Paul Reed Smith Announces the John Mayer Super Eagle II

PRS Super Eagle II

Great news coming out of Stevensville, Maryland today! PRS Guitars announce the debut of the new John Mayer Super Eagle II. This private stock guitar is limited to 120 pieces worldwide, comes in hemp green, and is absolutely gorgeous.

Here is the official release:

(STEVENSVILLE, MD) June 6, 2017 – It’s no secret that John Mayer’s main guitar for The Dead & Company tour has been the PRS Super Eagle that launched last spring. During the 2016 tour, PRS made Mayer a second version of that instrument with some updated woods and aesthetic appointments. Mayer played the Super Eagle II on the very last show of the 2016 tour and is continuing to play it for The Dead & Company 2017 summer tour. PRS and Mayer are excited to offer this new version, the Super Eagle II, to fans and collectors.

“Just like with the first edition Super Eagle, you’re literally getting the same guitar that is in John’s rig.  It’s been an honor to help create a tool that John can use to work with Dead & Company and beyond,” said Paul Reed Smith.

Some of the specifications Mayer and Smith collaborated on for this special run of instruments include a longer (for PRS) scale length of 25.375”, specially-wound 58/15 JM treble and bass pickups with a specially-wound Narrowfield JM pickup in the middle position (with three individual coil-tap mini-switches), a JCF Audio preamp with treble boost, as well as a hand-signed sticker in the f-hole of the guitar that was designed by Mayer’s friend David Smith (who also designed the cover art for Mayer’s 2012 “Born and Raised” album). The pickups deliver a bright, clear tone that has been heard in venues across the USA in Mayer’s recent performances with the Grateful Dead.

Some new woods and aesthetic choices were also selected for the Super Eagle II, including a one piece Private Stock curly maple back, African blackwood fingerboard and headstock veneer, paua birds and a green ripple abalone 12th fret violin bird and Private Stock eagle, as well as a new color: Hemp Green.

The Private Stock Super Eagle II is a highly-sophisticated instrument that at once reveres the history of guitar-making and guitar tone but pushes the boundaries of materials, design, and craftsmanship. The resulting instrument embodies the PRS Private Stock culture of meticulous workmanship as well as Mayer’s keen eye for playability, tone, and detail.

The Private Stock Super Eagle II will be limited to 120 instruments. Full specifications are available at

About PRS Guitars:

Paul Reed Smith Guitars is a leading manufacturer of high quality instruments in Stevensville, Maryland and has provided some of the world’s most renowned musicians with instruments since 1985. The PRS team of highly skilled craftspeople design and build a wide variety of musical instruments and gear for worldwide distribution, including electric, acoustic, and bass guitars as well as boutique-style guitar amplifiers. The PRS SE line of products complements the Maryland-made PRS line by offering highly approachable and more affordable electric, acoustic, and bass guitars. Carlos Santana, Neal Schon, John McLaughlin, John Mayer, Linkin Park, Orianthi, Blake Shelton, Mark Tremonti, Zach Myers of Shinedown, Brian Kelley of Florida Georgia Line, David Grissom, Martin Simpson, Tony McManus, and Derek Trucks are among the artists currently playing PRS instruments and/or amplifiers.

PRS Guitars Info:

PRS Super Eagle II

PRS Super Eagle II – back

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AfterNAMMth: 2017 Edition

Thousands descended into Anaheim for the annual NAMM convention. This convention showcases all of the new and exciting gear that manufacturers are excited to debut, and gear heads like myself, are even more excited to check out. I found myself making daily wish lists of gear that I had to have, and that list is constantly changing – even weeks after the show has ended.

One of the first booths that I checked out was Earthquaker Devices. Their pedals are gaining popularity with an assortment of musicians and it’s one of those booths that remains crowded from the start of the show on Thursday till the shows end on Sunday. The two new pedals that were debuted were the Space Spiral delay and the Transmisser reverb pedal. Both of these pedals offer a variety of unique and functional sounds that will have the user spending hours with each exploring their tonal options.

Gibson’s booth is always a treat and this year was no exception. Their True Historic guitars are fantastic and the first thing that I check out are the Custom Shop models. A standout at their booth was a Custom Shop Les Paul Jr. that was so meticulously built, you would’ve thought that this was the actual guitar from the late fifties. Another highlight was the joint collaboration between Johnny A and Joe Bonamassa on a new Johnny A model. This model, didn’t have the f-holes associated with his previous models and is much lighter. This is one of those guitars that can do it all and won’t take a toll on your back after hours of gigging. 

