thecek
hey, thanks for reviving the thread!
the carvin, yes, 1984 was a very good year!
LOL
when i got that thing, the very next day, i drove to Zion Music and had them shave the neck!!!!
heheheh
can you imagine, taking a brand new guitar, still had the stickers and crap on it, and a shop is already shaving the neck..
well, i knew the minute i played it, it was a keeper, except for the neck shape.
i customized that, and to this day, this guitar is still my favorite of all of them.
in fact, the custom hybrid strat i had commissioned (more on that in a second) was built to the same neck spec as the customized carvin, only shorter.
((( warning: long thread alert )))
The Williams Special.
The Williams Special is a Les Paul-Strat-Mustang-Explorer hybrid, with hollow body cavities, Mustang scale length, built like a paul with mahagony and maple top, with vintage-dimension strat body, explorer headstock.
back of body/neck:
(semi-related: my first guitar was a '75 Fender Mustang.)
This guitar was commissioned in 1986.
It is a Gibson Les paul-Fender strat-Fender mustang-Gibson explorer HYBRID.
-built by Stan Williams, Rome Georgia.
-based on the Fender Mustang scale length....this design is also similar to brian may's red special.
-honduras mahogany body, with air cavities carved in the body below the maple top.
-flame maple top, 3/8" thick.
-vintage-dimension strat body.
-2-piece flame maple neck, with ebony fingerboard.
-no truss rod! there are (2) rectangular pieces of aircraft aluminum running the length of the fretboard.
-flame maple veneer on headstock, front, sides, and back.
-24" scale length.
-jumbo frets.
-custom inlays: mother of pearl, diamond shape, with a split diamond around the center pickup.
-Kahler 2300 pro tremelo.
-(3) off/on switches
-master volume, master tone, 3rd switch now unwired-
it was originally equipped with a EMG SA assembly, and the 3rd knob was the presence control.
it now has (2) bill lawrence L-280's, and a duncan Little 59 humbucker in the bridge.
-explorer headstock shape, true to scale.
-long tenon set neck
-13 degree tilt back headstock
-graphtec nut, with locking kahler nut behind it.
the Flame maple used on the top and neck, and veneers, was from a large timber (136 years old as of 2011) salvaged from a barn in Illinois.
The honduras was acquired long before there were conservation laws on that particular wood (blank dates back to pre-1980).
___________________________________________________________
design criteria:
the les paul connection.
the basics of the les paul (the obvious basics) are:
slab mahogony body;
maple top;
strings on top of body;
2 piece maple neck;
glued in neck, long tenon;
tilt back headstock, no string trees required.
later, in 2008, they started weight relieving the standards, but remember, i built this in 1986.
so, the Gibson nod starts there.
mine has:
Honduras mahagony body -- maple top -- strings on top of body via the Kahler -- 2 piece maple neck -- a glued in neck with long tenon -- tilt back headstock.
it's really not hard to see the connection.
but my design tried to improve on all of this, because it also was capturing the best ideas of other guitar designs.
for example:
the volute on the explorer headstock is inherently stronger than the les paul (commonly known over time for breaks at the neck), plus i liked the headstock shape;
the weight relief is secondary-- the sound cavities i had routed strictly for that semi-acoustic property, making the guitar, at stage volume, extremely lively - this followed the basics of the Brian May Red Special, which was my starting point. his guitar is designed more like a 335 than mine, but i went there as much as i could without floating the top over a central beam;
the ebony fretboard brings out more les paul-style tonal characteristics than, say, a rosewood fretboard would have;
the glue in neck was a must, and unlike the les paul, which has that awkward heel, mine is smoothed out right into the back of the body, without so much as a line. the tonal effect with the glued in neck, and the long tenon is an obvious connection to the les paul lineage;
the tilt back headstock was unnecessary with the kahler locking nut, but i added it anyway, feeling that the downward pressure of the strings still helps to maintain a strong connection to the neck, vibration wise, and this is very much in les paul territory;
the strings on top, versus thru the body, is a very important link to the overall sound, and the use of the kahler is a great way to bridge the gap between a stop tailpiece and a floating trem.
tho they didn't have them then, now kahler has a 'hybrid' tailpiece, that can lock as a hard tail, or float as a trem.
best of both.
