what is your opinion of carbon fibre guitars?
Do you think carbon fibre will ultimately replace all tonewoods in the construction of guitars (for whatever reasons) or do you think there will always be guitars built using wood?
Thanks for taking the time to answer our questions!
Last edited by Fender_Punk; 09-09-2009 at 01:40 PM.
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"Sunny Jane" '04 MIM Sunburst F Telecaster. GFS Neovin(b), Duncan Designed HB102(n)
"Sapphire" Indie Tribal Extreme
"Booty" Black Squier Jazz Bass
"Joy" "Vintage" 1100N Dreadnought
Traynor Custom Special 50W combo. 1x12" Vintage 30
Mark Bass Little Mark II 500W head
Traynor TC115 bass cabinet
All Standards are chambered as stock now. The option remains to order one without the chambers. The reasoning is that we were getting more and more requests for them, so we experimented with different chamber ideas until we came up with the one we have now. I thought that it really brought more life to an already impressive instrument, so we've made it a "permanent" change. It's a series if small elongated channels oriented in an "X" pattern similar to an acoustic guitar in order to maintain stiffness. It also removes an average of 1.4 lbs per guitar which is important to a lot of players.
As for the imports... we've discontinued the Slammer line because there was no need for it. The Imports in general serve a valuable business purpose when done correctly. It is my hope to make a direct correlation between what we do at the high end, and what we do with the more affordable guitars. My focus is purely on the American made stuff, but I'm thinking that this will change over time now that we have a different organization.
More subjective stuff for you...
As guitarists, we all seem to have that elusive "perfect tone" in our heads that most of us strive to attain with varying degrees of success either through playing technique, gear tweaking or both.
Do you have that internal, nirvana tone that you are able to put into words and if so, has that had any influence on your guitar designs or pickup choices?
Also, is there a particular recorded example or a particular player's tone that just hit you in the gut as a "WOW!" moment (in your formative years or even more recently)?
Jol, As so many have said, thanks for sharing this time with us! I can honestly say, the only guitar that I no longer own but truly miss is an FM Special.
Do you see an advantage to using the PLEK technology for set-ups? I mean, do you believe a skilled luthier properly trained and using a PLEK machine might have an advantage over an equally skilled technician who does not use it?
Thanks again for your insight and contribution to the world of guitars!
My absolute favorite/dream guitar is one of yours- the red vector made for KK downing around 2004 (though he could've very well had it earlier, but was first seen with it around the time of the reunion with halford).
as lots of people from this board can tell you, ive been completely obsessed with this guitar since the first time i saw it.
now for my questions...
-when he first got that guitar, both pickups were chrome-covered duncans, later switched out for EMGs. do you recall what duncans were in it originally? yes...i actually asked if you remember what pickups you put in one specific guitar made 6 years ago. haha, sorry, can't hurt to ask though. in a guitar world interview, glenn said they were "wound for the extra midrange that [ken] likes," so i wasn't sure if they were just a middy model of duncan's regular line or if they were something from the custom shop.
-both glenn & KK have had EMGs in all their hamers for quite some time, are they installed for 9v or 18v?
-i just saw this guitar for the first time recently...
appears to be just like his other one except with a kahler, gold finish, binding, and no jack plate on the bottom wing. is this a new build, or something from earlier that just hasn't been seen before?
-echoing anti-matthes' question, what ever happened to that off-white custom build for glenn tipton? i really enjoyed watching the progress on your blog and was looking forward to seeing the finished product.
thanks for taking the time to do this, and sorry for my barrage of really specific questions on priest guitars
Some of the guys I liked were Ike Turner on the original Cobra recordings of Otis Rush and people like Tiny Grimes who had awesome sound.
Later, Peter Green and Danny Kirwan were guys who wowed me. I always liked players who were distinguishable in a few notes.
Hello Jol, thank you for taking the time to do this!
I wondered what your thoughts were on the advantages/disadvantages of using quartersawn vs. flat sawn wood in necks. Also, do you have a general preference as far as neck radius?
