PHOTOS...'Gibson J-180' And Steinegger 'Ike Everly Custom'!

[Billy C.]

Hello, guys!

 

Here, as recently promised are photos so you may compare a rare, limited edition of a Gibson 'J-180' with an (ultra-rare) 'Ike Everly Custom' guitar built by Robert Steinegger.

 

Both guitars date back to the 1990s. Of specific interest is that this 'J-180' is part of the limited edition 'International Collectors Series' from 1993 and is the final guitar built for that Gibson Montana 36-guitar run.

 

The Steinegger 'Ike' was likewise the final 'Ike Everly' guitar completed by Mr. Steinegger from that series and this one was a custom-ordered guitar, exhibiting some luxurious appointments and detailing.

 

BTW, you will note several of the photos include my J-160E John Lennon 'Peace' guitar, which I acquired more recently, in 2011. I've included it here because it is likewise of a limited-edition Gibson Montana series (and also so that I don't need to obtain additional photos later, etc.)

 

Anyway, I present here three 'ladies of leisure'...two elegantly-attired Sisters and with them (in a slightly plainer gown) their Cousin, a blonde...please enjoy!

 

To view photos, please click on link below:

[slimt]

Thats a Cool looking peg head.. haven't seen that one before.. Nice 180..

[Billy C.]

Thats a Cool looking peg head.. haven't seen that one before.. Nice 180..

...Well I Thank You for your nice comment!

[Fullmental Alpinist]

Billy C.,

 

Thank you so much for posting those pictures. You've got quite a collection of pristine guitars.

 

It's nice that people like yourself are documenting their Everlys. Doesn't seem to be that much information on them out there. Your guitar and the one a month or so ago were new to most of the folks here. Glad to see them.

 

If I could ask you a couple of questions. Why did you get the '93 Everly in the first place? (I assume it's your first Everly.) Were you a particular fan of the brothers?

 

Why did you get the Steinegger? Any knowledge why the Everlys picked a guy in Oregon to build their guitars? (I'm assuming both Phil and Don had them.) Was the Ike guitar actually built for Ike or just named after him?

 

FMA

[aliasphobias]

Very nice! I like the Everly models in your fine collection. I have only seen one of the white headstock Gibsons. It was hanging in a glass case at a local music store when they first came out. I didn't have the cheddar for it then and it didn't hang around long. The next time I went in the store they had a Nick Lucas in the glass case. Thanks for posting! Real beauties you have there.

[Billy C.]

Billy C.,

 

Thank you so much for posting those pictures. You've got quite a collection of pristine guitars.

 

It's nice that people like yourself are documenting their Everlys. Doesn't seem to be that much information on them out there. Your guitar and the one a month or so ago were new to most of the folks here. Glad to see them.

 

If I could ask you a couple of questions. Why did you get the '93 Everly in the first place? (I assume it's your first Everly.) Were you a particular fan of the brothers?

 

Why did you get the Steinegger? Any knowledge why the Everlys picked a guy in Oregon to build their guitars? (I'm assuming both Phil and Don had them.) Was the Ike guitar actually built for Ike or just named after him?

 

FMA

[/quote

 

Hey, thanks for your interest, buddy! I genuinely appreciate your questions, as there are some rather interesting facts behind how I came to acquire these two limited edition 'Everlys'. Now to address your two questions...first of all I own a guitar collection that has been gradually compiled over the past 22 years. Like many collectors and players...most all of my guitars relate to my major musical influences. My principle guitar 'heroes' happen to be Chet Atkins...The Everly Brothers...The (early) Beatles.

 

So, bearing those influences in mind...you can establish WHY I sought these unique guitars out. Moreover, I happen to have a penchant for guitars that are 'limited production run' instruments and I especially search out the LAST example built in any particular 'run'...that is to say, once I have 'zeroed-in' upon what specifically I am after. Although admittedly not always successful...still, I've managed to secure no less than 50% of my entire (modest) collection, comprised of these 'last of the series' examples. As for those likewise consumed, it's been an arduous journey to be sure...but the positive result is that after 22 years of unrelenting frustration, time and treasure...my modest yet imposing collection was at last completed to my satisfaction, several years ago.

