News And Updates

Sales of hardware is currently on hold due to high demand, as odd as that may sound. Here’s why:

The cost of manufacturing a batch of hardware is basically driven by four (five) parameters: (programming machines, one time cost), machine setup, material cost, time in the machines and amount of human intervention/manual labor. If you are a Floyd-Rose or Ibanez, production runs of many thousands of units make it worth automating processes completely and having dedicated tooling and machines set up and ready to go. Optimizing all the steps and spreading the one time costs out over a large number of units cuts the cost and you as a customer can purchase a high quality unit at a decent price despite several points in the distribution chain having taken their cut.

The EGS hardware has the same costs of programming and the same setup cost for the machines for each batch but there are several differences, most notably that the costs are distributed across a much smaller number of units. The volume does not warrant complete automation, which means that there is manual labor going into the manufacturing process. By only selling direct with a low margin, costs are cut as much as possible. The batch sizes of manufacturing are kept as large as the business allows to minimize the setup cost per unit manufactured. Quality is never compromised though.

The situation today, at the end of November 2011, is that the stocks of guitar hardware are so low that the near term .strandberg* guitar backlog needs all that remains. There will be hardware available again, but it will some time before the business can bear the investment of another batch, especially considering that bass hardware is in the works. Note that if you are looking to order a large quantity, the situation changes completely – in this case, a new batch can be initiated more or less immediately.

Hopefully the reasons can be understood, and it will be worth the wait for you. Keep watching this space for announcements about availability.

Hardships*">

One of the hottest guitarists out there currently, Al Mu’min of The|HAARP|Machine, has had #16 for a while. Check out this clip and guitar presentation for something to look forward to in the spring, when their first album comes out! I will also say that Al and I are working on a few other projects that will be worth the wait…

Video by Ethesham Haque

HAARP Machine – Al Mu’min*">

I am designing bass hardware on a tight schedule. If you want to take part and influence in this process, and make sure it meets your requirements, contact me ASAP!

Bass Builders*">

Materials for fixed bridges are back in stock, but still need to be sent out for anodization, so delivery will be a few weeks still. I also have production version of the hybrid tuner that accepts bass strings, for those extended range projects where you need to go beyond a .074″ – .080″ gauge string. It is not possible to order from the products page currently, so please send an e-mail to order it separately.

But all those that have been in touch lately requesting to purchase, please place your orders now so that I can plan the next batch.

Bridges Available*">

I discussed face markers on the fretboard recently with Tosin Abasi, of Animals as Leaders. The reason was that with the fanned frets, the visual cue that side markers otherwise provide is only really valid for the bass side of the fretboard.

So on #15, which is being completed for Misha Mansoor of Periphery, I am implementing a compensated positioning of the side markers to provide a solid and familiar impression when viewing the neck from the upper right position.

The wide angle lens of the camera approximates the eye in the image above. Click on the image to zoom, and you will note that the side markers for fret 5 and 3 are progressively shifted towards the player, to be positioned closer to the virtual center of the scale. The 7th fret marker is placed equidistant between the frets and moving up the fretboard, the markers are placed progressively farther away from the player.

The intent is that this will help guide the fingers to a familiar position with even less adjustment required for the fanned fret layout.

Fret Compensated Markers*">

As a complement to this site, and more product centric with respect to the .strandberg* guitars, are very pleased to announce the launch of a new website, strandbergguitars.com.

Please check it out, and in particular, feel free to use the social media integration with Facebook and other sites. This functionality will evolve more over time.

This site, guitarworks.thestrandbergs.com, will continue to exist and continue to serve the purpose of a development blog and progress updates of on-going builds.

Website!*">

Here are a couple of clips recorded at Das Bett in Frankfurt on the day that I delivered #17 to him.

Abasi on #9 and #17*">

When Tosin Abasi received #8, he was astounded at the possibilities of the baritone hybrid concept, which has led to several new compositions in a tuning of C#AEADGBE. For existing song material, he tunes it DGEADGBE and places a capo on the 0-fret for an effective tuning of EAEADGBE. To overcome this, we created #17, which is similar in specs but a regular 28″-26.5″ mixed scale.

Completed*">

The design brief from Alex Stegmayr was clear with regards to neck slimness and playability in addition to accessibility of the 24th fret. The entire neck/bridge package was shifted forward in relation to the body to accommodate this. Due to the relatively heavy magnetic pickups, the balance of the instrument is good despite this. The weight still lands at only 2,700 grams. This is the first guitar equipped with a Graphtech Ghost system – I hope to have sound samples up soon.

Completed*">

For the moment, we are sold out of bridges, both fixed and tremolos.

Watch this space for updates, and feel free to e-mail with questions.

Out*">