Frankenstrat Stripe Templates

EVH STRIPE JOBS When OLP began releasing its guitars in 2002 with the licensed Ernie Ball body and headstock designs, I was one of many who envisioned re-creating the Ernie Ball Music Man EVH model on the cheap. I originally purchased an OLP MM4 model in August 2002 for $200 and after a few mods such as new pickups, bridge, tuners, etc., I had a really cool guitar, my. In December 2003, I purchased an - the cheap knock off of the EBMM EVH (or more precisely, the current Axis Sport model) - and planned a major overhaul for it.

My first plan was to re-paint it with white and black stripes over red (like ), change the bridge pickup (leaving the neck HB cavity open), new tuners, and a new Hipshot vintage trem. I decided to put off the project until the summer of 2004, so I could paint it outside and not worry about the weather. As I began to really re-think the project, I became more inclined to put a real Floyd Rose in there. I eventually found a black Gotoh FR-licensed trem on eBay and sold the Hipshot bridge. A major problem arose when I began working on the neck.

Any templates out there for doing such a beast? Guessing I would. Then (since the black looks like it is very minimal - you can either paint the stripe areas black and then tape them off. Then go over the. The one in the Frankenstrat scheme is my utility door to the hot water tank and water cut off.

Several of the frets were popping, and my attempts at re-pressing them were not working. Since I had to have the nut professionally routed for a Floyd nut, I found a guy in Michigan who was an expert at both (it's amazing how rare it is to find a luthier willing to route for a Floyd nut).

Randal Perkins at Holland RIT Music in Holland, MI sent it back with both jobs done perfectly - thanks Randal! I made the decision a while back to only have a bridge HB and I had my DiMarzio Norton (f-spaced) laying around that I had taken out of my (I had replaced it with the DiMarzio DropSonic). I guess the one pickup makes this a Sport model. I had to fill in and cover up the hole for the 3-way switch and the six trem mounting holes, before installing the two pivot posts for the Gotoh FR trem. With a lot of patience and some help from a StewMac Floyd routing template, the string alignment and intonation turned out perfect. I did, however, need to sand the back of the neck at the butt end to replicate the proper angle for the Floyd setup.

The painting went OK, although I left the masking tape for the white stripes on too long, resulting in some sketchy lines - oh well. I modeled the paint job after from a sport truck magazine cover in the mid-1990s. I placed an Ernie Ball and Edward Van Halen signature decals on the headstock, wired the thing up myself, and I was in business. The neck feels great, the action is terrific, and the Norton sounds killer. Another successful EVH tribute guitar! November 2004 This one has to be one of my favorite guitars from the early EVH era. The circa 1980 Charvel 'Star' guitar with the Danelectro neck.

The guitar has some simple history. It first appeared as with a herd of EVH's axes. Then at some point before VH's 1980 Ivastion World Tour, EVH had it and it was actually used quite extensively live that year. EVH's guitar featured an early, non-fine tuner Floyd Rose and a cream humbucker. The neck is a 21-fret, maple/rosewood Danelectro model with a Floyd locking nut. This Danelectro neck had an interesting history between 1978 and 1983: • 1978- • early 1979- • late 1979- • 1980- • 1981 (October)- • late 1981- • 1982- not seen during the Diver Down tour • 1983 (April)- during the with • 1983 (May)-.

• (NOTE: EVH played his Frankenstein outfitted with a at the Memorial Day weekend, so the party was not broadcast live, but was pre-recorded.) • 1984-present- not seen on any EVH guitar I started the project in October 2008 by purchasing an alder Charvel-type Star body from Mitch at KnE for around $120. I then had Warmoth make me a custom, 22-fret Danelectro neck out of maple and pau ferro, routed for a Floyd nut.

I then stained the maple part of the neck with coffee to give it a nice aged, worn-in look. And then came the painting. Unfortunately, not too many closeups ( ) exist of this axe, so reproducing it seemed like a real pain, although did a. I first sprayed the body white a few times with white primer and wet sanded it between coats to make it perfectly smooth. Then I sprayed it white. I literally let it dry for about a month and then got crazy with some tape - that took forever! I had to manipulate the tape in every possible way to resemble the shapes and designs on EVH's original.

