
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.
- ESP Guitars Welcomes Slipknot's Mick Thomson to Artist Roster ›
- ESP Announces LTD Kirk Hammett Signature Series KH-V ›
- ESP Guitars to Open First U.S. Factory ›
- ESP's 19 New Guitars in the LTD Deluxe Series ›
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.