decadentjon

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

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 -

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.

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.

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.

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.

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

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

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.

man i love your builds. honestly, your understanding of good style and clean lines always gets me! Can't wait to see the whole thing.

you wont be wet sanding if if you're down to bare wood. Wet sanding comes before buffing the final finish (or maybe a bit in between coats to get it leveled). If you're doing a solid colour i would probably sand to about 320, grain fill, sand it back to maybe 400grit. start spraying.

i couldn't really recommend specific brands of primer/paint outside of Australia. i'm not sure where you are based or what finish you are going for. With those details i'm sure someone can give some advice.

If i were you i'd leave it strung up to tension for a couple days to see if your epoxy will hold before spending a bunch of time making a nice finish.

thought i'd post up a couple other shots of the bass, its my favorite build to date, and i'm more of a guitarist than bass but it really had me by the end of it. I got some hassle on another forum about covering up the flamed maple top but meh, black with white binding on this sort of a shape is pretty impossible to go past.

I'd like to make an aesthetically inverted version of that bass too. maybe for myself if i ever catch up on orders. Off white/cream body, black binding all round with maybe a maple neck, rosewood or ebony board. would be hot i think.

cheers blackdog, your builds are incredibly clean so i appreciate that comment from you!

The Queensland maple i've got my hands on is generally a very similar weight to most decent Mahogany i've used.

The serial and signature on the head stocks is drawn on by hand then cut out freehand with a dremel/router base. I use those stew mac carbide bits for inlays but use the cheaper inlay bits for the sig/serial on the back because they generally give a pretty even burn which looks nice on the maple in my opinion, good contrast.

Thanks again.

thanks for the kind words guys.

boundsteelblues- I really didn't need to use graduated sperzals, they were just what i had lying around, i've never seen 6 in line sperzals that weren't graduated actually. The headstock angle is around 14o i think. i don't really work it to a number, just go with what works right, could have been less angled but even with that ridiculous vibrolo trem it holds tune beautifully.

muzz- sorry i don't have any shots of the bunya from before hand, i have another body blank or two sitting around, can get a couple photos in the morning. Its easy to work with, closed grain, nice and light weight, snappy tone, i love it for single coils and p90s.

scottr- QLD maple is maple being from Queensland, Australia. A beautiful Australian mahogany alternative.

Got the neck joint glued up on the mammoth dc today, will get first coats of lacquer tomorrow. can't wait to see it in trans blue.

since then i've done the arm/belly carve and got it covered in black grain filler, will sand back later today then glue the neck in and in a couple days get the first coats of lacquer on it!

cheers.

This one is in progress at the moment-

#28 mammoth dc

Body: Swamp Ash new offset LP doublecut type thing.

Neck: Set neck, 3 piece figured QLD maple with Indian Rosewood pinstripes.

Fretboard: Wenge 26 3/16th scale (banjo length) 22 jumbo SS frets

Hardware: String through Tune-o-matic, Grover mid-sized rotomatics

Pickups: cream Seymour Duncan P90 Vintage neck/Hot p90 bridge

INLAYS: Woolly mammoth molar inlay

Finish: Nitro gloss, black grainfilled body with a trans blue finish on body, natural gloss on neck.

Here is the woolly mammoth tooth i bought for the job, its got some kind of protective coating in this pic. I sacrificed one bandsaw blade to slice it and broke about 35 inlay saw blades cutting it, 40,000 year old enamel doesn't like to be cut apparently.

#23

Swamp ash body, maple neck, rosewood board, 34" scale. Duncan Hot jazz bridge, Custom EB-0 neck pickup. Jumbo SS frets. Hipshot/Schaller hardware, Nitro finish.

#24 : Lewis

Bunya body, maple neck/fb 25.5", brass nut, Tonerider Surfari pickup set, wilkinson/gotoh hardware, nitro finish

#25

QLD maple back, Flamed/Spalted maple top

1/4 sawn rock maple neck

25.5", 22 ss frets Compound 9.5-12" radius

Gotoh bridge, Schaller locking tuners

Bone nut, Tonerider rebel-90 pickups.

Trans charcoal nitro finish.

The headstock probably won't stay bare forever, this guitar is for me and i'm still thinking of something different to do with it, was thinking a tortoise shell headstock plate/truss cover with some custom routing/engraving in it.

#26

Bunya body

5 piece neck - QLD maple/Indian Rosewood/Rock maple/Indian Rosewood/QLD maple, cream binding

25.5" scale Rosewood board, Gold MOP dots, SS frets

Alnico V p90's.

Brass nut

Vibrolo trem, Tune-o-matic

Nitro finish

Hey guys, i've been lurking on here plenty but haven't posted anything for a while. This place is always a source of inspiration. Anyways i'll just post up some finished pics and if anyone is interested in any progress shots on particular builds i'll post em up.

#27

BODY: QLD maple back, lightly flamed rock maple top (5mm). Heavily chambered. white binding on top.

NECK: Bolt on scarf jointed, Indian rosewood/Rock maple/Indian Rosewood neck 34" scale, 20 SS jumbo frets, Quartersawn rock maple board, white plastic binding 38mm nut/61mm 20th fret.

ELECTRONICS: Passive setup SD quarter Pounder P/J pickups (chome ring for the J-bridge pickup not pictured, it came late). Blend control, Tone control, kill switch

HARDWARE: Leo Quann Badass II bridge, Grover tuners

FINISH: black nitro on the body and headstock, clear nitro on the fretboard, Tru-oiled back of headstock/neck.

(pardon the reflection)

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!