ESP has debuted a number of new additions at the 2025 NAMM Show.
At the 2025 NAMM Show, ESP Guitars (NAMM Booth 210D) debuted 10 new guitars in their popular LTD Deluxe series. Used on recordings and tours worldwide, LTD Deluxe guitars provide professional-level components and build quality.
“It’s easy to see why LTD Deluxe represents ESP’s most popular guitar series,” says Blue Wilding, ESP Brand Manager. “These are high grade instruments that allow serious working musicians to have the performance and aesthetics they want without wiping out their wallet.”
Three new LTD Deluxe guitars are being offered in an exciting Silver Blast finish. The LTD Deluxe XJ-1 Baritone uses the offset XJ shape, offering bolt-on construction at 27” baritone scale and pairing a sandblasted swamp ash body to a three-piece roasted maple neck. Design features of the XJ-1 Baritone include a tiltback reverse headstock, a Macassar ebony fingerboard with block inlays and 22 extra-jumbo stainless steel frets. It also includes LTD locking tuners, a black bone nut, a brushed black pickguard, a Hipshot hardtail bridge with string-thru-body, and a single Fishman Fluence Modern 3-Voice Humbucker pickup with voice selection via push/pull control.
The LTD Deluxe SN-1000HT is another new model in the Silver Blast finish on a sandblasted swamp ash body. Built with bolt-on construction at 25.5” scale, it pairs a roasted maple neck and Macassar ebony fingerboard (scalloped from frets 17-22) with a compound radius, mother of pearl dot inlays, and 22 extra- jumbo stainless steel frets. Components on the SN-1000HT include LTD locking tuners, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and a pair of Fishman Fluence Modern 3-Voice Humbucker pickups (ceramic in the bridge, alnico in the neck), with voice selection via push/pull controls.
Rounding out the new Silver Blast models is the new LTD Deluxe TE-1000. Also featuring a sandblasted swamp ash body with roasted maple neck and tiltback headstock, this guitar offers bolt-on construction at 25.5” scale, and a Macassar ebony fingerboard with offset dot inlays and 24 extra-jumbo stainless steel frets. Components on the TE-1000 Silver Blast include LTD locking tuners, a black bone nut, a Hipshot hardtail bridge with string-thru-body, and an outstanding set of Seymour Duncan pickups — the ESP- exclusive Custom-14 in the bridge, and the renowned APH-1N in the neck.
The TE Series got another new addition with the LTD Deluxe TE-1007 Baritone. This 7-string guitar, being offered in the Black Blast finish, has a sandblasted swamp ash body and roasted maple neck with a tiltback headstock. It has bolt-on construction at 27” baritone scale, and provides a Macassar ebony fingerboard with offset dot inlays and 24 extra-jumbo stainless steel frets. The TE-1007 Baritone has components that include a Hipshot hardtail bridge with string-thru-body, LTD locking tuners, a black bone nut, and a single Fishman Fluence Modern 7 String 3-Voice Humbucker (ceramic) in the bridge, with a push-pull control to activate its voicings.
The LTD Deluxe EC-01FT has been significantly updated for 2025. Now available in Charcoal Burst Satin Teardrop finish over a quilted maple top, the streamlined guitar also features white single-ply binding on the body, neck, and headstock. Like the previous versions of the EC-01FT, it offers set-thru construction at 24.75” scale with a single-cutaway mahogany body and three-piece mahogany neck. It includes a Macassar ebony fingerboard with block inlays and 22 extra-jumbo stainless steel frets, a recessed bridge with string-thru-body design, LTD locking tuners, a brushed black pickguard, and the ESP-exclusive Seymour Duncan Custom-14 High Output Triple Ceramic Humbucker, splittable with push-pull control.
Another new addition for 2025 is the LTD Deluxe M-1000 Maple. Offering the iconic look of a Black Gloss finish along with a maple fingerboard, this guitar offers an alder body and a three-piece maple neck built with bolt-on construction at 25.5” scale. Black binding on the neck and headstock give it an even tougher look. It features 24 extra-jumbo stainless steel frets, black offset dot inlays, and a compound fingerboard radius. Components on the new M-1000 Maple include a Floyd Rose 1000SE tremolo with stainless steel screws, Grover tuners, and a set of Fishman Fluence Modern 3-Voice Humbucker pickups — ceramic in the bridge, alnico in the neck position — with push-pull controls to activate their voicings.
Also new for 2025 is the LTD Deluxe M-1007 Baritone EverTune in Granite Sparkle finish. Designed for seriously extended low pitch ranges, it’s a 7-string guitar with neck-thru-body construction at 27” baritone scale, pairing an alder body with an extra-thin three-piece maple neck. Its Macassar ebony fingerboard features a compound radius, offset dot inlays and 24 extra-jumbo stainless steel frets. Components on this guitar include the innovative EverTune constant tension bridge, and a set of Fishman Fluence Modern 7 String 3-Voice Humbucker pickups with push-pull controls to select voicings.
