EDDIE VAN HALEN!
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Eddie's Frankenstein/Frankenstrat Guitar
Eddie's vh1 (black and white stripes)
Eddie's Charvel Hybrid VH2 a.k.a. Bumblebee
Eddie's Kramer 5150 Guitar
Eddie's Wolfgang Guitars
Eddie's Insanity Guitar
Eddie's Ibanez Destroyer a.k.a. the Shark

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Guitars
 

Eddie Van Halen built his guitar (Black and White) by hand, using an imperfect body and a neck bought from Wayne Charvel's guitar shop. The body and neck were constructed by Lynn Ellsworth of Boogie Bodies guitars, whose parts were being sold by Wayne Charvel at the time. Eddie installed a humbucker in the bridge position essentially creating a Fat Strat. In 1979, Eddie began to play a black, rear loaded Charvel with yellow stripes. This was later replicated by Charvel along with the black and white striped model and the red white and black model (EVH Art Series Guitars). He also used a stock unmodified Ibanez Destroyer on a lot of the tracks on Van Halens first album such as You Really Got Me and Runnin' With the Devil and a modified Ibanez Destroyer on some tracks on Van Halens second album and a borrowed unmodified Ibanez Destroyer on some tracks on the Women and Children First album.

Also, in 1979 Eddie's original guitar was repainted with Frankenstein artwork. Eddie also changed the neck, removed part of the pick guard and eventually installed a Floyd Rose vibrato unit. The guitar is known both as a "Frankenstrat" and as THE "Frankenstrat." Fender reissued the guitar in relic form in 2007, the limited run selling at $25,000 a guitar. However, a "new" (non-reliced) Frankenstrat is currently available through the Charvel company for significantly less, the first time Van Halen has consented to the commercial release of a guitar with his signature graphics on it.

In 1983, Eddie began to use a brand new Kramer guitar with artwork similar to its predecessor and with a hockey-stick or "banana" headstock, which came to be known as the "5150." This guitar was rear-loaded (no pick guard), had a Floyd Rose vibrato unit and a neck that was later electronically mapped in order for it to be copied on the later Music Man and Peavey signature models. This guitar was last used on the track "Judgment Day" on the For Unlawful Carnal Knowledge album. Various versions of it can be seen in the music videos for "Panama", "Hot for Teacher", "When It's Love", "Feels So Good" and the concert video, Live Without a Net. The guitar itself was a variant of a Kramer Pacer, although not a model that was technically available at the time.

It was painted with Krylon paints by Van Halen and used through the OU812 tour, after which it was "retired." However, Eddie did break out the guitar for use on the 2004 reunion tour, although the neck had finally failed and had apparently been replaced. A copy of this guitar is available today (although not with Van Halen's permission) through the current manufacturer of Kramer's, Music Yo, a subsidiary of the Gibson company. However, the commercially available copy doesn't feature the custom graphics, as the "Frankenstein" graphics are trademarked by Edward Van Halen.

Eddie has used a Steinberger GL-2T guitar with Trans-Trem on several songs, including "Get Up" and "Summer Nights" (from 5150), "Fire in the Hole" (from Van Halen III), and "Me Wise Magic" (from Best of Volume I). It was custom painted with the "Frankenstein" graphics.

In the mid 1990s, Ernie Ball produced an EVH signature "Music Man" guitar, and Eddie used this on For Unlawful Carnal Knowledge and Balance albums. This guitar is still commercially available under the "Axis" name, and retains all of the original features of the Edward Van Halen model. Edward was allegedly upset that Ernie Ball could not produce enough of this guitar to meet demand, and subsequently moved his endorsement to the Peavey Electronics corporation.

Eddie named his line of signature Wolfgang Guitars after his son, Wolfgang. The guitar itself was similar to the previous Axis line, but with a slightly altered shape and many additional options available in Peavey's much larger custom shop. These guitars included a device called a "D-Tuna" which enabled a guitarist to tune the low E string down to D with a slight turn of a knob attached to the end of the bridge.

In 2003, at the NAMM show, the relationship between Peavey and Eddie began to strain. Peavey constructed a glass enclosed stage for Eddie in which to play for VIP's at 2 p.m. Eddie arrived late, shocking fans there with his disheveled appearance, as he immediately went upstairs and initially refused to play. After an hour of negotiations, Eddie came down while fans, who had lined up for hours prior to the appearance, roared with approval. Eddie ended up spending his short time on stage, talking about Wolfgang guitar production and his promise to take a keen interest in quality control. Eddie left, having only played a few notes and small riffs, much to the dissatisfaction of the fans and Peavey. The end came in 2004, when Peavey company parted ways with Van Halen, reportedly because Eddie launched an on-line sale of hand patterned (by Edward) Charvel guitars, sold by the name of the "EVH Art Series Guitars", while he was still contractually obligated to Peavey. The guitars sold for large sums on eBay, and were essentially replicas of his famous "Frankenstrat" guitars, played by Van Halen mainly during the David Lee Roth era of the band. Eddie also launched Frankenstein replicas as noted above, which are the only Van Halen guitars currently endorsed by Eddie.