Photo: Steve Rose

Photo: Steve Rose

The Ernie Ball/Music Man booth was very eventful as St. Vincent discussed her signature model guitar and three new finishes were introduced for this popular model which debuted at NAMM 2016. Owner, Sterling Ball, mentioned that this guitar is one of the more popular selling models for their brand and that there has been discussion of possibly developing a short scale bass with St. Vincent. That will be something to look forward to at next year’s show.

Photo: Steve Rose

Gretsch consistently has amazing guitars, but this year they unveiled the “Salute” Jet, which is a Malcolm Young signature model made by the Gretsch USA Custom Shop. This was my favorite guitar at the show and a fitting tribute to such a famous Gretsch musician. Another model making it’s debut from the Custom Shop is the Tom Petersson 12 string bass. This instrument has long been associated with Tom and it was great to see him honored with this bass.

Photo: Steve Rose

Photo: Steve Rose

There was a great deal of buzz around the Supro booth now that they’ve added a few awesome looking guitars to their already successful line of amps. These guitars will be popular with both vintage enthusiasts and garage rockers looking to have a unique, cool sounding guitar slung across their body.

Photo: Steve Rose

Martin makes some unbelievable guitars, and as a Martin owner, I can say that their sound and build quality are second to none. This year, my two favorite guitars that they unveiled were signature models for Dwight Yoakam and John Prine. Each of these artists are giants in country music and these guitars reflect their stature. Dwight’s DD-28 had the best inlays that I’ve seen on a guitar. The pair of deuces inlaid on the fretboard is a great touch for this guitar. 

Photo: Steve Rose

NAMM 2017 is in the books and I’m looking forward to how these companies will try to outdo themselves at next year’s show.

NAMM 2017

Photos by Steve Rose

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Signature Style: Cost Effective Quality

It seems like more and more artists are getting signature model guitars and these guitars are being made overseas to make them more cost effective to hopefully get them into the hands of more people. As a guitar player, do you think that the quality of a particular instrument diminishes because it is made outside of the U.S.? Are U.S. made guitars superior to guitars made in China or Indonesia? Is the feel and sound of the instrument all that matters and all that should matter? These are all very important and relevant questions that should be addressed.

First off, I know many guitar players who refuse to play another artist’s guitar. Some have a problem with someone else’s name on the guitar, while others believe that the guitar should be for that artist or their fans. Personally, I have no issues in playing or owning a signature model guitar. I like that they tend to have different specs or features not on stock models and at times, they are limited production models, and have some added value. Some guitars are very artist specific like the various James Hetfield and Kirk Hammett ESP and LTD models, while other artists like Eric Johnson or The Edge have understated Fender Stratocaster signature models. It all comes down to the preference and style of the consumer and they type of guitar they feel like playing.

So if you’re the type of musician who would own a signature guitar, do you care if it is made in the U.S. or overseas? There are some musicians who if they buy a signature model, will only buy a U.S. made model because they believe the quality or sound is superior. I have owned a number of signature models and have not found that belief to be true. I care more about how the guitar sounds or feels in my hands than where it is made. I’ve played so many guitars that I can tell almost instantly if it works for my needs. One of my favorites was a 2006 Jackson Dominion that was made in Japan. The guitar could do anything and sounded phenomenal. These guitars are now made in Indonesia as are most Jackson Pro Series models, but that hasn’t hurt the playability or quality.

Recently, artists like Matt Heafy, Brent Hinds, and even the legendary Tony Iommi have announced Epiphone signature models. Each of these musicians could very easily have a Gibson signature line, but have realized that what matters is playability and reliability. If that can be achieved by making a guitar overseas and keeping the costs more affordable to the consumer then it is a great balance. Even Hinds’ fellow guitarist in Mastodon, Bill Kelliher has recently left Gibson to sign with ESP and his first model is a LTD signature that will be released in the Fall. These artist signatures aren’t just limited to Epiphone endorsees either; Paul Reed Smith has announced a PRS SE model for Periphery’s Mark Holcomb that joins other guitars in the signature SE line with artists like Santana and Mark Tremonti. This is just an example of a few guitar manufacturers that have taken their production of signature models overseas and haven’t sacrificed any quality or playability. Guitar god Zakk Wylde started his own company, Wylde Audio, to produce instruments, amps, and pedals. The first few models have begun shipping and production of all of those instruments takes place in Asia. The trend is going toward high quality, but cost effective instruments that sound great regardless of where they are manufactured.