A distinctive entry in the “New for 2025” collection, the LTD Deluxe MH-1000NT Bold Binding delivers what its name says: a Black Satin finish with double-thick silver painted binding on the body and headstock. It offers set-thru construction at 25.5” scale, using a mahogany body with maple cap, and a three-piece maple neck. Its Macassar ebony fingerboard has a compound radius, offset block inlays, and 24 extra-jumbo stainless steel frets. Components on the MH-1000NT Bold Binding include a TonePros locking bridge with string-thru-body, LTD locking tuners, and a pair of Fishman Fluence Modern 3-Voice Humbucker pickups with voice selection on a push-pull controls.
Two popular LTD Deluxe models are returning with significant updates. The LTD Deluxe SN-1 HT is now being offered with a Fishman Fluence Modern 3-Voice Humbucker (Ceramic) pickup, with voices selected via push-pull control. The LTD Deluxe Arrow-1000 in Candy Apple Red Satin now features a reverse headstock and a set of Fishman Fluence Modern 3-Voice Humbucker pickups, with voices selected via push-pull controls.
For more information, please visit espguitars.com.
Signature Series
The highly-anticipated Signature Series guitar for Mick Thomson of Slipknot, the LTD MT-I, makes its debut at NAMM 2025. Available in Obsidian Metallic finish, the MT-I is based on the MH-style body, with an arched top and an inline reverse headstock. This guitar features set-thru construction at 25.5” scale, pairing a mahogany body with white ash top to a three-piece maple neck with a Macassar ebony fingerboard with compound radius and 24 medium-jumbo stainless steel frets. Special features on the MT-I include a Graph Tech Black TUSQ XL nut, Hipshot Grip-Lock locking open gear tuners, an all-brass Hipshot Hi-Mass hardtail bridge, blue Luminlay side markers, and a Fishman Fluence Mick Thomson Signature pickup with a 3-way low profile toggle switch to select between Voice 1, Voice 1 with bass boost shift, and Voice 2, and a push/pull volume control to select Voice 3.
The LTD RZK-III is the newest signature model for Richard ZK of Rammstein. Beginning with the smooth flowing curves of the Phoenix body shape, the RZK-III comes in a classy Olympic White finish. It offers neck-thru-body construction at 25.5” scale, with alder body wings and a three-piece satin-finished maple neck with rosewood fingerboard. Features and components on the LTD RZK-III include a TonePros locking bridge and tailpiece that are both recessed, a brushed black pickguard, 22 extra-jumbo stainless steel frets, a reversible arcade-stye kill switch, and a set of Fishman Fluence Richard Z Kruspe signature pickups with a push-pull control to select voicings.
With the LTD JM-I, ESP is introducing its second Signature Series model for Josh Middleton, the acclaimed guitarist for Sylosis. Available with a Deep Blood Moon finish over a quilted maple top, the JM-I offers an alder body and a three-piece roasted maple neck with bolt-on construction at 25.5” scale. This guitar features black binding on the body and headstock, a Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets, Luminlay side markers, and a single Fishman Fluence Modern Humbucker, with voice selection on a push-pull control.
The new LTD ALR-II is the long-awaited Signature Series guitar for Andy LaRocque, influential guitarist/music producer and co-founder of the iconic heavy metal band King Diamond. Based on the Horizon body, the ALR-II offers neck-thru-body construction at 24.75” scale, and is distinctively finished in See Thru Purple over its figured quilted maple top with a classic teardrop headstock. It features a three-piece maple neck, a Macassar ebony fingerboard with a compound radius and 24 extra-jumbo stainless steel frets, Luminlay side markers, a Floyd Rose 1000 double-locking tremolo, and a set of Seymour Duncan TB-4 JB Trembucker (bridge) and STK-S6 Custom Stack Plus (neck) passive pickups.
Caleb Shomo, the founder, songwriter, and producer of rock band Beartooth, has his first Signature Series guitar with the debut of the LTD CS-II. Based on the Phoenix shape, the CS-II is available with a figured quilted maple top in Vintage Natural finish. This neck-thru-body guitar is offered at 25.5” scale, and comes with mahogany body wings, a three-piece thin u-shaped mahogany neck, Macassar ebony fingerboard, and 22 extra-jumbo stainless steel frets. Components on the CS-II include gold hardware, black binding on body, neck, head, brushed black pickguard, a black bone nut, a locking bridge and tailpiece, and a pickup set that includes ESP’s exclusive Seymour Duncan Custom 14 humbucker in the bridge (splittable with push-pull control) and a Seymour Duncan STR-3 Quarter Pound pickup in the neck.
