NEWS: Shrapnel on iTunes

If you’re anything like me, you probably spent an embarassingly large amount of time during your teenage years searching bargain bins for releases by Mike Varney’s Shrapnel Records, a label specialising in releases by guitar virtuosos like Marty Friedman, Racer X, Cacophony, Greg Howe and Paul Gilbert. Well those days of eagle-eyed pointy-guitar spotting amid the racks at obscure used CD stores are over, with the news that Shrapnel’s catalog has just become available on iTunes. Now you can pick up rare releases by Yngwie Malmsteen’s Steeler, Marty Friedman, Jason Becker, Tony McAlpine, Greg Howe, Richie Kotzen, Vinnie Moore, and many other dudes who spent as much time on haircare as they spent on practicing 8-fingered 4-octave diminished arpeggios – and those dudes spent a lot of time on 8-fingered 4-octave diminished arpeggios.

NEWS: Metallica, Fernandes, Zon and Yamaha

TMZ reports that Metallica has issued a cease and desist notice to Fernandes Guitars to stop them using Metallica bass player Rob Trujillo in their advertisements, and while the news has brought about near Napster-era levels of anti-Metallica sentiment across the internet, none of the reports seem to mention that Trujillo has had a signature Zon bass since 2004 and is now playing a series of custom Yamaha basses.

The TMZ report states: Nothing in life is free — unless you’re famous — but this time freebees have put Metallica’s bass player in the middle of a serious legal battle. Their new bassist, Robert Trujillo, had an existing promotional deal with Fernades Guitars in North Hollywood. For being able to use his likeness in advertising, Fernandes was giving Robert a pile of custom basses. But Metallica has its own promo deal with ESP Guitars — and now that Trujillo is an asset of Metallicorp, their lawyers have slapped Fernandes with a cease and desist letter demanding they no longer use Robert or Metallica’s name or likeness. Rock and roll used to be much cooler than this.

Yamaha reports that Yamaha Artist Services Hollywood master luthier John Gaudesi made three basses for Trijullo, which he is using on Metallica’s current tour. Yamaha Artist Relations manager Mike Tempesta says “The result of the custom basses we created for Robert is a totally unique looking bass. We were honored to be involved in the creative process of providing Robert with instruments exclusive for him based on his wants and desires. It’s a very satisfying process for all involved, and we can’t wait to hear the reaction from the fans that see him perform with these instruments on stage.”

Yamaha says, “The basses are modeled after the TRB5PII. They are made of 2-piece maple core, with maple wings, Indian rosewood fingerboard, a 34″ scale, and the electronics system was custom designed based on Trujillo’s specifications.”

The Yamaha bass is not available to the public yet, but we’ll see what happens come NAMM time in January 2009.

NEWS: New Nuno Washburn guitar, Randall amp

Nuno Bettencourt’s signature Randall amplifier will be officially unveiled at Winter NAMM in January 2009, but Nuno fans won’t have to wait until then to snag a unique piece of signature gear.
As posted at the Extreme band forums, Funky Munky Music is awaiting delivery of a very limited run Washburn N3, based on Nuno’s third ever Washburn prototype, which had a maple fretboard and two Bill Lawrence L500 pickups. The standard Nuno model, the N4, has a Seymour Duncan 59 in the neck in addition to a bridge L500.
There was a Korean-produced model called the N3 for a while, but the new limited edition N3s are made in the USA. They have 22 frets, unlike Nuno’s original which had 24, and feature an original Floyd Rose bridge, a birdseye maple neck and fretboard, the original 1 5/8” nut width, and the original N4 neck profile. Interestingly, at the Extreme forum, Funky Munky says Nuno asked Washburn to revert the neck profile of the N4 to the original shape within the last month or so, and change the nut width to 1 5/8” instead of the current 1 11/16” nut width.
The new N3 will be available in relic and non-relic versions, and the holographic N3 sticker will be included as case candy, so buyers have a choice over whether they put the sticker on or not.
As for that Randall amp, in an official press release Nuno says “There is a reason that I have never endorsed any amplifier company exclusively. Because I have always had to jump back and forth from amp to amp. One for rhythm, Another for solos. A different amp on every recording and tour, constantly searching, unsatisfied. Always good, but not great. Never finding that perfect tone. There was always something missing. Basically, I gave in and truly believed that Marshall would be the staple to fall back on… The Constant.”
“I’ve worked on this amp for over three years. We’ve delayed release of the amp until it was perfect. Until now. The words “I’ve got an amp that I will put my name on and have put it up against any other amplifier and blew them away.” I thought those words would not come out of my mouth. But they have. And it’s true. I’ve worked on this amp for over three years. We’ve delayed release of the amp until it was perfect. Mission accomplished. It’s not fancy. It just sounds killer. It’s a workhorse. One clean channel. One dirty channel. And a boost solo channel, with its own volume and drive controls, because when it’s time to let loose, you should be heard loud and clear.
As a bonus, it looks like no other amp and cabinet before it… the look takes the past into the future.”
I found the image of the amp at the What’s That Dude Play? blog.