To those signature guitar naysayers: more often than not, there is another name on that single cut Gibson electric guitar, and that signature model has done pretty well.

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AfterNAMMth: 2016 Edition

It’s that time of year when gearheads like myself get excited for the late-January trip to Anaheim. It’s always hectic trying to deal with the masses when parking and then having to join them as we funnel through the few available entrances of the convention center. NAMM is the only time of the year when I agree to wait in line to use and escalator and only be allowed to ride it in small groups.

Photo: Steve Rose

Photo: Steve Rose

The Ernie Ball Music Man booth was my favorite booth of the convention. They showcased all of their new products in a thoughtful way that encouraged interaction with those visiting the booth. Some notable standouts from EBMM were their new line of overdrive and delay expression pedals, the Cutlass and Stingray guitars, and new signature models for St. Vincent and James Valentine. The St. Vincent guitar is by far the most unique and visually intriguing instrument of this year’s guitars. The guitar I was most impressed with, and the one was named Best in Show for 2016, was the new James Valentine signature model. This guitar looks great, plays great, and that’s all that you’re really looking for in a quality instrument.

Photo: Steve Rose

Photo: Steve Rose

Another standout booth was D’Angelico guitars. Their guitars are mainly hollow, or semi-hollow, body instruments that feel like art pieces as much as they do as guitars. I am highly considering getting a EX-DC as my next guitar. I was also a fan of the EXL-A, an acoustic archtop guitar that was stunning. I would recommend those to anyone looking for an affordable, well built instrument and especially to those looking for a great jazz box. D’Angelico also had a cool looking, limited edition EX-59 Marilyn Monroe guitar that caught the attention of many, but is only limited to a run of 20 — 12 of which will be for the US. The most unique guitar in their booth was the Teardrop New Yorker, which is part of their New York made Master Builder series.

Photo: Steve Rose

Photo: Steve Rose

Both ESP and Schecter impressed me with their instrument diversity and are sure to attract a variety of supporters. In the past, I felt like ESP and Schecter both catered toward the hardcore, or metal player, but now I feel like they are trying to branch out with more classic shapes, while still providing the radical designs that brought them to the forefront. Schecter had a great take on a Gibson Explorer-type of guitar that will definitely be of interest to many. They also unveiled a new Jeff Loomis guitar, called the Cygnus, which I expect will be a very popular model for them. ESP debuted two signature models that both look awesome: the Glen Tipton signature and a new James Hetfield V.

Photo: Steve Rose

Photo: Steve Rose

The Fender booth is consistently impressive and this year did not disappoint. They announced the limited edition Magnificent Seven series of guitars, which will be released for only one month per model and with limited quantities of each. Similar to last year’s 10 for ’15, these guitars are sure to sell out and become instant collectors items. I was excited about the release of both a signature guitar and amp for The Edge.

Photo: Steve Rose

Photo: Steve Rose

The U2 guitarist’s sound is immediately identifiable and a good portion of that has come from using Fender products. The black strat and maple neck are timeless classics for a reason and it was not a surprise that The Edge chose them for his signature model. His hardwired Edge Deluxe amp is the fourth signature amp that Fender has made, building upon the success of the Eric Clapton amps. Fender also introduced the Bassbreaker Series of amps which consists of nine different models that will appeal to a diverse group of players. This is definitely one of the new releases at NAMM that I wish I could’ve spent more time playing.

The return of the CE model from PRS was a definite highlight for me. After being off the market for at least 10 years, PRS has decided to bring back this popular model that first debuted in 1988. Between the resurrection of the CE and the jaw dropping Private Stock models, PRS continually puts out high quality instruments. I also appreciate that Paul Reed Smith can often be found taking pictures and answering the questions of players, dealers, and associated media.

Photo: Steve Rose

Photo: Steve Rose

In the matter of full disclosure: I’m not only a fan of these guitars, but I’m also a proud owner of a 30th Anniversary Custom 24 and couldn’t be more pleased.

The lackluster booth of the NAMM show (in my opinion) unfortunately went to Gibson. Their 2016 lineup featured the departure of the robot tuning gimmick and returned the brand to the quality and reputation that its fans have come to expect. The lowered price points will definitely help soothe the sour taste in the mouths of those who jeered the moves that Gibson had made in years past. I felt like the booth was too dark and it felt more like Club Gibson than a company trying to showcase their beautiful instruments. I like that Gibson had some top of the line models available to demo, including the limited edition Bob Dylan SJ-200, which was a treat to play. Gibson was more sad city than music city and that was kind of a let down.