I would not want to do that again. I then sprayed it black and waitied a day and then peeled the tape off. I then sprayed it clear several times and wet-sanded in between coats to get it nice a smooth and clear. It actually came out really cool ( ). Of course, I went with a real 1980s Floyd Rose tremolo and added a brass from FU-Tone.com for extra sustain (there's a lot of wood missing from the bridge area on a Star body). I then added some chrome 3x3 Gotoh tuners, chrome Schaller straplocks, a chrome Electrosocket jack, and a chrome volume knob. For the pickup, I went with a cream, F-spaced DiMarzio PAF 36th Anniversary bridge model.

Maybe it's me, but I think it sounds a bit thin - probably because the body it pretty light and there's not a lot of mass around the bridge. Ah, but I get picky and it can easily be EQ'd up.

Well, it not an exact match - that's for sure. I doubt EVH's 80 Star was clear-coated and it didn't have a 22-fret neck, or a Floyd with fine tuners. And the paint job doesn't match exactly. But it looks close enough for me and it's cool to have a version of such a cool guitar from early VH history.

August 2009 Another interesting EVH-themed striped guitar that just came out of nowhere. This build came together when I stumbled on a black/yellow striped body on eBay in early 2016. The basswood body by Mojo Bodies was routed for a Floyd and one humbucker, and had the Charvel/Jackson control cavity and San Dimas-style shape and edges (less rounded). Whoever painted it just used cans, but did a pretty good job, and I like the fact that it's an original design - not the. Of course then I'd need a neck. Around the same time, I saw some nice Strat necks being sold on eBay from Canada that came with the Floyd nut route, and to keep with the I'm going to do this one a little different plan, I ordered one of the necks with a rosewood board.

Very impressive quality and a great value. With the 12th-fret dot spacing and the Strat headstock, the 22-fret neck reminded of the, before Fender stepped in with a cease and desist. The neck came with a thin seal, and I sanded it off and dirtied it a bit to give it a nice aged look. For the hardware, I broke down and for the first time in my life, purchased a gold Floyd Rose tremolo. Luckily, I found a good deal on an old 1980s model; I just cleaned it up and upgraded the screws and string blocks. I also replaced the stock arm with a chrome one (as with my black Floyds) and swapped the trem sustain block with a thick brass one, as well as adding a chrome EVH d-tuna.

I had a set of chrome Schaller tuners, so to fit in with the gold theme, I replaced the knobs and bushings with gold ones, so it now has a cool. I went with a gold R2 Floyd nut, gold Schaller strap buttons, and to top if off, I used an old chrome Jackson neck plate to hold everything together. For the pickup, I went with an F-spaced DiMarzio Tone Zone in white. I have a black Tone Zone in my axe and I love that tone.

I went with white to match the white Tone knob, and I think that it looks good with the black/yellow paint job and the gold hardware theme. Speaking of the gold hardware, one of the deciding reasons for going with the gold Floyd Rose was to get close to the look of. And a lot of the old black/yellow Charvels from the late 1970s and early 1980s had brass hardware, and that was in my mind, too. Examples are Van Halen's '82 Charvel from the 1982 Entertainment Tonight TV clip, and these other Charvel black/yellow striped guitars. I love the way this guitar plays and the Tone Zone is an awesome pickup. It's like a Charvel/Jackson body with a Kramer neck, and how can you go wrong with that? Free Forensic Video Enhancement Software Download.

And the gold hardware is really growing on me! May 2016 Well I broke down and had to try one of these newer EVH Stripe Series guitars. Made a few changes along the way. When EVH Guitars put out the three Art Series striped versions in 2004 - for about $2500, I balked. Way too expensive for what you get. Then in January 2013, EVH rolled out the new Striped Series (made in Mexico), and these were less than half the cost.

So when I saw someone online looking to sell their used 2013 red, black & white (RBW) version for $500 during the summer of 2015, I said 'heck yeah!' The guitar comes with some amazing appointments, in addition to the really cool paint job, but I still made some changes to really hot rod this guitar. First, I replaced the stock black EVH pickup (foreign made) with an authentic zebra EVH Wolfgang bridge humbucker. I even to resemble the classic, since it screws directly into the wood. I also replaced the EVH-branded Floyd Rose (which is essentially a Floyd Rose 1000) with a 1990s German-made Floyd I had laying around, along with a German-made R3 locking nut and brass Big Block.