For more about the very interesting saga of Bill Lawrence pickups, check out the Bill Lawrence Review website.

Click here to buy Extreme’s new album, Saudades de Rock

NEWS: New releases 29/9/08

Frank Zappa – Joe’s Menage (Vaulternative)
Cryptically, the only information about this one on the Barfko Swill website states: “Newest Corsaga – for NOW! Rare 1975 thrillingness. Be very afraid of being Danish. Or not. Rant & Roll.” However, with pre-orders open now and the first CDs to be dispatched around October 1, we shouldn’t have to wait too long to find out what this one’s all about.

Dream Theater – Chaos in Motion [2 DVD] (Roadrunner)
This release marks Dream Theater’s 12,000th live album and/or DVD. It captures the 2007-08 Chaos In Motion tour. The DVD includes 3 hours of live performance, a behind the scenes documentary, live screen projection films, music videos and a photo gallery. There’s also a 5 disc set limited to 5,000 copies which combines the DVD and 3 audioCDs.

Trivium – Shogun (Roadrunner)
I had the pleasure of hearing early mixes of this one at a listening party attended by the band a few months ago. Some very cool ‘evil waltz’ triplet grooves will invite a few comparisons to Slayer, while Trivium downplays the Metallica influences so prevalent on The Crusade. Lots of hardcore shredding and some very powerful drumming underscore Matt Heafy’s return to demonic screaming, in addition to the more melodic vocal style introduced on the last album.

Neal Morse – Lifeline (Metal Blade)
Former Spock’s Beard guy turned Christian prog artist Neal Morse’s new album features performances by guitarist Paul Bielatowicz, Dream Theater drummer Mike Portnoy and Ajalon bass player Randy George. Paul Gilbert makes a special appearance on a bonus track. The cover reminds me of Great White’s ‘Hooked’ album, which I’m sure was not the intention. It’s also the 3,057th rock album to feature a song called ‘Leviathan.’

Tom Morello (The Nightwatchman) Rise to Power (Red Int/Red Ink)
Morello’s second album of leftist protest songs, this one gets big points from me for having a song called “The Lights Are On In Spidertown,” and for adding full band electric songs to the acoustic stuff. Morello’s distinctive voice and stripped down song structures are an interesting and valuable departure from the grunt of Rage Against The Machine and Audioslave, and his forthcoming tour will feature both acoustic and electric sets.

FEATURE: Festival Survival Guide

Whether you’re playing a Battle of the Bands with your dad as your roadie, or playing the Big Day Out with a pro tech at your side, there are certain similarities to the kind of gear you need. The key to playing on any multi-band bill is foresight. What songs are you going to play? What tunings are they in? What effects do you need? What’s going to happen while you’re changing guitars? What happens if you bust a string?

The first thing you need to do is decide on a set list. Especially in the case of travelling festivals, you need to travel light, sometimes purely for the sake of practicality, sometimes due to the high cost of lugging gear around, so if you’re not going to use that toolbox-sized vintage Echoplex or the Leslie rotating speaker cabinet for the songs you’re going to play, it’s a good idea to rationalise your amp needs. This also applies to those guys who take a full rack and twin speaker cabinets along to a pub gig.

The same goes for stomp boxes. Think about what you really need. Is the audience really going to need to hear 5 flavours of distortion if you can’t tell the difference between 3 of them when a band is playing? Can you make things run a little more smoothly if you construct a mini-me version of your pedal board?

