Eddie Van Halen, in collaboration with the master builders of the Fender Custom Shop of Corona, California have created this Frankenstein exactly as it existed in that moment.
WHAT IS IT?
It is a limited run replica; the run has has ended. This guitar is brand new, made to commemorate of one of this century's most recognizably famous guitars. It is built by the single entity ever authorized by Edward Van Halen to build it for sale, and just the way he wanted it. Eddie not only signed off on the idea; his actual signature is written on three different items being included with this guitar inside it's road case. All part of the deal.
This red, black and white striped ash-body guitar has a bolt-on maple neck, and has been put through an astounding aging process to replicate the effects of the explosive years Eddie Van Halen spent of the road with the original. No effort has been spared to mirror every last scratch, ding and cigarette burn; Fender designers even scoured the land for 1971 quarters (that's the right year), just like the original he at one time stuck under the original tremolo bridge. After Eddie no longer used the quarter for that purpose, he left it there simply as decoration, where it has become another of the guitar's uniquely recognizable appointments.
EDDIE CALLED THIS ONE THAT ALWAYS DREW HIM BACK, "MY BABY"
Eddie's famous Frankenstein guitar began life back in 1974 when he bought a blemished stock Charvel body for cheap and put a Charvel neck with a 1 3/4" nut on it, adding some bigger frets. He painted it black first, then taped it off and sprayed it white. That was the first incarnation striped version he used to record the first Van Halen album, and the guitar he was always drawn back to, which Eddie ultimately resprayed into the now iconic red-white-black legend being offered here.
He did experiment with other body shapes and styles after that, first returning to the strat style with another guitar that he painted in early 1979 and used on their second album, Van Halen II - this one had yellow stripes on black. He created his own pickup for it, replacing the magnets of his DiMarzio humbucker with those from a Gibson PAF and rewound it by hand followed by dipping it finally in hot wax.
POTENTIALLY FUN FACT
It seems there is no recorded documentation in existence showing who it was that first thought to "pot" their pickup's bobbin wire in a hot wax (which is just what Eddie did), in order to prevent them producing an unwanted "howl" as they resonated in response to louder stage volumes. We all can agree we'd never even heard about it before the mid 70's, so who knows? It may well have been Eddie's idea back in 1975 as he claims - why not? It wasn't Gibson's. Here is a quote exerpted from a ToneQuest interview I found of JT Ribiloff from Gibson, stating unequivocally Gibson came late to that particular party. "Gibson had just started potting pickups prior to the time we were working on the Classic, and they had never wax-potted pickups prior to 1988-89."