I even swapped out the stock chrome Floyd pivot posts for black ones. And I added a black EVH D-tuna (replaced the stock chrome one) and chrome Schaller straplocks. And that was about it. I kept the chrome EVH tuners and the EVH neck plate, and relic'd the entire guitar to give it that Fender 'Road Worn' appearance. A LOT of sanding on that body, since the factory finish was pretty thick.

I used some graphite powder on the neck to give it a well-played look & feel, and aged the humbucker and Floyd. I tracked down a 1971 quarter and screwed it into the body face near the Floyd to resemble the Frankenstein setup. The guitar looks, plays, and sounds great, and the upgrades and additions weren't too big of a headache, although setting up the angle on the Floyd seemed tougher than usual.

I had to sand down the back of the neck butt and add a shim to improve the angle in order to keep the action right and still use the D-tuna., I'd say mine looks pretty cool. Yes, there are guys on eBay modifying EVH RBWs to match his Frankenstein guitar, but I didn't want to go that far. So this one is a cross between the Frankenstein and his 5150. August 2015 UPDATE: April 2017 is taking older Floyd Rose base plates and using my Dremel to take off the chrome plating right down to the bare steel. The Floyd looks good with the matte steel finish and it's actually kinda fun and easy.

So since the older chrome Floyd on this EVH guitar had some chips and blemishes, I went ahead and performed this little modification. And the unplated steel with the aged black saddles looks really cool. Under construction. This guitar is not even close to the (), but I had to do something with all the extra parts I had. For years I was working on my and I just couldn't get the right action with the neck I was using. I actually ruined a Mighty Mite, Jackson-style neck by taking too much wood off of the heel while trying to get it in the Firebird's body joint. Anyway, I gave up and sold the Firebird body on eBay.

So that left me with a chrome Ping Floyd Rose and a pair of Golden Age black humbuckers (neck and bridge). I used the neck humbucker in my guitar project (great tone from Golden Age, by the way), so now what? I could have sold the Floyd and extra pickup, but one day in September 2009, I came across a that someone had done a nice EVH paint job on. Even relic'd it, too.

So I decided to go down that road. First off, there was some differences (see below) from the eBay body and the real deal, but that's fine – this one is more like a version of the Frankenstein Fender would put out if they made a $1500 version in Mexico (without the flight case).

Thankfully, this body was drilled for the Floyd posts, so it just required a neck and some miscellaneous hardware. In October, I ordered a nice 22-fret, flamed maple Strat neck from Warmoth, and once again, I have to say Warmoth necks are the best. Anyway, in keeping with the Fender theme, I tracked down a chrome Fender neck plate and a set of chrome Fender - made by Schaller - tuners to go with the Fender-used Ping Floyd. (.) To make an EVH Frankenstein, there are some other parts required.

Luckily, I hand most of these laying around. I had a 1971 quarter that I drilled up and aged (fire works nice). I took a white Tone knob and aged it up. I had a chrome Strat jack plate that I aged by scratching it and burning it. I had a black Strat pickguard that I cut up and scratched up to match EVH’s original partial guard.

I had a nice 5-way switch that I broke up and aged for the middle pickup cavity. And I even had an old single-coil pickup and a red cover. I cut the cover top on and super-glued it to the top of the single-coil pickup.

I then aged it by scratching it, burning a little bit of it, and rubbing wax on it to dull it. To age the Ping Floyd Rose, I took it apart and scrated it up – especially the fine tuners. I swapped out the stock Ping trem block, and attached a 42mm brass from FU-Tone.com. Big difference! And I had a lot of fun. I scratched it, filed it, burned it, and rubbed wax on it and I think it looks pretty good! I then wired it up to a 500k pot I had laying around and I was in business.

Because the pickup cavity on the Strat body was pretty deep, I had to add a bit of wood in the humbucker cavity so the pickup could be screwed into real wood. I even aged the neck just a bit by sanding down really good and adding some random cigarette burns to the headstock. I aged the Fender tuners by sanding/scratching some of the finish off the buttons, and I lightly sanded the Floyd Rose lock nut screws (clamp and through-neck).

The assembly was very easy and the Warmoth neck fit very nicely on the Strat body. I added the appropriate set of eight reflectors to the back of the body, although I didn't age them like the original. The Golden Age Overwound humbucker is a beefy PAF-sounding pickup and is a great value for the money. And seriously, this is what Fender could do to put out a much cheaper version of the $25k EVH Frankenstein!