 

In the case of the 'J-180 International'...I searched after this very guitar (for nearly 12 years) before quite surprisingly discovering it listed up for auction on Ebay, back in April of 2007. I was the (very fortunate) winner out of 29 bidders. There is an entirely different story behind how I came to acquire the Steinegger 'Ike Everly Custom', which you viewed via the above photo link. It is a protracted story so for the sake of brevity it must suffice here to state that it took 4-1/2 years of concerted negotiation and very determined effort involving both myself and the builder in order for me to eventually obtain it. Further compounding this 'difficulty', was the rather serious stroke and subsequent recovery period, sustained by Mr. Steinegger which unfortunately intervened, in the midst. He was not very active past that point at the time I knew him and to this date, no one hears much about or from him and it may or may not be conjecture to suppose that he has very greatly curtailed...if not entirely retired...from building guitars. (???)

 

...Having stated that, I would be grossly remiss to not mention here that the man stood/stands right up there amongst the finest luthiers in America, if not on this earth. He is unfortunately, an obscure figure to most guitarists...likely because he produces predominantly very high-end and therefore expensive custom-order work. Apparently he remains to date, (perhaps unavoidably???)...very reclusive.

 

Now you might be aware that the majority of Steinegger's roughly 58 'Ike Everly' guitars went to 'famous names'...The Everlys, of course being the first...but a number of examples also built to order for wealthy collectors. Amongst names receiving these guitars by example, that you certainly will recognize...George Harrison...Paul McCartney...Bert Poyck, etc.

 

The Steinegger 'Ike' Guitars were built from 1983 until the last was completed some time during 1997-98. You might know Ike Everly was the Everly Brothers' Father and that he was...(along with his Wife and Sons, in the years prior to Chet Atkins 'discovering' Don and Phil's burgeoning talents and we all know what transpired after THAT!)...a well-known radio personality and performer. Not to mention being a highly influential finger-style guitarist, whose contemporaries were Merle Travis, Chet Atkins and Mose Rager among several others, lesser known. Hence, Ike's Son Phil and Mr. Steinegger christening their newly-created, highline, mega-exclusive 'acoustic' after him, years following his unfortunate death. Now you know 'the rest of the story', although I have of necessity, had to constrain from filling in many smaller details, via limitations of this format. (Incidentally, those interested may view Ike Everly perform, by way of several YouTube posts, although he unfortunately is not generally well-remembered by contemporary guitarists, in this day.)

 

As to the story of how Phil Everly became involved with ace Oregon luthier Robert Steinegger...and how they both collaborated to build the 'Ike Everly' series guitars...THAT is a very arresting story in and of itself and must understandably hold for another time, as I've rambled on here sufficiently, for now. I shall rather choose to write about that on another occasion, once I have assured myself that someone else on this site has not already performed that service to the benefit of those thus interested, previously.

[Billy C.]

Very nice! I like the Everly models in your fine collection. I have only seen one of the white headstock Gibsons. It was hanging in a glass case at a local music store when they first came out. I didn't have the cheddar for it then and it didn't hang around long. The next time I went in the store they had a Nick Lucas in the glass case. Thanks for posting! Real beauties you have there.

 

...(Your comments and kindly words are most appreciated!)

[Fullmental Alpinist]

Billy C.:

 

Thank you for your reply. You answered my questions and that is sincerely appreciated.

 

Congrats on your amazing collection.

 

FMA

[Billy C.]

...My pleasure!

[philfish]

Great thread, beautiful guitars and photos and information.

Thanks Billy

Think I will go listen to my EB 84 album

[Billy C.]

Great thread, beautiful guitars and photos and information.

Thanks Billy

Think I will go listen to my EB 84 album

So nice to hear that and thank you so much!

 

...BTW, agreed that the Everly's '84 album is a gem!

[Billy C.]

Over these past several days since posting photos of both the Gibson J-180 and Steinegger Ike Everly guitars, several of you have forwarded messages inquiring how these two so closely-related, dramatic and visually-commanding acoustic stage guitars 'compare' in terms of playability, workmanship and overall tone. I appreciate your interest and so will endeavor to collectively address your questions...

 

Actually, while both are wonderful instruments to play...the clear edge has to go to the Steinegger...(same may be stated for overall fit, finish and general 'quality of workmanship'.) However to be entirely fair...please bear in mind, that even a limited edition 'Gibson Montana' J-180 as exampled in the provided photos, was produced in 'runs' and fabricated by mutiple individuals. Although very nearly its contemporary...the Steinegger was entirely hand-constructed by a single luthier and so was, in its day...custom built one-at-a-time, entirely to order.

