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About decadentjon

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    Established Member
  • Birthday 02/25/1986

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    Melbourne, Aus.
  1. Hey guys, I was given a dusty old box of Kahler parts from a wholesaler I do warranty repairs for, they used to stock Kahler in the early 90's I guess and this was just some stuff that was left over. A bunch of the stuff is still in original packaging, a lot of it is new but out of packaging. I don't use any double locking trems in my builds but I know this stuff is out of production so I'm sure its desirable for some people. I'm going to list a bunch of this on ebay but thought i'd offer it up here first. There is a bunch of more obscure spares in the box also, plenty of saddles, incomplete trems etc. If you need a particular part feel free to email me a photo of what you need and i'll have a search through. ( jon at twentytwelveguitars dot com ) Anyways, let me know if you need anything there is black, chrome and brass versions of most of the nut varieties. Cheers Jon
  2. Hey guys, So im having some headaches trying to work out the wiring on a new build. Basically what is currently running is the following setup - http://static.zoovy.com/img/guitarelectronics/W650-H550-Bffffff/W/wd2hh3t22_04.jpg although the push/pulls are on the tone controls rather than volumes, that all works fine although I need to incorporate an separate mini toggle ON/ON switch to reverse the phase of one of the pickups, this is where i'm running into trouble. I'm not sure if its something to do with the particular pickups (TV Jones Super'tron) thats affecting it but all i've managed to achieve when bringing in a regular out of phase switch is no output what so ever. ( something like this - http://damacleod.files.wordpress.com/2011/08/phaseswitch.jpg ) Is it something to do with the grounding of the pickup case? The sequence of the switch? anyone got any handy hints here? I've just been looking at it too long and its not making sense. Any input would be greatly appreciated. Cheers! oh, this is the guitar in question anyway -
  3. Hey guys, I'm working on a build for a client at the moment and one of his requests is a neck carve similar to his '75 SG. Thats all well and good but hes in Australia at the moment studying and his SG is in storage in Norway. Now i know how much variation is found in necks of the same model/year but I just want a starting point and i'll get him to visit my workshop to fine tune the carve. So if anyone has access to a mid 70's SG that they can take some calipers and hopefully a profile guage to i'd really appreciate it. I've tried searching locally but not having much joy, also looked online for pre existing measurements but only finding more in demand specs ('61 SG etc). Thanks in advance guys. much appreciated.
  4. when the pushpull is up and the rear pickup runs only to its independent output it stops acting as a master tone thankfully. i think i'm just going to have to have a chat to my friend about it as i'm getting the feeling that every independent request isn't going to work in this passive setup. i'll get a wiring diagram up if he wants me to look into it more but for the moment I think the current setup might have to do. cheers.
  5. Hey guys, found myself getting more and more confused with this one and hoping someone can give me some insight. I recently put together something of an experimental build for a mate but im having some trouble getting independent control where needed. Breaking it down, how/is it possible to wire an additional pickup with its own stacked vol/tone control pot into a regular les paul style circuit without it controlling the regular pickups and with it being "on" regardless of the regular les paul controls. The front 4 controls are standard LP layout and all work as needed. Then there is a push pull pot on the bottom row which when pulled kills the output of the tail pickup to the regular output (but still runs through its own output jack) It also controls the vol of the barrel jack/aux input. the last pot on the top row has been replaced with a stacked pot to control vol/tone on the tail pickup. unfortunately on the stacked pot i can't make the tone control work only for the tail pickup. it affects the master signal. the volume works independently however. the mini toggle controls the tail pickup IN PHASE/OFF/OUT OF PHASE. Right now the tail pickup is wired in this succession - TAIL PICKUP --- PHASE SWITCH ---- STACKED VOL/TONE ---- PUSH/PULL (stops it running through main output, only through its own output) ---- OUTPUT JACK The strings behind the regular bridge are tuned B-E-A-D-F#-B. In hindsight i think the section above in bold is probably the only useful part of this post. Cheers guys and input appreciated.
  6. really like the build so far and especially keen on the jigs and overall clever thinking for a bunch of the processes. can't wait to see it complete! on another note, in the post where you show the back shaping the final photo shows a ruler/pin guage thing. i've been wanting one for ages to help measure and replicate particular neck carves but have no idea what they are called or where to buy one. would really appreciate it if someone could tell me what to look for.