Cheaper alder body, cheaper pickup, Ping Floyd, no Schaller tuners, less time relicing the body to perfection. October 2009 UPDATE: April 2010 Note that the majority of the above description was based on this guitar having a 22-fret, 25 1/2'-scale neck ( ) and before I got my (which is A LOT closer to EVH Frankenstein). My original plan with this in 2009 was to use a Warmoth Tele baritone neck to make it really unique. So in March 2010, I broke down and ordered a Warmoth maple baritone neck with a Tele headstock. A baritone guitar with a Floyd Rose? How cool is that! This baritone guitar is tuned B E A D F# B - low to high - just like my axe.

The only issue I had was the low B string was too thick at the ball end with the winding to fit through the tuner hole (I wind all my Floyd guitars ball-end at the tuner down to the bridge), so I had to drill out the one tuner to accomodate the.062 string. And the went toward my guitar (see below). So add this major modification to the above list of how this is different than the $25k EVH Frankenstein. I began this project in the fall of 2009 and over a year later - it's finally done!

My first Van Halen Jackson guitar. Dua Mashlool With Urdu Translation In Pdf. Typically, EVH-style, one-humbucker projects are pretty painless and quick, but this one dragged out a bit because of two reasons. First, I picked up the alder body (Warren model for 24-fret neck) in November 2009 and rushed a striped paint job on there.

I didn't prime it well enough, so it started to peel a bit in places, so I had to do it over. By that time, however, winter was in full swing and any new painting would have to wait until mid-2010. So there's one delay. And the new paint job looks A LOT better than the original one I put on there (loosely based on ), but I dinged it a bit afterward so I relic'd the body and some of the hardware a little to accomodate that look. The other delay was caused by my choice in necks.

I originally wanted to go with a new maple neck (24 frets), but wasn't happy with the quality. Let's face it.

Kramer is no longer Kramer, unless you track down one those USA '1984' models from a few years back. Anyway, I was at a loss for what type of 24-fret neck to put on there.

I wanted it to be maple and I was ready to slap a Jackson decal on there. So in early 2011, I decided to go all the way and splurge and get a real MIJ Jackson maple neck with black binding and black shark fin inlays. Wow - what a neck.

Great quality and it looks amazing. And huge frets on it. The neck was used off of someone's 2007 model.

I was ready to go with a real chrome Floyd Rose on here, but after digging the quality of the Floyd Rose Special trems and using those on my and, I decided to be consistent and get a Floyd Rose Special (satin chrome) for this Jackson project, as well - and the satin chrome really looks good with the navy blue/silver theme. I even went with a real Jackson Floyd-licensed satin chrome locking nut to match. This way, I can save the real Floyd for another project. For the remaining hardware, I went with a black Jackson neck plate and black Jackson tuners (with chrome knobs). Even the chrome volume knob is from a Jackson. Chrome Schaller straplocks, a chrome football jack, and a 1976 quarter for the Floyd are also on there.

For the pickup, I was really torn. I wanted to go with - you guessed it - a Jackson model, but the one I've been looking for (J90) is tough to find.

I actually had one for years in my that I put together in the late 1980s and parted out (except the neck - ) in 1998. Man that pickup sounded great! I should never have gotten rid of it. Anyway, I had heard good things about Fender's Tex-Mex bridge humbucker and I saw a used one cheap on eBay, so that's what I have in there. I have to admit that the buzz about this pickup is legit (no pun intended) - it sounds great - a lot like a hot '59 PAF or the Seymour Duncan Pearly Gates model. So why the navy blue/silver EVH theme? It's a subtle tribute to my favorite NFL team - the Dallas Cowboys.

I even with a vintage Dallas helmet sticker, a Tom Landry photo I took at the old Texas Stadium, and a little bag of the rubber 'dirt' from the actual Texas Stadium field from a tour I took in 2008. But make no mistake - this is a killer EVH-like axe that gets the tone and the real Jackson neck is awesome. January 2011 Another striped Kramer, and yes, I know there were no 1982 Kramer Barettas. So first a little history. In 1981, Kramer began making a single humbucking guitar with a volume and tone knob, along with a phase/split-coil switch.