A good solution for this problem is, of course, a multi effects unit. When I’m not in a stompbox frame of mind, my preference is the Boss GT-8, because you can use a feature called the “4 cable method” which allows you to place your amp’s preamp anywhere in the GT-8’s signal chain. This means you can still use your amp’s own distortion, while placing gain effects like wah wah and overdrive before your preamp, and time-based effects like delay and reverb after it. The GT-8 also allows you to change your amp’s channels from within effects patches. If your set list is set in stone, you can program each song as a separate patch in chronological order, and name each patch after the song you need it for. As an added bonus you don’t need to do an elaborate tap-dance before each song. Just cue up the next patch and all your effects are ready to go, along with the appropriate amp channel and delay time.

In the late 90s David Bowie guitarist Reeves Gabrels used a Parker Fly guitar direct into a Roland VG-8 modelling system via a MIDI pickup. This allowed him to model everything from amps and pedals to guitars and pickup selections all at the touch of a button. It also meant he didn’t have to take speaker cabinets on tour at all, cutting down on haulage costs. The VG-8 even allowed him to change tunings within the unit with the tap of a foot, and it could be plugged directly into the front of house desk for a perfect reading of the programmed sounds. One final bonus of this system was that he could just copy his sounds and plug them into another VG-8 anywhere in the world if his broke down.

I find it’s best to group songs according to guitar tuning, just to reduce the amount of time spent messing around on stage swapping guitars. Make sure you have a backup for each tuning if you can, or, if that’s not possible, a non-tremolo guitar with medium gauge strings that can easily and quickly be retuned in an emergency.

One thing to remember in a festival environment is that even though you’re playing for a huge number of people, you don’t need to hit every pair of ears with your amp. A small combo with a microphone in front of it may get lost in the din, but even a 2X12 combo can be enough to fill a stadium. As with any gig situation, concentrate on getting your sound, and leave it up to the engineers to get it to the crowd via the PA system. Once again, make sure you have a backup if you can. Many players like to keep a multi effects pedal ready to go with rough approximations of their sounds programmed in, even if they regularly use a valve amp stack, so they can still play even if the worst happens and an amp explodes in a hail of sparks.
Finally, if you’re playing on a festival bill, don’t be a diva. If it’s a small gig and the back line is already provided, don’t hassle the soundman about using your own amp. One tantrum could throw the changeover time right out of whack and a lot of people will get their knickers in a knot, and besides, if you anger the person who has control of your stage and/or monitor volume, you’re probably not going to have a very good gig, either from your own or the audience’s perspective.

INTERVIEW: Bryan Beller

Bryan Beller is a bass virtuoso, possessed of impeccable phrasing, killer tone, perfect note choice, and a sense of timing and groove so unstoppable that no less than Steve Vai said of him, “At what he does Bryan is truly a giant. His inner musical ear is so receptive that it’s scary.” Whether backing Vai in his String Theories band, nailing the brilliantly impossible compositions of mentor Mike Keneally, or playing in the live touring version of the death metal band Dethklok from the cartoon Metalocalypse, Beller can always be counted on to bring his A game. His new solo album, ‘Thanks In Advance,’ is released on Onion Boy records this month, featuring guest appearances by Keneally, drummers Joe Travers and Marco Minnemann, and many others.

PETER: How did this album come together, and what did you do differently to ‘View’?

BRYAN BELLER: Well, I totally turned my life upside down a year and a half after View came out. It was spurred on by the death of one of my best friends, bassist Wes Wehmiller (1972-2005). I found myself wanting to take chances and not waste another second, so I quit my job, I became a full-time musician again, and moved to Nashville for love. Midlife crisis, a reawakening, whatever you want to call it – it all happened from 2005 to 2006, and my outlook on life changed completely, from a negatively informed fixed opinion to a positively informed mutable possibility. Three months after I got to Nashville, in April of 2006, the vision for the album came to me, almost as a whole. I really wanted to tell the story of going through that, getting to the root of why I was so negative all the time, and finding a way through it and getting to the place I’m at now. That’s what Thanks In Advance is really about. Whereas with View, it all happened so fast – three months from first tracking note to final master – that I didn’t even know what I was trying to say, other than I was crafting as gorgeous a lament as I possibly could. Also, View was recorded in one studio, with one engineer, all in the same room. Thanks In Advance was tracked in over ten studios with seven different engineers. I was there for most of the sessions, so it wasn’t a big file-swapping party like a lot of records nowadays, but it definitely changed the vibe of how it came together. View was an event; Thanks In Advance was more of a process, or a journey.

