[2] The Yamaha AES620 SH was the former signature guitar of former Van Halen and current Chickenfoot vocalist Sammy Hagar.
[3][4] The Yamaha CV820 WB was the former signature guitar for current Limp Bizkit and Black Light Burns guitarist Wes Borland.
The semi-hollow guitar is developed by Borland and Yamaha luthier John Gadesi, and built using the Japanese method Takumi-Kezuri (translates to "skillful carving"[5]), which means that the back, the sides and the center-block is constructed out of one piece of alder and fitted with a maple top.
[6] Since leaving Limp Bizkit, Wes moved more towards vintage and semi-hollow body guitars since he likes their resonance and he claims they feel more alive.
[8] The Yamaha PA1511MS is the current signature guitar of American jazz guitarist Mike Stern, known for his work with Miles Davis.
[11] The neck and bridge pickups are controlled by the rear selector, similar to how the switching system of a Gibson Les Paul.
The Yamaha ATT LTDII is the current signature bass of Billy Sheehan, known for his work with Talas, Steve Vai, David Lee Roth, Mr Big, and Niacin.
[18] The Yamaha BBNE2 is the signature bass for jazz, rock and rhythm and blues bassist Nathan East, known for his work with Eric Clapton, Phil Collins and Stevie Wonder.
It was released to the public in 1998 after John Myung had been using Yamaha's "TRB" line of Fretted & XRFretless 6-string Basses for the previous 2 years in the Studio on Tour, and prototypes based on Yamaha's more Rock-based "RBX" line of Basses was used on latter tours in 1997 as well as the recording of their Falling into Infinity album in June & July 1997.
Changes included a modified body shape with more "modern" lines and carvings, finishes in either "Inca Silver" or "Plum Purple" in flat as opposed to glossy paint, slightly tighter string-spacing, a maple neck/rosewood fretboard with "Yin-Yang" inlay at the 12th fret, 34-inch scale as opposed to the 35-inch scale that the RBX6JM had, and most importantly a single Music Man-style Seymour Duncan SMB6A humbucking pickup, by all accounts an influence from his usage of a Music Man StingRay to record a good portion of Dream Theater's Six Degrees of Inner Turbulence.