As the 2016 winter NAMM show comes to a close, I’m excited about all of the new gear coming out soon. I have already begun plotting how I’m going to afford some of the things that stood out. My legs are excited to have another year to prepare for the hell I put them through walking the floor. It may be an insignificant detail, but I was impressed that D’Angelico passed out little bottles of hand sanitizer in their gift bags. I appreciated that D’Angelico was thoughtful enough to help us fight the dreaded NAMMthrax virus.

NAMM 2016

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Effects Pedals Will Be All The Rage at NAMM 2016

There will be a nice mix of top manufacturers and boutique brands showcasing their greatest and latest in Anaheim early next year. NAMM ’16 is just around the corner and I don’t know about you, but I CAN’T WAIT!

Demand for Personalized Sound Presses Boutique Pedal Market Forward

Craftsmen pedal builders are setting up shop nationwide backed by musicians looking to play their own unique tunes

Courtesy of NAMM

Courtesy of NAMM

Carlsbad, CA, (December 10, 2015) – Demand for customized, unique sound is driving fretted products and effects sales to a seven-year high, while fueling a new wave of boutique pedal builders. Over the last decade, the retail value of the effects pedal category has increased more than 45%, with a 13.7% gain in 2014.

Pedal builders will have a noticeably larger presence at the NAMM Show this January 21-24 as boutique brands including Strymon, Walrus Audio, Chase Bliss Audio and Dwarfcraft Devices join established brands Boss, Dunlop Manufacturing, Inc., Fender Musical Instruments Corporation, EarthQuaker Devices, Electro-Harmonix, Pigtronix, Seymour Duncan, TC Electronic and Wampler Pedals to debut new effects gear at the NAMM Show.

The emergence of hundreds of up-and-coming pedal brands can be traced to new technology and easier global distribution, of both ideas and components. Robert Keeley, founder of Keeley Electronics, Inc., has seen his Edmond, OK business double since 2012. It is now producing more than 2,000 units per month. “Our products are almost completely hand-built and we cater to a group of people who are in the market for specialty-purpose pedals,” said Keeley. Big- name players including John Mayer, Jimmy Buffet and Dream Theater’s John Petrucci are among those who have called on Keeley for customized pedals, with some of those pedals crossing over into a limited-edition commercial run.

Joel Korte, founder of Minnesota-based Chase Bliss Audio has seen sales double in the last year and adds, “Musicians like to experiment with sound using pedals because the experience is very visceral and pedals are hands-on and offer the artist control right away.”

Affordability has also emerged as a major factor in the surge as artists add distortion, phasers and vibrato to their signature sound. The cottage industry of boutique pedal makers offers ways to tweak and discover sounds for an average price of $100-$400 dollars.

Many of these emerging builders, including Akron, Ohio’s family-owned EarthQuaker Devices, have also focused on demonstrating their products for non-traditional pedal players, such as sax, synth and violin players. Julie Robbins of EarthQuaker Devices emphasizes that innovative, specialty-designed sound is a key factor in the company’s success. “We answer the call of experimental musicians who love to create sounds that inspire them to go in new directions,” said Robbins. “Some just want to recreate classic tones, while others use their pedals as a way to actually define their newest album, and we cater to both.”

Demand is also up for pedals that couple long-lasting new technology with “old school” parts to create coveted “vintage” analog sounds. Pete Celi, co-founder of growing Southern California builder Strymon, says interest in vintage pedals has skyrocketed, including tape delays, vintage amp tremolos, pedals from the 70s, but he notes these originals can be unreliable on tour and prices make those purchases beyond the reach of most musicians. “This creates an opportunity for pedals that can capture those sought-after sounds and yet be conveniently and reliably used at gigs,” said Celi.

Strymon employs a one-on-one strategy with musicians, regularly holding open-studio parties. Celi says the conversations are paying off. “We believe everybody is an artist.”

Plan now to join the global music instrument and product industry January 21-24, 2016 at the NAMM Show in Anaheim, CA. NAMM members are encouraged to register for badges by January 6, 2016, at which point badge registrations will incur a $50 to $100 fee depending on the badge type. Learn about the more than 5,000 brands planning to exhibit at the 2016 NAMM Show here:

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BOSS introduces the DD-500 Digital Delay

Some exciting news out of Summer NAMM from BOSS.