PETER: The pacing and sequencing of the album is perfect, especially the way ‘Thanks In Advance’ seems to close the album, then you burst back with the high energy ‘From Nothing.’ Did you always plan to sequence the album this way?

BELLER: I actually started with a list of song titles that reflected the narrative arc of the story I was trying to tell. Writing mostly instrumental music, I really only get one chance in language to inform the listener of my intent with the song, and that’s the title. So I made this list of titles, put them in order, and then I wrote the music to the titles – I tried to evoke, musically, what the song was trying to say. And what happened at the end was part of the plan. “Thanks In Advance” is the end of the narrative in a way, a song about gratitude for having arrived at this new place, and “From Nothing” is really what happens after the story is told. “From Nothing” is about suddenly finding yourself able to see everything around you, I mean really see everything and not just your own view of things, and accepting the beauty and the tumult and the chaos of it all and, slowly but surely, finding peace in the center of it.

PETER: ‘Casual Lie Day’ has a lot going on, yet it never sounds cluttered. How did the arrangement come together?

BELLER: Tom Trapp, a really excellent arranger and orchestrator, is the guy who made this arrangement happen. I met him through the work I did with Holland’s Metropol Orchestra and Steve Vai, because Tom did some of those arrangements. Then when I played with the Metropol again for a project with Mike Keneally, I began to have this vision for a swinging jazz/fusion tune, jazzier than I usually write, with an orchestral component. The idea was for the instrumentation to be lush, but for the actual chords and voicings to be slightly dissonant along with the guitar. So I sent Tom the original demo of the tune, and then the basic rhythm tracks of the real cut, and he wrote an arrangement on top of it and sent it to me. I ended up keeping a lot of it, tweaking a little of it, and between the two of us, we got something we both liked on the third shot. We were careful in mixing not to have it consumed by the arrangements, because ultimately it’s a guitar and piano-driven tune, but obviously we wanted people to hear the extra orchestral flourishes when appropriate.

PETER: ‘Cost Of Doing Business’ almost sounds like Nine Inch Nails if Trent was into fusion. Is that track a one-off, or do you have a lot of that kind of electronic/organic hybrid stuff in the vault

BELLER: In terms of this specific style, it’s pretty much a one-off, though I could probably sit around and write stuff like that for days. I love what Trent does – melodically, harmonically, rhythmically, soundwise, you name it – and in a way it’s a guilty pleasure for me to go there considering the style of the rest of the record, and I’m not about to try and be the next industrial studio genius. But there was a place for that song in the record and in the story arc, so I went for it. It was originally a four-bass-track multi-layer thing, and only later did engineer/drummer Mark Niemiec and I turn it into something with super-compressed drums and buzzy synths and other NIN-style accoutrements. The original version is on the special-edition DVD as a bonus audio track.

PETER: What gear did you use on the album?

BELLER: For the most part, my signal path was split into four channels:
1) Tube Mic-Pre direct – an ART TubePAC
2) SansAmp PSA-1, usually set to preset 32, a sub-type sound for extra low end.
3) An SWR amp of some kind, miked – for some tracks it was a Super Redhead, for the fretless tracks it was a Workingman’s 12 combo amp, and for other stuff it was an Grand Prix preamp, powered and sent through a Goliath III 4×10.
4) Wildcard – sometimes it was my pedalboard with various effects on through another ART TubePAC, sometimes it was the SWR Mo’ Bass with all sorts of effects engaged…it changed from song to song. Some songs we didn’t use the fourth channel at all.
As for basses, I used my trusty red Mike Lull Modern V 5-string jazz bass on five tunes, a Mike Lull Modern V Fretless on two tunes, Wes’ old Fender P-Bass on two tracks (including the title track), a Fender Custom Shop ’64 re-issue jazz bass on one track, and the Taylor AB-4 acoustic/electric on the solo piece “Life Story.”

PETER: You have some quite well respected players on the album. What can you tell us about the contributions of: Mike Keneally

BELLER: Mike and I have long been musical partners, and he’s counted on me to be able to deliver a wide range of styles, emotions, sounds, and other things when it comes to his music. So it was a special privilege to have someone as freakishly talented as Mike – who’s a compositional mentor of mine as well – let loose on one of my more intense compositions like “Love Terror Adrenaline,” which conveys a very wide range of emotions and is also extremely difficult technically for a guitarist to pull off. He nails all of that tough stuff, but not like a technical-shredder guitarist would, which is good because it’s not a shredding tune – it’s more raw in its energy, more edgy in execution, and more real as a result, in my opinion. It’s easy to forget what an amazing guitarist he is sometimes. I think people will be floored by what he did on this song, and he was the only one who could have done it the way he did.