 

Having stated that, TONE or 'voice' is where resides most notable 'difference'. The Gibson is an exemplary instrument for 'aggressive' or vigorous, rhythmic strumming. Its inherent design minimalizes 'boominess' in volume, 'muddiness' of tone...(this is precisely what the Everly Brothers originally sought and requested, hence the basic overall design configuration.) On the other side, the Steinegger delivers exceptional clarity and balance in all ranges with an essentially notable and rich, piano-like texture on the low end, yet without 'boominess'...and moreover it 'sings' with remarkable sustain. The best way I might convey how these two guitars differ in regard to sound, would be to state that Gibson's J-180 excels as an ace acoustic 'rhythm' guitar eminently useful for accompanying or 'backing' vocalists...live or recorded. However...although the Steinegger 'Ike' is that also...it ADDITIONALY performs double-duty as a fine and imposing 'lead' or SOLO acoustic guitar. I might add, one perhaps unexpectedly yet pleasingly suited to finger-style playing.

 

So, rather unlike its Gibson counterpart...the Steinegger offers a passport to enter into and explore other realms and with authority. Robert Steinegger might/might not have envisioned this at the beginning as he strove to fulfill Phil Everly's vision...but he assuredly did NOT build a 'one trick pony' when he created these guitars, per Phil's initial request and subsequent occasional oversight!

 

Gibson's J-180, designed for vocalists primarily to offer punchy rhythm whilst absorbing aggressive strumming...(but minus the 'boominess' inherent in the earlier Southern Jumbo and J-200 series acoustics, which the Everlys formerly employed)...possesses neither the volume nor the 'depth' or complexity of tone that the Steinegger guitar delivers. Bearing that consideration in mind...this comparison is 'an apple versus an orange', subjectively speaking. This being due not merely to 'proprietary' construction technique and materials but even more so to the initial 'vision' of what Phil Everly and Mr. Steinegger created at the outset. That is to say, they envisioned a 'greatly enhanced Everly acoustic guitar'...and so, Robert Steinegger built one. Only this time...under a different name and label.

 

So to summarize...were I singing or playing within a 'group' setting...providing 'rhythm' on acoustic guitar...I'd unquestionably choose my Gibson! Were I rather requested to perform 'solo' or fingerstyle guitar and I therefore desired an 'acoustic' exhibiting maximum 'projection' coupled to superbly rich, textured acoustic tone...then my Steinegger would be the apparent and logical choice, hands down!

 

...That, in a nutshell is why I find owning BOTH entirely serviceable...other 'attributes' and pure collectability, notwithstanding.

[bobouz]

Billy C -

 

I'm a longtime fan of Merle Travis, and also have a great appreciation for Chet Atkins, as well as the Everly family line.

 

Back in the '70s, I bought a wonderful album which you may already have, but I'll mention it anyway, just in case you haven't come across it: The Atkins-Travis Traveling Show. Some wonderful picking, as well as storytelling. Merle shares how he followed Ike & Mose around & watched their playing to learn and develop his style, while Chet speaks of listening to Merle on the radio & being amazed by the beauty of his fingerpicking. A few years ago, I was able to repurchase this album on CD.

 

Of course Doc Watson was also significantly influenced by Merle (naming his son after Travis), and in this same line, one also has to mention Jerry Reed. His albums with Chet carried the drop-thumb style into some wonderful territory.

 

99% of what I do is fingerpicking, and to this day, I'd rather listen to their music before almost anything else. No Everly guitars in my collection, but I guess to some extent I can hope to channel these guys when picking up the Chet Atkins Tennessean!

 

Bob O.

[Billy C.]

Billy C -

 

I'm a longtime fan of Merle Travis, and also have a great appreciation for Chet Atkins, as well as the Everly family line.

 

Back in the '70s, I bought a wonderful album which you may already have, but I'll mention it anyway, just in case you haven't come across it: The Atkins-Travis Traveling Show. Some wonderful picking, as well as storytelling. Merle shares how he followed Ike & Mose around & watched their playing to learn and develop his style, while Chet speaks of listening to Merle on the radio & being amazed by the beauty of his fingerpicking. A few years ago, I was able to repurchase this album on CD.

 

Of course Doc Watson was also significantly influenced by Merle (naming his son after Travis), and in this same line, one also has to mention Jerry Reed. His albums with Chet carried the drop-thumb style into some wonderful territory.

 

99% of what I do is fingerpicking, and to this day, I'd rather listen to their music before almost anything else. No Everly guitars in my collection, but I guess to some extent I can hope to channel these guys when picking up the Chet Atkins Tennessean!

 

Bob O.

 

 

Hello, Bob!

