The guitar legend pops in to talk about his brand-new "Bumblebee" 4N and explain that tone isn't in the gear.
When this guitar builder couldn’t find the EVH-style guitar he wanted, his solution was to create one—designed with a quilted maple top and tremolo system inspired by the legend.
My “super strat with a twist” project began in 2021, as I wasn’t happy with my heavily modified Wolfgang Special. I was looking for more versatility, better comfort (less weight, more contours), as well as a more old-school EVH-style vibe. I soon realized that no such guitar existed, and that I would have to build one.
The name “Coffee,” which is laser-engraved on the headstock, was inspired by the look of the roasted parts of the guitar, because the color reminds me of an old coffee pot. My original vision was that when I have the blues, I can grab my Coffee, and everything will feel good again.
Coffee is equipped with a Schaller LockMeister 6 tremolo and EVH D-Tuna.
The roasted swamp ash Warmoth Soloist body has a quilted maple top (with copperhead dye and gloss), with a belly cut, forearm contour, and contoured heel. The Warmoth Warhead maple neck (roasted maple, no finish) has a 24.75″ scale length with a 12–16″ fretboard radius and 6150 stainless-steel frets. The tremolo system is made up of a non-recessed EVH-style Schaller LockMeister 6 equipped with an EVH D-Tuna.
There is only one pickup, a Pariah Pasadena White humbucker, located in the bridge position, and wood-mounted. However, one of the things that makes this guitar special is the rest of the hardware, which includes a 3-way super switch and three pots, as well as a separate “mini-pot” component. The knobs are MeisterWorks Luminlay knobs.
“Damn good coffee—and hot, too!” —Agent Cooper, Twin Peaks
The main pots (excluding the mini-pot), available only in position 3 in the 3-way switch, are as follows: a master volume (Seymour Duncan Yngwie Speed Pot 500K, with added treble bleed), a no-load master tone (500K), and a no-load spin-a-split “tone” (500K). The spin-a-split is stepless and controls the output of the second coil of the humbucker.
The preset positions of the 3-way super switch (for the single pickup) are:
1. Solo/Rhythm: There is only a fixed 500K resistor to tame the tone a bit, before the signal goes to the output jack.
2. Bluesy Solo: The signal goes to the output jack through a “mini-pot” component (Schatten Pickups Thumbwheel Controls), hidden in the guitar cavity. The mini-pot has the volume on 10, and the tone on 5.
3. Rhythm/Clean: The three main pots are in use, and I can use the volume knob, the tone knob, and the “spin-a-split” knob to adjust the tone.HeGe had the name of his guitar laser-etched onto its headstock.
A special solution? Sure, but it allows me to create a wide variety of sounds, and the presets are easy to use. As an example, the switching solution and the presets mean that if I set a specific sound in position 3, I can play “Hot for Teacher” by switching between position 1 and position 3, or “Still Got the Blues” by switching between position 2 and position 3. Only proper guitar skills have to be added! Or, if I want to play Coffee like a “normal” guitar, I´ll just stay in position 3 and fiddle with the knobs.
The guitar weighs 7.8 pounds, which, compared to my old guitar’s weight of 11.9, is very comfortable—and it sounds great! All in all, I am incredibly pleased with the outcome!
“Damn good coffee—and hot, too!”—Agent Cooper, Twin PeaksStarr, whom Shifty credits with owning one of the best vintage guitar collections he’s ever seen, explains how he got into guitar at age six thanks to the influence of his dad, who was a bluegrass rhythm player.
But he turned to his mum, the rocker in the family, to help him get his first electric guitar: a Mosrite copy which he played through his sister’s stereo with some old-school technical finessing. (He eventually blew the stereo, which didn’t go over well with his sibling.) Starr and Shifty swap stories about getting their kids into guitar—Starr’s son wasn’t interested until he played guitar hero, when he discovered Allman Brothers and Van Halen.
Starr says his playing has never been too bogged down in theory—“I know what sounds good to me and what feels good to me,” he says—and he details how he came to his hybrid picking, middle-finger “crutch” style of lead-playing. For the scorching solo on “Waiting for the Thunder,” off their 2016 record Like An Arrow, Starr messed around until he found the right shape and sound. He used a 50-watt 1976 Marshall JMP, running through a 4x12 cab with Celestion Greenback speakers, and the same guitar he’s playing in this episode: a 2014 Gibson Custom Shop Southern Rock Tribute Les Paul, an homage to the smooth riffing of Duane Allman, Gary Rossington, and Dicky Betts.
You can hear those southern rock pioneers in Starr’s solo, which starts in the low register before slinking its way up the neck to a blistering crescendo. “Tom Waits said, ‘Our hands are like dogs, and they go to familiar places,’” says Starr.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.