PETER: Marco Minnemann

BELLER: The first time I heard him I thought, “This is the next generation of Terry Bozzio, Vinnie Colauita, etc.” One of the best in the world. And I love that he’s coming primarily from a rock background, not a jazz background. Again, he’s only on “Love Terror Adrenaline,” but I chose him for two reasons. One, it was the perfect opportunity to put his famous independence to use, and there’s a really intense, stuttering 16th-note melodic rhythm that he doubles with the kick drum in a way that’s almost impossible to believe; two, there’s an angry, almost frenzied edge to his playing when he works up a head of steam, and that’s exactly the energy that I wanted for this song. It’s not supposed to make you feel comfortable – it’s about having an emotional panic attack. Marco’s a happy guy, don’t get me wrong, but I like his edgier side as well, and be really brought it to this performance.

PETER: Scheila Gonzalez

BELLER: There is such pure joy in her playing, it’s astounding. For me, she’s the magic element in the Zappa Plays Zappa band. Her soloing voice is so developed, so free, confident and mature and yet really adventurous. “From Nothing,” the last song of the album, is a celebration in a way, and as soon as I heard her play, I heard her voice as the featured instrument for that song.

PETER: Joe Travers

BELLER: Joe’s my rhythm section soulmate. I feel more comfortable playing with him than any other drummer. His groove, choices in fills, and confidence in managing a song’s structure are so in tune with mine that sometimes I feel like he’s inside my head while we’re playing. He’s on three tunes on the record, but when it comes to the live band, he’s the guy. We’ve been playing together for almost 20 years now. So when it comes to the most sensitive stuff, like the last two tracks on the album – and also when it comes to freewheeling groove tunes like “Greasy Wheel” – there’s no one I trust more.

PETER: ‘Love Terror Adrenaline/Break Through’ takes a lot of surprising twists and turns. What’s the concept behind that one?

BELLER: It helps to see it in the context of the sequence of the record. Starting from the beginning, each tune gets closer and closer to the core fear experience that I think many people have, especially me – not being able to have and/or maintain a close emotional relationship. Track by track, the album is a descent into darkness in that way, and when you get to “Love Terror Adrenaline/Break Through” (that’s the full name of the song), you’re at the nerve center of that darkness. Like I said, the song is the sound of a panic attack, about being threatened in the most vulnerable emotional place, and ultimately, near the end, about overcoming it and, finally, getting to what’s beyond that fear and achieving a kind of peace with it. The music to that set of emotions is deliberately complex and unpredictable at times.

PETER: You play a very melodic, full sounding guitar solo in ‘Play Hard.’ Do you play much guitar?

BELLER: I love guitar. I’m most influenced by guitarists nowadays, especially compositionally. I could listen to John Scofield and Michael Laundau all day long, and of course Keneally is an influence as well. As a result, guitar really is the driving melodic voice of the record. There’s plenty of bass solos and moments, but just because I’m a bassist doesn’t mean I wanted the bass to take over the record. During the writing process of the first record, I recorded all of the guitar parts for the demos on bass, which had its limitations. This time around, Rick Musallam gave me an old beater Strat copy of his to hang onto for a while, and I started getting around on it enough to track the demos on a real guitar. Mind you, I was playing most of the parts with my fingers, like a bass player would! I’m not much with a pick in my hands, though I used it for some simple stuff. But for “Play Hard,” I’d done all of the guitar tacks for the demo, and they’re very similar to what ended up on the record. So we’re in the studio and it came time for the solo, and Rick was like, “You should do it!” So I went in there and picked up his Les Paul and played it with my fingers, bassist-style. Then I double-tracked it for good measure. There’s video of me doing that on the DVD – it looks pretty stupid, but it worked. And just to put a cap on that, every tune on the record exists in full demo form, and I played the guitar on the whole thing. Most of those demos are on the special-edition DVD, and they’re pretty interesting to listen to now here at the end of the process. It’s funny how some things evolve, and other things just are the way they are the first time you do them.

PETER: What was it like touring with Steve Vai? Will you be playing with him again?