A new Signature Series guitar has been announced for Alex Wade of deathcore band Whitechapel. The LTD AW-XJ7 Baritone EverTune provides the LTD XJ shape in a 7-string, 27” scale baritone guitar that also features the innovative EverTune constant tension bridge. Available in a Black Open Grain Satin finish, the AW-XJ7 Baritone EverTune offers bolt-on construction, a resonant swamp ash body, and a five-piece maple/walnut/padauk neck with a Macassar ebony fingerboard. This guitar’s features include 24 extra-jumbo stainless steel frets, a brushed black pickguard, LTD locking tuners, and a single DiMarzio D-Activator 7 passive pickup that can be split with a push/pull volume control.
A number of Signature Series guitar models for current ESP Signature artists have received fresh updates. Renowned guitarist Alex Skolnick of Testament has a new Lime Burst finish and new pickups for his LTD AS-1FR signature model. Based on the single-cutaway EC shape, this guitar features set-thru construction at 24.75” scale, a mahogany body with flamed maple top, three-piece maple neck, Macassar ebony fingerboard, a Floyd Rose 1000 double-locking tremolo, Dunlop Straploks, and a set of Seymour Duncan Alex Skolnick Signature Humbucker pickups, splittable with push-pull control.
50th Anniversary Series
From its humble beginnings in 1975 as a small Tokyo-based guitar repair shop to its current status as one of the world’s largest and most respected electric guitar and bass manufacturers, ESP Guitars (NAMM Booth 210D) has never been a brand to rest on its laurels. While celebrating its milestone 50th anniversary in 2025, the company is still far more focused on the future than looking back on its past.
To commemorate the major milestone, ESP has announced a special limited edition batch of guitars from the ESP Custom Shop in Japan. Just 15 pieces each of the ESP 50th Anniversary Horizon-CTM Flamed Maple and ESP 50th Anniversary Horizon-CTM Buckeye Burl are being handcrafted by the company’s expert luthiers using custom components and extraordinary tonewoods, and no two are identical.
A more widely available commemorative guitar is the LTD EC-2025 50th Anniversary. Based on the single-cutaway EC shape, it’s being offered in Metallic Gold finish with black hardware and black single-ply binding on the body, neck, ad headstock, appropriate for the company’s golden anniversary celebration. It features a special “50” graphic fingerboard inlay at frets 11-13, as well as a full 50th Anniversary logo on the guitar’s headstock. Built with set-thru construction at 24.75” scale, the guitar employs a mahogany body with maple cap, a three-piece mahogany neck, and a Macassar ebony fingerboard with 24 extra-jumbo stainless steel frets.
Features on the EC-2025 include LTD locking tuners, a TonePros locking bridge and tailpiece, and a set of Seymour Duncan humbucker pickups that includes the ESP-exclusive Custom 14 in the bridge, and the iconic APH-1N in the neck. Coil splitting is accessible with a push-pull control.
200 Series
The LTD EC-256 is now being offered in a Silver Sunburst Teardrop finish. This single-cutaway guitar includes unexpected details like white binding on the body, neck, and headstock. Built with set-neck construction at 24.75” scale using a mahogany body and three-piece mahogany neck, it also features a set of great-sounding, high-output ESP LH-150 bridge and neck pickups, splittable via push-pull control. The popular LTD EC-201 has also been updated to offer a Black Gloss finish.
The LTD M-201 Baritone HT offers an affordable solution for musicians getting into baritone guitar. Offered in Black Gloss finish, it’s built with bolt-on construction at 27” baritone scale, pairing a mahogany body and three-piece maple neck with a rosewood fingerboard. This guitar features an LTD fixed hardtail bridge with string-thru-body, and a single ESP LH-150B bridge pickup with an antique nickel cover, with coil splitting via push-pull control.
Another new model in this series is the LTD Phoenix-201, the first Phoenix model in this range. It offers set-neck construction at 25.5” scale with a mahogany body and three-piece mahogany neck with rosewood fingerboard. It also includes a single ESP LH-150B bridge pickup with an antique nickel cover, and coil splitting via push-pull control.
It’s a similar story with the LTD SN-201HT, a new model in this affordable range. Available in Black Gloss, it offers bolt-on construction at 25.5” scale, with a mahogany body and three-piece maple neck with tiltback headstock. It also includes a single ESP LH-150B bridge pickup with an antique nickel cover, and coil splitting via push-pull control. The LTD TE-201 is also now offered in Black Gloss finish.
For more information, please visit espguitars.com.
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The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnie’s hands, it came alive.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We haven’t even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnie’s Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Ho’opi’i became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyera’s nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyera’s National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enough—especially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the “Frying Pan” due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
“At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.”
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song “Bumble Bee,” featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called “Electric Spanish.” (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By today’s standards, it’s modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
There’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorker’s place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as we’re concerned. Sure, there’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. It’s easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
There’s magic in this guitar, y’all. Every time we pick it up, we can feel Memphis Minnie’s spirit enter the room. This guitar sounds fearless. It’s a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We can’t wait to see who joins this guitar’s remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, “Memphis Minnie’s ‘Scientific Sound’: Afro-Sonic Modernity and the Jukebox Era of the Blues” from American Quarterly, “The History of the Development of Electric Stringed Musical Instruments” by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