Most recently Eddie has collaborated with Fender guitars to produce a replica of the Frankenstrat. Eddie and Chip Ellis of the Fender Custom Shop teamed up to produce a guitar priced at $25,000 each. Also, Eddie has collaborated with Fender to launch his own EVH brand of guitars, amps, and musical instrument equipment, starting with his new EVH Brand 5150 III amplifier. Eddie now uses prototypes of his new EVH Brand Wolfgang, which is an updated version Eddie's Peavey Wolfgangs but with new pickups, knobs, a thinner but very elaborate quilted maple top to allow the basswood the dominant tone, providing more tonal resonance but with a balanced high sustain. Also, the new Wolfgang is equipped with an Original Floyd Rose. In addition, the new guitar has a slightly altered headstock. This is because this was Ed and Hartley Peavey's original design for the headstock, which Eddie had patented without the scoop on final version of the Peavey Wolfgang. He has been seen with three new Wolfgang guitars, first a sunburst one, then a black one which he stated he liked less than the sunburst one and now he uses a white one, the best sounding one out of the three prototypes according to Ed.

The EVH Wolfgang is planned for initial sale to the public in early 2009.

Amplifiers

Eddie's main amplifier in the early years was a 100 watt Marshall amplifier that had a 12301 serial number, which dates it to the 1967-1968 transitional period at Marshall when the circuit of the 100 watt Marshall 1959 changed gradually from the "Bass" circuit to the "SuperLead" circuit. It has often been claimed that Eddie's main 100 watt Marshall amplifier may have been modified.

A common Marshall modification that results in higher gain is a cascaded channel, which is often used in conjunction with a master volume modification for more gain control. Randy Rhoads used a cascaded channel Marshall. An easily reversible cascaded channel modification is the one-wire change. Eddie's main Marshall had what appears to be a master volume potentiometer installed at the back of his Marshall head, as seen in Van Halen II studio photos from late 1978. Photos of Eddie's main Marshall in the 1990s show that the potentiometer had been removed.

For Van Halen I, a mixture of Celestion and JBL speakers were used with the JBL speakers giving a brighter tone than the Celestion speakers. A variac set to around 90 volts was also used on Eddie's main 100 watt Marshall, mainly to lower the amplifier's volume. Eddie's Van Halen I recorded guitar tracks were re-amped by using the Sunset Sound studios live reverb room. The first Montrose album was recorded in this way by Ted Templeman and Donn Landee who also produced and engineered the Van Halen I album. Van Halen I was recorded in Studio 1 at Sunset Sound and Van Halen II was recorded in Studio 2 at Sunset Sound.

Pictures from the Van Halen II recording sessions show Eddie recording with just his main 100 watt Marshall amplifier with Celestion speakers and no JBL speakers. From the mid 1980s, Eddie has used a real time re-amping or Master/Slave slaving amplifier setup with the first amplifier being a Tube Amplifier and the second amplifier being a H&H MOSFET solid state power amplifier.

Between 1993 and 2004 Eddie was sponsored by Peavey Electronics to use their 5150 Amplifiers, which he had a part in designing. Following the ending of this relationship, Peavey renamed the amplifier as the "Peavey 6505", with slightly updated styling but original circuitry. Eddie is now sponsored by Fender and has debuted his new amp called the 5150 III. The 5150 III features three channels with their own independent controls, a four-button foot-switch and his famous striped design on the head.

Floyd Rose system

Floyd Rose Original

A crucial component of Van Halen's personal style is his use of the Floyd Rose Locking Tremolo, released in 1977. Early tremolo bars allowed the guitarist to impart a vibrato to a chord or single string via movement of the bar with the picking hand, but the slackening of the strings when the bar was heavily depressed could lead to detuning. The addition of the locking bolts at the nut and bridge kept the stings taut and allowed for drastic depression of the tremolo bar to create effects such as the dive bomb. Van Halen went on to collaborate with Floyd Rose on improvements to Rose's device.