  7. This one was ordered by an Aussie expat in Hong Kong as a wedding anniversary gift, for him, dedicated to his wife. my initial thought was homer giving marge the bowling ball, but they are just making sure one another get exactly what they want! They wanted to use Australian timber where possible and really make something that sounded great and had a natural, understated beauty to it. Anyway, I couldn't be happier with how it turned out and its currently on route to its new home. Name: Mari Shape: DCmk2 Body wood: Heavily Chambered Queensland maple body, Carved flamed Tasmanian Oak top Neck wood: 9 Piece laminate neck of QLD maple & Tasmanian Oak with Rosewood veneer pinstripes. Construction: Set neck Fingerboard: Ziricote Inlays: Hand cut MOP Scale: 25″ Radius: Compound 9.5" to 12" Frets: 22 Medium Stainless Steel Hardware: Sperzel Locking tuners, Hipshot tremolo (w/Tremsetter), Electronics: Lollar Custom P90's (F spaced bridge) 2x 500k CTS pots, Orange drop cap .22mf, Control covers: Tasmanian oak Nut: 43mm bone Truss rod: Hotrod dual action Truss cover: Ziricote w/white binding. Finish: Nitrocellulose gloss on body and headstock, Nitrocellulose satin on back of neck and control plates. Strings: Ernie Ball 10-46 More photos and audio samples can be found here - http://twentytwelveguitars.com/?p=1000 Photos of the early construction/chambering can be seen here - http://twentytwelveguitars.com/?p=970
  8. This one was built as a shop demo model. Simple and classy with some of the hottest aesthetic influences i could think of. Name: #38DC Shape: 2012DC Body wood: 2 piece Queensland maple Neck wood: 1/4 sawn rock maple, scarf jointed headstock. Construction: Contoured heel bolt on. Fingerboard: Ebony Inlays: Gold Mother of Pearl blocks Scale: 25.5″ Radius: 12″ Frets: 22 medium SS Nut: Bone Hardware: Grover Tuners, Gotoh Tune-O-Matic/string through Electronics: Seymour Duncan Hot P90′s, 500K CTS VOL/TONE Orange drop cap .22 Logo/Truss cover: Hand cut Aluminum Finish: Nitrocellulose gloss body/headstock, Satin Nitro on back of neck more photos available here - http://twentytwelveguitars.com/?p=844
  9. Always lurking but haven't posted on here for a fair while. First entry into GOTM since my very first build. This is a few years and quite a few builds later. You can see all the progress pics on my BLOG Name: #36 Body- Chambered Tasmanian Blackwood back, Figured Tasmanian Oak top (tobacco stained) Neck- Indian Rosewood Fingerboard- Figured maple, 25.5" scale, 22 medium SS frets, 12" radius Electronics- TV Jones Classic Plus bridge, Handwound Alnico V P90 neck 7.98k, vol/tone/3way Hardware-Grover tuners, Gotoh Stoptail/TOM Logo/truss cover/jack plate all hand cut/polished aluminum. Finish- Nitro gloss apart from Tru-Oil on back of neck.
  10. that really is a very cool build, the first pictures had me a little frightened also but that thing is beautiful. love the body/headstock design, timber choices and finish. really neat take on the slotted headstock!
  11. i'll enter one of my recently finished commissioned builds. name: Finkelstein (the jewish frankenstein guitar apparently... dont ask ) Swamp ash body, quartersawn rock maple set neck, 25.5" scale maple board, 12" radius, Wilkinson VSVG trem, Medium SS frets, Rebel-90 pickups, Mammoth ivory nut, single Vol (1meg pot), Aluminum pguard/plates, Kluson waffleback tuners, Danish oil/wax finish. its light and super loud, weighs a touch under 8lb which is pretty alright given whats in it.
  12. 2012.3 Swamp ash body Indian rosewood neck/fretboard 25.5" scale, 22 medium stainless steel frets, bolt on, neck ends in the bridge pickup cavity. Deep "C" profile. 44mm nut width. offset mother of pearl fret markers, mother of pearl side dots. Joe Barden bridge, Seymour Duncan Alnico II tele set, Grover heads. vintage bone nut. Rosewood control plate. Rosewood jack surround. Danish oil finish. My third build in the last couple weeks since setting up my own workshop and making up a brandname. The 2012 is a reference to the end of the Mayan calendar. guitars for the apocalypse, something like that! The logo is left routed without inlay, subtle but i really like it. The customer couldn't be happier and has assured me some sound samples in the next few days so i'll put them up when received.
  13. i got a couple each of coco and kingwood fretboards a couple days ago, thanks erik, so much more care has been put into these than anything i've bought before. very happy and will be in touch about more shortly!
  14. hmm, well, i finished another one, it about as un-flashy as you can get but it sounds and plays incredibly. Swamp ash body, indian rosewood neck, ebony board. grover tuners, hipshot hardtail, stainless steel jumbo frets. tonerider H-90's tung-oil finish body is a bit thicker than a standard tele, neck is like a Nocaster but with a light V to it.
  15. you could have moved it like 2mm to the heel end and saved the fret. each to his own. whole frets are overrated anyway.
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