BELLER: Touring and working with Steve is a very intense and rewarding experience. You really develop a good set of mental and physical disciplines in your playing being out there onstage with him, playing difficult parts in front of people who are really there to see the music, to see it performed flawlessly, and who are for the most part discriminating listeners. You learn to set aside personal distractions, get to a place where the show isn’t about you but more for the people watching you, and then go out there and aim for mastery in execution while performing with the intensity of a hard rock band, jumping around and everything. There aren’t many gigs out there like that, and Steve has a very high standard for himself and his band. In that way, it’s similar to the Frank Zappa band experience, even though stylistically Frank and Steve are in very different places. I will say this – I appreciate Steve’s tendencies towards perfectionism more now that I’ve gone through the process of making this record. It’s my hope that we’ll do more performing and recording together in the future, though right now there aren’t any plans on the table. Right now he’s working on a live DVD of the last tour we did, and like with everything he does, he’s busy making it perfect so it’s taking a while. I can relate!

PETER: You recently wrapped up another Dethklok tour. How would you describe this experience, and what’s it like going from playing with Steve Vai and Mike Keneally to being in the greatest, most brutals deaths metals band in the world?

BELLER: Awesome. Just awesome. I’m a metalhead from way back when I was a kid: Megadeth, Anthrax, Slayer, and especially early Metallica. Master Of Puppets and Ride The Lightning and …And Justice For All just killed me when I was a kid. I always wanted to be in a metal band, but I never had the chance to play that stuff with anyone else, so I just did it all in my bedroom. 20 years later, I’m getting the chance to live out every heavy metal band fantasy I could ever have dreamed of. Plus, playing with drummer Gene “The Machine” Hoglan was another dream of mine come true. I’m a huge Strapping Young Lad fan, so it was fanboy time for me all over again. Their record Alien is one of the heaviest, sickest metal albums ever made. It’s what got me back into metal after a long time away from it.Doing that gig isn’t about being me at all – it’s all about making William Murderface sound good, and I do my best for that guy. Because there’s no “Bryan Beller” in “the band Dethklok” and it’s all in the world of unreality, I can just disappear in it, bang my head, and enjoy the visceral energy of the crowd. And after years of musical high-wire-act playing with Keneally and Vai, and even on my own stuff, it was a welcome and unexpected relief.

‘Thanks In Advance’ is released September 30 in standard and special edition versions (the special edition includes a behind-the-scenes DVD called ‘To Nothing’) and preorders are being taken now at

NEWS: New Paul Reed Smiths

Paul Reed Smith has launched a bunch of new guitars at their Experience PRS 2008 open house event, and one new design in particular, the Starla, seems to be inspired by the success of the Mira, which was introduced at Experience PRS 2007.

In a press release, PRS Director of R&D and Private Stock Joe Knaggs said “Some of those crazy old vintage guitars are really cool but imagine if you had one that was also really well-built.” The Starla looks slightly Gretschy to my eyes, with a Bigsby B5 tailpiece and double-screw pickups. The body is solid mahogany with a 24″ scale rosewood fretboard on a solid mahogany neck. PRS is offering dot inlays as standard, or bird inlays as an optional extra. The Starla Treble and Starla Bass pickups are unique to this model, and they’re built around Alnico magnets. Color options include Vintage Cherry, Vintage Mahogany, Vintage Orange and Black.

PRS also unveiled the highly anticipated Al Di Meola Prism model. This one was previewed in Guitar Player magazine recently. It features a unique stained top with a full spectrum of colors over a curly maple custom ‘9’ top with a mahogany back. The scale length is 25″, and the 22 fret, custom-shaped neck features a Mexican rosewood fretboard. The pickups are the new 1957/2008 set, and Al has been playing the prototype of this guitar on recent Return to Forever reunion shows. PRS says the 1957/2008 pickups were designed after the company obtained exclusive rights to the original pickup wire used in “the most revered pickups in the 50’s.” No prizes for guessing what they’re referring to. The name was arrived at because PRS obtained the rights to the wire in 2008, and 1957 was the year the humbucker was first commercially available.

Finally there’s the Modern Eagle II. This updated version has the same premium grade wood, frets and wide fat neck carve of the original Modern Eagle, but adds a new pickup system based around the 1957/2008 set, updated finishing techniques, new colours and a Modern Eagle case. The high gloss nitro finish is available in four colors: Faded Blue Jean, Charcoal, Red Tiger, and Yellow Tiger.