Van Halen also pioneered the mainstream use of the Trans-Trem system on the Steinberger line of guitars on "5150", most notably on the songs "Summer Nights" and on "Me Wise Magic" off of "Best of Volume I" where the song goes through several key changes while retaining the same chord voicings. The Trans-Trem system allows for the effect of an instant "capo", increasing the pitch of all strings by up to a minor third or lowering the pitch by as much as a perfect fourth.

Solo work

Eddie Van Halen has appeared on several projects outside of his eponymous band.

  • Eddie Van Halen was called in by Quincy Jones to play guitar on the song Beat It, from Michael Jackson's 1982 album, "Thriller". Steve Lukather of Toto played the main guitar riff and rhythm, with Eddie playing the solo. Eddie refused the money he was offered for playing on the track.

 

  • In 1983, Eddie collaborated with Queen guitarist Brian May on the Star Fleet Project, a three-track EP consisting of a rock styled rendition of the theme to the popular anime children's show, a May penned track (Let Me Out), and an improvised blues track (Blues Breaker).
  • In 1984, Eddie recorded several instrumentals for a movie called "The Wild Life." Some of those recordings used ideas that showed up later in Van Halen songs such as "A.F.U. (Naturally Wired)" and "Right Now." However, only "Donut City" was included on the soundtrack album, which was released on vinyl and cassette, and never made it to CD format.
  • Also in 1984, he provided the score for the 1984 television film, The Seduction of Gina.
  • He played bass on Sammy Hagar's 1987 solo album I Never Said Goodbye.
  • In 1989 he played bass on the opening track, (Twist the knife) from Steve Lukather's debut album, as well as giving the guitar part which was taken from an outtake from the 5150 album titled "I want some action". The main riff was also latter used by Eddie Van Halen in the 3 album for "Dirty Water Dog".
  • He has also done soundtrack work for movies such as Back to the Future, Over The Top (Winner Takes It All, a collaboration with Sammy Hagar), Twister (The track Humans Being featuring Sammy Hagar, along with the instrumental Respect The Wind), The Wild Life, and Lethal Weapon 4 (The track Fire In The Hole from Van Halen III)
  • He has recorded with Dweezil Zappa, Jeff Porcaro, Roger Waters, and Thomas Dolby.
  • In July 2006, Eddie Van Halen recorded two new instrumental tracks (Rise and Catherine) which debuted in an unusual format: in a pornographic feature entitled "Sacred Sin" directed by a friend of the guitarist, well known adult director Michael Ninn. These tracks have since surfaced on the internet. Eddie also composed some minor uncredited piano interludes in the feature.

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Guitar playing technique

Eddie Van Halen's approach to the guitar involves several distinctive components. His innovative use of two-handed tapping, natural and artificial harmonics, vibrato, and tremolo picking, combined with his rhythmic sensibility and melodic approach, have influenced an entire generation of guitarists. The solo in "Eruption" was voted #2 on Guitar World magazine's readers poll of the 100 Greatest Guitar Solos.

Tapping

Main article: Tapping

The instrumental "Eruption" showcased a solo technique called tapping, utilizing both left and right hands on the guitar neck.

Although Van Halen popularized tapping, he did not, despite popular belief, invent the tapping technique. The tapping technique in Blues and Rock was being picked up by various guitarists in the 1950s, 1960s and 1970s. Steve Hackett from the group Genesis used a tapping technique as early as 1971 on the album Nursery Cryme. Duane Allman from the The Allman Brothers Band and Frank Zappa tapped with a pick in the early 1970s. Brian May of Queen also used the tapping technique, which he picked up in America in the early 1970s, on songs such as It's Late from the News Of The World album. From a Brian May Guitar Player Jan 1983 interview about tapping "I stole it from a guy who said that he stole it from Billy Gibbons in ZZ Top".

Ritchie Blackmore has said in an interview that he and Jimi Hendrix saw Harvey Mandel tap at a nightclub in the late 1960s. From a Feb 1991 Guitar World Ritchie Blackmore interview "The first person I saw doing that hammer-on stuff was Harvey Mandel, at the Whisky A Go-Go in '68". The tapping technique was also known by Jazz guitarists in the 1950s and 1960s.

Early EVH stage photographs, and demo and bootleg recordings from 1976 and before do not indicate EVH using any tapping techniques. In an Ace Frehley January 2005 Guitar World interview, Ace Frehley says that EVH probably started tapping in late 1976/1977 after seeing him tap using a pick with Kiss just before the Gene Simmons Van Halen demo tapes were made. Ace Frehley had been tapping with a pick (similar to Frank Zappa) from at least 1973 as early Kiss television appearances show such as Kiss performing She on The Midnight Special television show in 1975.

EVH's comments about how he came across the tapping technique vary from interview to interview. This is one interview excerpt.