This production model, called a was one of the first to cash in on the Van Halen-inspired simplicity of having a Strat body with a single humbucker. This model also featured a Strat headstock. In late 1981, Kramer began getting involved with Edward Van Halen and that business relationship began producing results in 1982 with a that EVH used on the Diver Down tour, as well as the (used toward the end of the tour). In terms of the changes to the Pacer Special, Fender threatened Kramer over the use of the Strat headstock, so the soon-to-be-famous Kramer 'beak' headstock appeared on the.

Kramer's involvement with EVH also led to the inclusion of the Floyd Rose tremolo, and later. EVH became more public with his Kramer partnership in 1983 and in late May that year, he (the last concert with the legendary Frankenstein).

The stayed the same through most of the year, but around the time Van Halen filmed their Jump video in November (where EVH again showed off his Frankenstein with the Kramer beak neak), Kramer shook things up. With influence from EVH, Kramer took the single humbucker on the Pacer Special and slanted it like EVH did on his Frankenstein guitar. Kramer also streamlined the electronics with a only single volume and changed the beak headstock to a Gibson Explorer shape. Most importantly, Kramer gave the model a new name -. NOTE:, thanks I'm sure to EVH.

For more info on the Kramer Pacer Special and Baretta, check out Vintage Kramer's site: Ok, so back to my EVH 82 Baretta guitar project. I wanted to build something that Kramer would have built in maybe late 1982 - basically a combination of a Pacer Special and a Baretta. The controls and the neck are all Pacer Special, and the slanted humbucker screams Baretta. And of course it has a Floyd. The body is an alder KnE and the neck is a maple Canadian Superstrat. I painted the body to loosely resemble something that's related to both the white/black version of the Frankenstein, and also the black/yellow Bumblebee - but in red & white.

I lightly aged everything and applied a period-correct Kramer waterslide and went with a 1980s Kramer neck plate. For the electronics, I used a real EVH Frankenstein humbucker and went with a pickup ring. One volume and one tone control and I used black speed knobs like on the old Pacer Specials. The Floyd Rose is an '87 model that I bought back in the day for. Trust me, I would love to track down and buy an old Kramer Pacer Special, but they are not cheap.

I pieced together a years ago,, and that's enough for me on that. Overall this is a tribute to those old Kramer guitars that I would see on the walls at Guitar Center as a kid, dreaming someday that I would own and play one. Especially a striped one! June 2017 Under construction. For a guitar that - this project sure took a while. This essentially is a Warmoth project (both body and neck are Warmoth) and I began this in 2005, finishing it in the summer of 2010 with a different Warmoth neck.

But before stating the specifics and all the issues along that road, here's the info on the EVH original. In late 1981 or early 1982, EVH acquired a and was photographed with it jamming with Alan Holdsworth.

The guitar next for the Diver Down tour ( ) but it sure. EVH applied blue, orange, white, and yellow strips of electrical tape and he also appeared to have replaced the bridge humbucker with a zebra model. Pictures of this guitar are hard to come by, and I only found. EVH's model featured a gold Rockinger tremolo (Kramers had these trems before they went with Floyd Rose in late 1982) and gold tuners.

The neck pickup seems to be a stock Schaller (Kramers came stock with Schaller humbuckers before hooking up with Seymour Duncan in the mid-1980s), but it's anyone's guess as to what the zebra humbucker is. EVH's purple Pacer disappeared after 1982, although EVH most likely has kept it in some type of condition in his 5150 studio. And then there's mine. I originally did not intend for this project to be an EVH purple Pacer tribute model - I was looking to make something similar to my, but with two humbuckers - including a Fernandes Sustainer unit - and a different color scheme - cream, burgundy, and gold.

The Warmoth neck I wanted to use on this project was exactly like the neck on the in that it featured birdseye maple, abalone dot inlays, and a square heel. I began to paint it, but slowly lost interest in this obscure paint pattern. So the project sat. In 2007 at some point, I made the decision to model this project after the EVH purple Pacer.

Since I hadn't progressed too far on the Charvel version of this project, it wasn't too big of a deal to sand the body down and spray it purple. I went to Home Depot and picked up the appropriate electrical tape color rolls and tried to follow EVH's pattern as close as possible. And that tape is on there - no clear coat necessary. I decided not to go for the original Rockinger tremolo, since they are a pretty rare find on eBay and maintaining it with replacement parts would be impossible. Thank God for Floyd Rose!