Boss DD-500BOSS Unveils DD-500 Digital Delay Effects Pedal Advanced delay pedal with superior sound and exceptional versatility Summer NAMM Show, Nashville, TN, July 8, 2015 — BOSS (Booth #924) introduces the versatile DD-500 digital delay pedal. Filled with newly developed BOSS technology, this stompbox offers 12 distinctive delay modes and superior audio quality, along with deep editing controls, a graphic display, patch memories, MIDI and much more. Small in size but large in creative potential, the DD-500 allows musicians to create any delay sound they can imagine. The DD-500 delivers its sophisticated sound-making capabilities in a compact design that fits easily on any pedalboard. Each delay mode has been carefully crafted for a unique sonic personality and highly musical tones at every setting, realized by high-powered DSP running at 32-bit/96 kHz. Included among the DD-500’s 12 modes are basic delays, warm analog and tape echo types, patternbased effects, and complex modern delay lines that employ pitch shifting, filtering, and other unique processing. The pedal’s Vintage Digital mode offers BOSS’s first emulations of sought-after classics from the 1980s, including the legendary SDE-2000 and SDE-3000 rack units from Roland and the BOSS DD-2, the first stompbox digital delay. Hands-on knobs allow users to quickly shape essential parameters and create sounds right away. Each delay type also includes a semi-parametric four-band EQ, modulation, ducking, and many other parameters, enabling a huge range of tonal refinement. The large, integrated LCD fully supports the DD-500’s capabilities, providing clear visibility of delay time, patch ID, and more on one screen, plus intuitive navigation for detailed parameter tweaks, naming, and system management. Freely assignable controls enable extensive creative expression and performance flexibility. By default, the A, B, and TAP/CTL switches provide control for two patches, bypass, bank selection, tap tempo and more. However, they can be customized to operate in alternate ways, such as providing top-level access to three different delay patches, or controlling various real-time functions like Warp, Twist and many others. Additional parameters can be controlled via an optional expression pedal or external switches, and MIDI I/O opens up even more options with advanced setups. Along with its other capabilities, the DD-500 includes an independent Phrase Loop function with up to 60 seconds of stereo recording time (120 seconds in mono). On board USB provides a simple computer connection for patch backup and MIDI control with DAW software. The DD-500 features a 100-percent analog dry signal path, and users have their choice of bufferedbypass or true-bypass operation. Able to run on four AA-size batteries or an optional AC adapter, the DD-500 is equally suited for grab-and-go playing, pedalboard installations, and studio setups. To learn more about the DD-500 Digital Delay, visit


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Up Close and Personal with EVH

Eddie Van Halen announces a new limited edition EVH 5150 IIIS Stealth head and 4×12 cabinet.


SCOTTSDALE, Ariz. (March 18, 2015) – EVH is proud to announce the release of a brand new exclusive video of Eddie Van Halen personally demonstrating the new limited edition EVH Brand 5150 IIIS “Stealth” amplifier.

Filmed at 5150 studio exclusively with GoPro video cameras, fans will for the first time be able to see what Eddie sees when he’s playing and experience Eddie’s own perspective through the eyes of multiple GoPro cameras.

In addition, Eddie explains the inspiration of how the specially modified circuit originated and personally walks viewers through his amplifier rig showcasing its exclusive features and settings while playing some of his signature riffs and displaying some of his groundbreaking playing techniques. All from a perspective no one has ever seen before.

To view the video, go to or watch below.

The limited edition hand-modified EVH 5150 IIIS Stealth head and 4×12 cabinet combination is identical to the most recent rig Eddie has toured with and features the exact same custom modifications. The head and cabinet are available individually, or together as a complete half stack.

The 120-watt head features a single input and three channels (clean, crunch, lead), each with versatile controls (volume, gain, presence, low, mid, high). Channel two features increased gain for greater sustain and is re-voiced for improved low-mid frequency definition; channel three also features increased gain and improved range for the “low” control. Further, each channel has a rear-panel resonance control knob that dials in fine-tuned low-end response. The amp boasts eight JJ ECC83 preamp tubes, four hand selected high performance 6L6 power tubes, switchable output impedance (4, 8 and 16 ohms) and rear-panel “outboard accessible” bias probe ports as well as an outboard accessible and adjustable bias control. Other features include vintage-style “chicken head” control knobs, red jewel pilot light, dual speaker jacks, all tube effects loop, direct out and 3 super durable molded plastic handles.