I think I got the idea of tapping watching Jimmy Page do his "Heartbreaker" solo back in 1971. He was doing a pull-off to an open string, and I thought wait a minute, open string ... pull off. I can do that, but what if I use my finger as the nut and move it around?" ... I just kind of took it and ran with it.

EVH also employs tapping harmonics. He holds the pick between his thumb and middle finger, which leaves his index finger free for tapping and also makes for easy transitions between picking and tapping. In support of his two-handed tapping techniques, Van Halen also holds a patent for a flip-out support device which attaches to the rear of the electric guitar.[24] This device enables the user to play the guitar in a manner similar to the piano by orienting the face of the guitar upward instead of forward.

Tone

Eddie achieved his distinctive tone, known as the "Brown sound", by using a Frankenstrat guitar, a stock 100-watt Marshall amp, a Variac (to lower the voltage of the amp to change the tone) and effects such as an Echoplex, an MXR Phase 90, an MXR Flanger and EQs. Van Halen constructed his Frankenstrat guitar using a Charvel factory 2nd body and neck, a vintage Gibson PAF humbucker pickup (sealed in paraffin wax to reduce microphonic feedback), a pre-CBS Fender tremolo bridge (later to be a Floyd Rose bridge) and a single volume control with a knob labeled "tone". Eddie has used a variety of pickups including Gibson PAF's, 1970s Mighty Mites, DiMarzios and Super 70s.

The now famous single pickup, single volume knob guitar configuration was arrived at due to Van Halen's lack of knowledge in electronic circuitry and his failure to find a decent bridge and neck pick-up combination. Upon installing the humbucking pickup, he did not know how to wire it into the circuit, so he wired the simplest working circuit to get it to function. His later guitars include various Kramer models from his period of endorsing that company (most notably the Kramer "5150", from which Kramer in its Gibson-owned days based their Kramer 1984 design, an unofficial artist signature model) and three signature models: the Ernie Ball/ Music Man Edward Van Halen Model (Which continues as the Ernie Ball Axis), the Peavey EVH Wolfgang (which has been succeeded by a similar guitar called the HP Special), and the Charvel EVH Art Series, on which Eddie does the striping before they are painted by Charvel.

In an interview he gave to Guitar World magazine in July, 1985, Van Halen states that his "brown sound" is "basically a tone, a feeling that I'm always working at ... It comes from the person." He continues, "If the person doesn't even know what that type of tone I'm talking about is, they can't really work towards it, can they?"

Tuning

Though rarely discussed, one of the most distinctive aspects of Van Halen's sound was Eddie's tuning of the guitar. Before Van Halen, most distorted, metal-oriented rock consciously avoided the use of the major third interval in guitar chords, creating instead the signature power chord of the genre. When run through a distorted amplifier, the rapid beating of the major third on a conventionally tuned guitar is distracting and somewhat dissonant.

Van Halen developed a technique of flattening his B string slightly so that the interval between the open G and B reaches a justly intonated, beatless third. This consonant third was almost unheard of in distorted-guitar rock and allowed Van Halen to use major chords in a way that mixed classic hard rock power with "happy" pop. The effect is pronounced on songs such as "Runnin' With the Devil", "Unchained", and "Where Have All the Good Times Gone?".

With the B string flattened the correct amount, chords in some positions on the guitar have more justly intonated thirds, but in other positions the flat B string creates out-of-tune intervals. As Eddie once remarked to Guitar Player:

A guitar is just theoretically built wrong. Each string is an interval of fourths, and then the B string is off. Theoretically, that's not right. If you tune an open A chord in the first position and it's perfectly in tune, and then you hit a barre chord an octave higher, it's out of tune. The B string is always a motherfucker to keep in tune all the time! So I have to retune for certain songs. And when I use the Floyd onstage, I have to unclamp it and do it real quick. But with a standard-vibrato guitar, I can tune it while I'm playing.

Volume swells

Eddie used a volume technique in the instrumental "Cathedral". He hammered notes on the fretboard with one hand while rolling the volume knob with the other. This altered the attack and decay of the notes so they mimicked the sound of keyboards. This "volume swells" sound was originally popularized by 1970s progressive rock bands like Focus (Jan Akkerman), Yes and Rush (while Ritchie Blackmore performed this technique a lot live) but was usually performed with a volume pedal, at a slower pace. "Cathedral" also employs an electronic delay, with the delay set at 400 ms and the delayed note set at the same amplitude as the original note. Most of the composition's notes come from hammering on the notes of a major 5th string barre chord (ascending and then descending) and replicating this pattern up and down the neck of the guitar. The end result of this technique made the composition sound as if it is being played on a church/cathedral organ.