facto bandleader and primary songwriter, Gilmour was a significant contributor who was praised for his soulful singing and expertly phrased lead playing that seemed to magically rework pedestrian blues phrases into sublimely evocative melodies. His focus on musicality over excessive displays of technique made him a musician’s musician of sorts and earned him a stellar reputation in guitar circles. When Roger Waters left Pink Floyd in the mid ’80s, Gilmour surprised many by calmly assuming the leadership mantle, leading the band through another decade of chart-topping albums and stadium tours. Although Pink Floyd are not officially broken up (keyboardist and founding member Richard Wright died in 2008 while Gilmour and drummer Nick Mason joined forces with Ukrainian singer Andriy Khlyvnyuk on the one-off single “Hey Hey Rise Up” in 2022), Gilmour has mostly spent the last few decades concentrating on his solo career. His latest release, Luck and Strange, features his wife, novelist Polly Sampson, as primary lyricist and daughter Romany Gilmour as vocalist on several tracks. His recent tour filled arenas around the world.
Let’s take a page from Gilmour’s hallowed playbook and see how incorporating a few well-chosen target notes can give our playing more melody and structure.
For the sake of simplicity, all the examples use the Gm/Bb major pentatonic scale forms. In my experience as a teacher, I find that most students can get a pretty solid handle on the root-position, Form-I minor pentatonic scale but struggle to incorporate the other four shapes while playing lead. One suggestion I give them is to work on playing the scales from the top notes down and focus on the four highest strings only. I believe this is a more logical and useful approach to incorporating these forms into your vocabulary. Try playing through Ex. 1, Ex. 2, Ex. 3, and Ex. 4, which are based on the top-down approach of the Form I, Form II, Form IV, and Form I (up an octave) shapes respectively.
Ex. 1
Ex. 2
Ex. 3
Ex. 4
Once you’ve gotten a handle on the scales, try playing Ex. 5, which is loosely based on the extended introduction to Pink Floyd’s “Shine On You Crazy Diamond.” We begin by soloing over a static Gm chord for four measures. As target notes, I’ve chosen the root and 5th of the G minor chord ( the notes G and D, respectively). In the first measure, we’re starting in a minor pentatonic Form I with a bend up to the root of the Gm chord. A flurry of notes on beat 4 sets us up for the bend to the D in the second measure. The D note is again targeted in measure three—this time up an octave via a shift into the minor pentatonic Form II shape. Measure four aims for the G tonic up an octave, but ends with a bend that targets a C—the root of the IVm (Cm) chord in the final measure. By focusing on target notes and connecting them with embellishing licks, your lead lines will have a much better sense of direction and melodic narrative. Also, by only targeting the root and 5th of the chord, the target note approach will be easily transferrable to songs in a G blues context (G pentatonic minor over a G major or G dominant tonality).
Ex. 5
A further exploration of this approach, Ex. 6 begins with a two-beat pickup that resolves to the scale tonic G. This time however, the G isn’t serving as the root of the Im chord. Instead, it’s the 5th of Cm—the IVm chord. Employing the root of the pentatonic scale as the fifth of the IVm chord is a textbook Gilmour-ism and you can hear him use it to good effect on the extended intro to “Echoes” from Live in Gdansk. When approaching the C on beat 2 of the second full measure, bend up from the Bb on the 6th fret of the 1st string then slide up to the C on the 8th fret without releasing the bend or picking again. In the final measure, I’ve introduced two Db notes, which serve as the b5 “blue note” of the scale and provide melodically compelling passing tones on the way to the G target note on beat 4.
Ex. 6
Exclusively positioned in the Form-IV G minor pentatonic shape, Ex. 7 is based on a bluesy lick over the I chord in the first and third measures that alternately targets a resolution to the root of the IV chord (C ) and the root of the V chord (D7#9) in the second and fourth measures. Being able to resolve your lead phrases to the roots of the I, IV, and V chords on the fly is an essential skill ace improvisers like Gilmour have mastered.
Ex. 7
Now let’s turn our attention to the Bb major pentatonic scale, which is the relative major of G minor. Play through the Form I and Form II shapes detailed in Ex. 8 and Ex. 9 below. You’ll see I’ve added an Eb to the scale (technically making them hexatonic scales). This allows us a bit more melodic freedom and—most importantly—gives us the root note of the IV chord.
Ex. 8
Ex. 9
Channeling the melodic mojo of Gilmour’s lead jaunts on Pink Floyd’s “Mother” and “Comfortably Numb,” Ex. 10 targets chord tones from the I, IV, and V (Bb, Eb, and F) chords.
The muted-string rake in first measure helps “sting” the F note, which is the 5th of the Bb. Measure two targets a G note which is the 3rd of the Eb. This same chord/target note pairing is repeated in the third and fourth measures, although the G is now down an octave. For the F and Eb chords of measures five and six, I’ve mirrored a favorite Gilmour go-to: bending up to the 3rd of a chord then releasing and resolving to the root (an A resolving to an F for the F chord and a G resolving to an Eb for the Eb chord.) The final measure follows a melodic run down the Bb scale that ultimately resolves on the tonic. Be sure to pay attention to the intonation of all your bends, especially the half-step bend on the first beat of measure seven.
As a takeaway from this lesson, let’s strive to “Be Like Dave” and pay closer attention to target notes when soloing. Identify the roots of all the chords you’re playing over in your scales and aim for them as the beginning and/or ending notes of your phrases. Think of these target notes as support beams that will provide structure to your lead lines and ultimately make them more melodically compelling.