 

Thank you for adding your interest to this thread! Yes, I am aware of that album and have listened to it...although I do not actually own a copy and it was quite a number of years ago when I first encountered it. Am thinking probably the 1980s or early 90s??? Appears our musical roots are along the same lines and that we regard the same artists as influencing our individual approach to the guitar. A real area of interest for me is Chet Atkins working with the Everlys on guitar for those Cadence sides cut from 1957-1960.

 

Today it is extraordinarily difficult to garner information on what was played by whom and how those recordings 'evolved' toward finalized products. Photos and studio notes from that era are extremely rare to encounter.

 

Keep on pickin that 'Tennessean'...be it a Gibson or a Gretsch!!!

[Buc McMaster]

Nice. The bridge with pearloid in the bridge cutouts is very nice looking.........excellent contrast and not gaudy. Is it necessary to say we need sound samples........?

[Billy C.]

Nice. The bridge with pearloid in the bridge cutouts is very nice looking.........excellent contrast and not gaudy. Is it necessary to say we need sound samples........?

 

Thank you so much for your interested observation and the related, kind comments! Regarding your request for 'sound samples' of these instruments...unfortunately, I am advanced in years and possess neither the required 'technical gear'...not to mention the contemporary technical 'know-how' or training required to facilitate providing that to your satisfaction, via this format! Your request is quite beyond my capability to satiate at this time. Perhaps in future, who knows...I may find someone who actually might assist in providing those?!

 

...But for now, please accept my sincere regrets. Be assured you are not the first to inquire concerning the sound ...so in the event you may not have discovered/read my detailed comments regarding the way these guitars 'speak'...I invite you to review those comments as posted earlier in this thread...they may offer some degree of insight, per your curiosity. Nevertheless, realizing there is no true substitute for the actual 'sound samples' you and a few others have requested...this is the best I can offer at this time, by way of description.

[Fullmental Alpinist]

Billy C:

 

Are you amazed yet by the amount of interest there is in your guitars?

 

I'm curious about the signature Everly "Marlo Thomas That Girl" pick guards. I've heard that one reason they were shaped the way they were is because the Everly boys were such vigorous strummers they felt they had to protect the top from all angles of attack.

 

But here on the forum we have battles over whether a rmuch smaller pick guard negatively effects the sound of a guitar. Do you think the Everlys used that big of a pick guard to intentionally shape their sound? Do you think Steinegger found the pick guard a challenge to still create a guitar that sounded good? And what is you opinion on the pick guard's effect on sound?

 

Thanks!

 

FMA

[Billy C.]

Well, of course there has long been ongoing discussion concerning 'pros and cons' regarding the 'double pick guards' on these 'Everly' acoustic guitars...and not merely concerning the 'visual aspects'...which generally tend to elicit either strong disdain or admiration! That 'visual appeal' issue laid aside...the 'functional controversy' centers primarily on what affect these large, laminated plastic 'guards have upon the 'voice' and acoustic projection of the instrument. It is a long-going controversy, to be sure!

 

To be fair...much of the controversy involves sheer conjecture by folks who have either had extremely limited actual encounter with these guitars...or who are merely voicing SPECULATION on what they PERCEIVE the guitars should or OUGHT to sound like, not to mention be useful for...therefore mostly disregarding what they were DESIGNED to excel AT. In so-doing, they miss or overlook the reality of what the basic design was striving to achieve. Thus as often occurs, misunderstanding disseminates, perpetuates...and so eventually becomes 'mantra to many'.

 

Here, for your perusal are the design considerations laid-out and requested by Don Everly with Gibson, as the original 'Everly Brothers' models (and most all later incarnations) were being developed:

 

1) The 'double' pick guard design...as originally drawn for the folks at Gibson by Don Everly on brown paper, (as legend has it...cut from an ordinary paper bag, no less!)...is entirely original and allows for instant recognition of this 'stage guitar' model...and likewise identification of the artists so-associated with it.

 

2) The pick guard design effectively protects the top of the instrument from the after-effects of vigorous, rhythmic strumming and is replaceable as desired/required.

 

3) The double pick guard design...(IMPORTANT, SO PLEASE NOTE)...slightly 'dampens' the voice of the deliberately-chosen, smaller-bodied (formerly J-185) instrument...to discretely diminish and 'tame' both excessive volume and 'boominess'...especially desired by Don Everly for performances where a microphone was required to be employed. Thus, slightly 'restraining' the voice of the guitar, so as not to render competition with...nor overpower vocalists! Now, bearing that desirable attribute in mind...is the often overlooked fact that the Everlys generally 'shared' a microphone which only tended to exacerbate the desirability of balancing vocal clarity and volume along with the combined output of both of their driving acoustic guitars! ...(Are you beginning to perceive what 'Don' was originally after?!)