Since the Fernandes Sustainer occupies the neck humbucker slot, I needed to decide on zebra bridge pickup. After some consideration, I went with a Seymour Duncan Custom Trembucker, but I realized after I got it that its zebra alignment is cream to black (bridge to neck), while EVH's is black to cream from the bridge. Other notable differences include (besides the Fernandes Sustainer and the Floyd Rose): chrome hardware (Floyd, tuners), old Ibanez knobs (instead of Gibson speed knobs), and mine has just one volume and one tone (EVH's has one volume and two tones)., but with the complex Fernandes Sustainer, I needed it to be professionally wired. The next movement came in October 2009 when I ordered a flame maple neck from Warmoth for my, which was still waiting to be a baritone (see story above). I eventually ordered a Warmoth baritone Tele neck and planned to use the flame maple Warmoth neck for another project, but thought that the would be a starter for a new guitar project (eventually sold), since it had a square heel, so I slapped a black Kramer decal on the flame maple neck and screwed it to the purple Pacer. Whew - that was confusing!

And then, because everything seemed set, I got off my rear end and took the purple Pacer Sustainer into the shop to get it professionally wired in May 2010 - FINALLY! And I'm glad I did - that So it's finally all done. An alder Warmoth body with a flame maple Warmoth neck. The bridge Duncan Custom pickup sounds massive and the Fernandes Sustainer tool is pretty slick - it's like having an E-Bow mounted to your guitar. And with a few exceptions, it looks awefully close to EVH's multi-colored purple Pacer that he used for one tour in 1982. And it only took about five years to get there!

June 2010 I almost bought a back in 1987 from the Guitar Center in Covina, CA, but I backed out due to the price tag (around $600). I swore that I'd get one someday, and it turned out to be 11 years for the same price ($599). Edward Van Halen first used a to record Top Jimmy off of VH's 1984 album. After Kramer scooped up the technology in the mid-1980s, became the most famous version. Is its Bartolini pickup. The active pickup (it takes two 9-volt batteries) is really six pickups in one - one for each string.

This allows the player to pan each string either left or right (example: E D B = left, A G E = right). The stereo output jack enables two amps to project the signal in stereo. The electronics also feature a three-pot parametric EQ and a three-way EQ scoop switch. When used correctly in stereo, this guitar sounds amazing. I was doing some work in Michigan in May 1998 and was on the Web during lunch searching for Kramer guitars, and I stumbled upon a site that had a 1988 Ripley for sale - Music Connection in Seattle. The guitar had a white/ivory body with a rosewood neck and black hardware and was advertised as being in excellent condition. The one catch was that it was missing the black Floyd Rose tremolo arm.

Funny how $600 doesn't seem to be as much 11 years down the road. The guitar was waiting for me when I got back to San Diego and it was in fine condition. Since I already owned a white/ivory Kramer with one pickup (my Kramer Baretta), I decided to re-paint the Ripley. Not just any paint job - an Edward Van Halen-inspired stripe job!

I bought some metallic gold and metallic black spray paint and went to work. I removed everything from the body, except the delicate electronics, and roughed up the original finish. I then painted the body gold. Then I applied some masking tape in an EVH pattern and sprayed it black. I didn't try to copy the striping pattern from any particular EVH guitar, maybe a little from his 5150 guitar, but certainly not an exact copy. I chose black and gold because that matched the black headstock with the gold Kramer logo.

The paint job came out OK, although the tape I used for the thin stripes wasn't thin enough. When you buy a Ripley guitar, you don't have to do too many modifications.

The tuners and strap buttons are already Schaller, it has a Floyd Rose, and the pickup is the whole reason you buy the guitar in the first place. I added a chrome Floyd arm that I had from an old, pre-fine tuner Floyd that I parted out. (This started my tradition of using chrome arms with black trems.) I also used a 1976 quarter for under the Floyd plate. Oddly enough, the guitar came with a chrome Kramer neck plate, but I was able to get a black Kramer neck plate from Victor Litz Music in Gaithersburg, MD. I probably haven't utilized this guitar's maximum potential.

The thing that still amazes me is the tone the Bartolini pickup gets - it absolutely smokes! The on-board parametric EQ lets me dial in a monster sound. Check it out on Sans off of man makes plans and God laughs - the only guitar used on the tune. June 2002 Other EVH-like Striped guitars.