The speaker cabinet features rock-solid birch construction, four Celestion® EVH G-12 speakers, EVH casters and recessed metal handles. Head and cabinet come in a special black “Stealth” aesthetic; and a seven-pin, four-button footswitch is included (controls each channel and the effects loop). Optional EVH fitted cover also available.

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David Ellefson Peavey ReValver Artist Bundle

627_30710Peavey’s successful amp modeling software just added some significant low end. David Ellefson brings his signature tones to the ReValver 4 with this new Artist Bundle. I think it’s great when artists work with companies to allow other musicians and fans to opportunity to dial in those signature sounds.

Peavey is still one of the few companies where the founder, Hartley Peavey, is still involved in the day to day operation of his company and this year they are celebrating their 50th anniversary in the music industry. Those interested in checking out the ReValver can download it for free here.

Press Release – Megadeth bassist David Ellefson redefined the role of bass guitar in heavy metal. With the release of the all-new David Ellefson ReValver® Artist bundle, Ellefson now helps redefine the role of bass guitar in Peavey’s ReValver 4 amp modeling software.

“When Peavey approached me about introducing bass amp models to ReValver and developing a signature bundle, the thing that excited me the most was the opportunity to model my whole rig from the instrument, to the amp, to the cab,” said Ellefson. “While I’ve always been aware of the depth at which Peavey models amplifiers, I think their ACT technology, which they use to model instruments, is pretty amazing. The results I’ve heard in the modeling process are really exciting. I hope this bundle will help players find their sound like I did. But mostly, I hope it makes them excited about playing.”
The bundle features the “Hangar 18” bass amp and cabinet, modeled after the head and cab Ellefson has played to sold-out audiences all over the world. Peavey has also leveraged its ground-breaking ACT™ (Audio Cloning Technology) process to capture instrument models of the bass guitars most associated with Ellefson.
To round out the bundle, Ellefson has personally created a bank of presets that recreate the sought-after signature sounds from throughout his career.
For more information, visit

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Day 2: The AfterNAMMth

Friday was another good day at NAMM. There seemed to be fewer people than Thursday which made it a little easier to get from booth to booth. The layout at the Convention Center is so spread out that it’s not uncommon to walk 4 to 5 miles a day.

I started at the Dean booth and was very excited to see they had Dimebag Darrell’s original Dean from Hell ML guitar. The guitar, housed in a thick glass case, showed every bit of road use and it was an honor to see such a historic instrument up close. Dean also had some impressive Dave Mustaine models, including the new Trans Blue Limited V.

The next stop was the Gretsch booth. They make some very iconic guitars like the White Falcon, Duo Jet, and Penguin. I was delighted to see an update to the Brian Setzer series of guitars. Gretsch has updated the Hot Rod series of his guitar to include a flame maple body, new colors like Harbor Blue, and his signature TV Jones pickups.

I then made my way to the EVH booth to see what goods Eddie and the EVH team had on display. The Wolfgang Customs look phenomenal, as did the famous Circles guitar. I was able to speak with one of their reps and learned that Eddie signs each prototype in gold or silver Sharpie. He showed me the latest Star guitar with Eddie’s approval on the back. As an owner of an EVH 5150 III combo amp, it was nice to hear how meticulous his approval process is across the full line of EVH products. I guess when your initials are the brand’s name, you want to make sure everything’s right.

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New Fender Steve Harris Precision Bass

Photo Credit:

Photo Credit:

I’m very happy to hear that this model is being produced. It’s such a cool looking bass and is more current to what he is actually using than the previous model. Some may not care for the West Ham logo, but that isn’t stopping me. Need. This. Now!!!!!!


SCOTTSDALE, Ariz.  (January 22, 2015) – Fender is proud to announce the release of several new artist signature bass guitars at the 2015 NAMM Show.

Steve Harris’s galloping fleet-fingered basslines have turbocharged U.K. metal titans Iron Maiden for decades and have made him the most influential metal bassist alive. Harris has stayed true to his battle-hardened Precision Bass® over the years, and his signature Steve Harris Precision Bass now comes in his famously regal gloss White finish with special pinstriping, mirrored pickguard and West Ham United F.C. crest. Other ironclad features include a single powerful Seymour Duncan Steve Harris signature model pickup, Fender High Mass bridge, Rotosound Steve Harris Signature flat-wound strings and Harris’ signature on the back of the headstock. Available February 17, 2015.

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