 

Moreover, a factor also worthy for inclusion here in retrospect...is that the 'Everly' guitar was being developed and planned during the very early years of the 1960s and THAT was a very different time in terms of the available, contemporary microphone technique and recording technology as applicable for live performance. Thus there were some real considerations/constraints imposed that had to be dealt with in designing an instrument reflecting and balancing both the strengths and limitations of the available technology, as well as the aspirations and desires of a performer in that era...in this case, Don Everly.

 

...An important consideration offered here in summary that might always be borne in mind...the Everly/J-180 design is primarily and foremost intended as a visually-arresting 'stage instrument' to provide controlled-projection of strong strumming or percussive RHYTHM...while simultaneously backing VOCALISTS! Therefore, the design ought NOT be legitimately criticized for being an 'inferior' instrument from the standpoint of its perceived or wished-for usefulness, as a solo or 'lead' acoustic guitar. It was designed by intent and with the goal of achieving a certain objective. This is (rightfully) what it should be both celebrated and regarded for. The design therefore DOES live up to performing its intended function with effectiveness, carrying with that a certain distinctive 'aura' of exclusivity and an (instantly-identifiable), 'panache'.

 

So there you have it. Perhaps many have been unaware regarding the THINKING behind that historic Don Everly and Gibson collaboration toward creating the iconic Everly/J-180 guitars. Hopefully, what I've attempted to convey here may serve to modify some possibly long-held convictions. Because the Everly/J-180 ought be fairly regarded as a guitar designed foremost to be a VOCAL SUPPORT instrument. It has too often been 'derided' in some ways as not possessing the qualities some desire...qualities to which they have become accustomed via other instruments and thus expect. Subsequently, the Everly and J-180 guitars with their unique, designed-in qualities unfairly received some 'bad press'...and to this day continue to be sometimes derided, often misunderstood and overlooked by perhaps a sizable majority of players...the guitar's mildly controversial 'love it or hate it' aesthetics, notwithstanding.

 

Yet there is more behind this story...specifically as concerns employing the controversial 'adjustable bridge' design seen on the originals and a few other more minor details...but we will let that rest for present and be another topic for another time.

[Fullmental Alpinist]

Yet there is more behind this story...specifically as concerns employing the controversial 'adjustable bridge' design seen on the originals and a few other more minor details...but that can be another topic for another time.

 

We're all waiting to hear what you've got to say when you are up to it.

 

Once again, thanks for answering my questions. I sincerely appreciate it sir.

 

FMA

[jannusguy2]

I bought my 1951 J45 from Steiny..He'd had a stroke a few years ago and put the guitar up for sale to help pay off some bills. I wound up with it and struck up a friendship with him. Very nice fellow and quite a builder. It was interesting to hear his memories surrounding these instruments..

[Buc McMaster]

3) The double pick guard design...(IMPORTANT, SO PLEASE NOTE)...slightly 'dampens' the voice of the deliberately-chosen, smaller-bodied (formerly J-185) instrument...to discretely dampen both excessive volume and 'boominess'...especially in performances where a microphone is employed. Thus, slightly 'restraining' the voice of the guitar, so as not to render competition with...nor overpower vocalists!

 

Which is exactly what the brothers Everly wanted/needed in a guitar for what they were doing - vigorous strumming and glorious singing!

[Billy C.]

I bought my 1951 J45 from Steiny..He'd had a stroke a few years ago and put the guitar up for sale to help pay off some bills. I wound up with it and struck up a friendship with him. Very nice fellow and quite a builder. It was interesting to hear his memories surrounding these instruments.

 

Yep, could not agree more! A wonderful man and an equally terrific luthier!

[Billy C.]