Any plans on bringing back the 27 fret solid flamed maple Californian, or was it a limited edition due to the availablity of wood?
"Times have not become more violent. They have just become more televised."
- Marilyn Manson
I think that the PLEK is amazing technology, and it's great for repair shops. After a neck has settled in and taken its shape, it's possible to grind the frets until they are level. Is it better than a good repairman? Better than most but not as good as some I suspect. I know some very good techs who can equal or beat the PLEK.
To use one in a production shop only works if you wait for the neck to settle, which most big guitar factories wouldn't do... takes too much time and creates too much work in process (inventory cost) But you'd still be grinding down perfectly good frets. On top of that, you haven't fixed the real problem.
My solution is to let the necks WITH THE FRETBOARD GLUED DOWN settle for a determined amount of time, then radius the fingerboard perfectly. If the neck was going to twist or wave you're now sanding the problem out of the board, not the frets. This gives the instrument a perfect playing surface into which you can place the frets. The good thing is that the surface will be there for you if and when you refret too. If you build on a good foundation...
My designs use a combination of a center quartersawn piece and outside pieces that are at a 30 to 45 degree angle in a mirror image orientation. I get the stiffness of the quartersawn down the middle, and the mirror imaged pieces exert opposite and opposing force that cancell each other out, and provide an internal tension that keeps the neck straight.
Additionally we use a truss rod assembly process that allows a single rod to adjust two ways, and it has a high amount of action without a lot of torque.
With all respect to well-regarded makers like yourself, Alembic, Spector, Pedulla and so on, would you say that Fender got it right with the 2nd-gen P and the vol-vol-tone Jazz, or are there still some advances to make in the field?
Also, to echo the above questions, what do you think of environmentally-responsible woods like teak or bamboo laminate for instrument making?
Last edited by ginormous; 09-09-2009 at 11:26 AM.
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--'King' Curtis Ousley
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We've experimented with alternatives including carbon fiber, but there are still woods such as alder, ash and maple that are not in short supply. Some other woods like sapele have been used with great results.
Mr. Dantzig -
Thanks and Welcome!
As someone who's been part of the industry for quite some time and in several capacities, is there one accomplishment/innovation/title you'd like to be remembered for?
Also, in your long line of artist-relationships, is there one that stands out from the rest as the most rewarding for you?
Jol, thanks for taking the time to do this. I have always been very impressed with your guitars.
You have a lot of different body shapes in your product line today, and in the past. Where do the design ideas for the body shapes come from? Do you try to improve on classic designs, or do you take a "from the ground up" approach? What sorts of things do you need to take into account when designing a new guitar body?
It's all about what you are looking for I guess. When I play that P-bass, it sounds pretty darn good to me. It doesn't fret as well as a modern bass, and the intonation isn't perfect, but it sounds like a bass to me and I love it.
When I built my first instrument, I wanted something that was agressive looking and different. A black V bass with a whammy bar was what I came up with in 1973. I still have it, but it wouldn't be my go-to bass today.
The shock value of making "statement" shape guitars has been devalued to the point of distraction, so I'd rather try to concentrate on the overall package: a guitar that works well and is greater than the sum of its parts.
Although I admire designers like Gittler or Klein and Steinberger, my stuff is more grounded in tradition I guess. Most of the shapes are driven by my personal taste and preference. I do like it when a guitar looks a certain way, but it fools you when you plug it in. That's the new shock value for me... a guitar that looks metal, but works for jazz. But mostly its about the function first, the cosmetics second.
Thank you for the responses to my previous! I wont se so skeptical of the chambers in the Standards then as it sounds very well thought out. Hopefully Ill be able to try both before I buy. But there are no dealers near me..
Would be great to see the imports rise too. Epiphone products seem to be more consistant and it would be GREAT to see more brand recognition for Hamer.
Im at work now, so couldnt read all the most recent posts, but appears that the question of reviving some sort of Super strat type of guitar has come up a few times.. I Know you are a forward thinker and probably dont want to relive the past, but there does seem to be a growing shred movement. Will there be a Hamer model to meet this market??
Again, thank you !