Several questions posed since last week, regarding 'dampening affect' of the (controversial) double pick guards. Perhaps, along with the MOP 'star inlays'...the most instantly recognizable feature of the design since these were introduced for 1963. I would be pleased to address your questions:

 

...The design of the double 'guards has indeed evolved since the first 'Everly' models were introduced. Beginning sometime toward the later 1960s it appears Gibson had moved to only (very slightly) reduce the 'thickness' of the double pick guards, peculiar to this series...although at the present time...it is difficult to establish if this modification was primarily a material/labor 'cost reduction' move...or was performed with intent to augment 'vibration' of the guitar tops toward the end of enhancing slight improvment in acoustic response. Perhaps, both??? This very small modification held through until the original series ceased production by late 1970. You might be aware, some of the later models (circa 1969-70) also sported double 'guards of similar shape...but of a greatly reduced size...resulting in considerably greater exposure of the guitar top to resonance or vibration. (As a matter of interest...these 'shrunken' double pick guards are occasionally encountered both in the early 1990s J-180 'Artist' models and also on a few Montana 'Custom Shop' special orders.

 

During the later 1980s, when Gibson chose to introduce the new 'J-180' series...(which incorporated significant changes)...as direct-descendants of the original 1963-70 'Everly' series...the actual thickness of the double pick guards had not significantly been modified to any noticeable extent, as compared to the final 'Everly' series guitars circa 1970. However, sometime between 1989-91 both laminated 'black-on-white' and 'faux-tortoise' pick guards appeared with the material on these laminated 'guards displaying a yet further reduction in thickness. The desire to 'open' the sound and thus increase the 'voice' of the J-180 series guitars was being built into these models from that point onward.

 

(Pursuant to several other closely-related questions)...watch for a shortly-upcoming article here on this post concerning how...(via the application of some brilliant design and construction technique)...luthier Robert Steinegger was able to build his 'Ike Everly' series custom acoustic guitars with identically-configured double pick guards...that essentially DID NOT ALTER the response, tone nor projection of the instrument. This impressive achievement contributing in no small measure to the amazing voice of Steinegger's 'Phil Everly'-sanctioned design...versus the 'Don Everly'-sanctioned Gibson version.

[Edwin66]

Hi Billy, interested in the serial number of your Steinegger Ike Everly.

did you design the drawing on the headstock yourself?

Here picture of mine... #26

best regards, Edwin

[Billy C.]

Hi Billy, interested in the serial number of your Steinegger Ike Everly.

did you design the drawing on the headstock yourself?

Here picture of mine... #26

best regards, Edwin

Hello, Edwin!

 

That's a beautiful guitar! Does yours by any chance have a rosewood fretboard? The one on my guitar is ebony. I think he may have built fretboards using both, but its difficult to distinguish in some of the available photos. The fittings, bindings, bridges and inlays on these guitars vary greatly...especially noticeable on the Ike Customs. You're the first guy on this site I've yet heard from who also owns one of these rare birds. It appears your #26 is one of the 'Ike Everly Standard' models. My guitar is one of the 'Ike' Customs and I still don't know exactly how many were built of each although it appears less than 60 (combined total) Standard and Custom models were built before 'Steiny' decided to pull the plug on the series.

 

Steiny is known to have built at least one or two of the Ike Everly guitars with some really rare, figured Brazillian rosewood back and sides. The one I have is highly quilted maple on the back and sides with an Engelmann spruce top. Your guitar appears configured similar....although my guitar has a slightly darker finish on the back and sides. I ordered it without the center marquetry inlay or 'stripe' on the back which he would add, if the owner requested that. It's interesting that less than 60 of these were built and yet almost each and every one appears unique. They exhibit cosmetic variation...especially among the 'Custom' models. I think at least a dozen were 'Ike Customs'...the remainder of the series were Standards but even they sometimes show differences in appointments...(especially bridges, tuning machines and pick guards)...from guitar to guitar. It seems Steiny was very obliging when it came to individual customer requests.

 

The 'flying eagle' headstock inlay on my guitar is unique and done by Steiny, as I preferred the 'Everly' name positioned on the 'traditional' truss rod cover location. Just my preference and I wanted it to more or less be a companion to my '93 J-180 International. My 'Ike' Custom is actually the 58th completed and at the time of delivery I was told mine would be the last. I seem to recall the first ones were priced around $2,700 and by 1997 they had climbed to $4,500. I know I shelled-out that amount for mine.

 

There was talk years later that he was considering building a few more by special order but incorporating some updates, slight alterations to the original design...then Phil Everly passed on and so it's all now just history. There haven't been any of these built in a good number of years and I suspect that with Phil now gone and Don being primarily connected to Gibson...(not to mention getting on in years)...we might depend on it that we likely won't be seeing any more. I think Steiny's health has likely became a real issue for him by this time, especially after he'd sustained the stroke and subsequently had to restrict his output. Anyway...(as you and I are already well-aware)...the man surely built some lovely and superior acoustics with this 'Ike Everly' series.