JPG Super-G (SG) coming soon

I think a lot of people will agree with me that SG’s look cool as hell, but sound and play like a bucket full of mud with some strings wrapped around. Well here’s a guitar with the classic looks of an SG but with great rich tone and a beautiful feel.

So lets start by going through the crucial faults with the SG. first of all is the fact that both body and neck are entirely made of mahogany, and the body is a measly 1-5/16″ (33.5mm) thick. Now mahogany is a great sounding wood that gives beautiful warm lows and a very solid sustain, however it doesn’t transmit treble or high-mid frequencies very well and with a body so thin, there just isn’t enough body of wood to take advantage of all the sustain that can be achieved from mahogany.

The other main ‘fault’ with the SG is the neck carve, well some people like a skinny neck, but if you do, you wanna be playing a maple neck as its much denser and can sustain with less depth on the neck. If you’re gonna go with a mahogany neck, you’re gonna need a bit of weight there both for tone and so you can play those big fat riffs without pushing the strings all over the fingerboard.

So how do you go about getting a decent tone out of and SG type guitar? lets start off my looking at the most popular humbucker guitar, the Les Paul. To start the body depth measures 2″(50.8mm) in the center, has a maple cap on the body and a nice chunky neck. Now, I didn’t want to go about putting a thick maple cap on the front of the Super-G cause if i did that it wouldn’t look much like an SG. I had one other trick up my sleeve that was gonna tighten up the muddy bass response, give a great pick attack and make the sustain fat and creamy. Most Gibson guitars have a set-neck construction, which gives great sustain and is relatively cheap to produce. However there is another neck construction commonly used by high-end makers called a through-neck (or thru-neck) where the piece of wood that the neck is made from runs all the way through the body and then ‘wings’ are glued on either side to form the body. This construction gives a similar sound to a set-neck but with even more sustain (who can say no to that?). A popular neck setup that i often use is a 3-piece through-neck made from 2 pieces of mahogany and one piece of maple in the center. This clears up the tone in a very similar way to the maple cap on an LP, but also gives a wonderful creamy sustain and a more stable neck, which means you won’t have to have the truss-rod adjusted as often.

The Super-G was top-coated on Wednesday this week (in nitro, as it should be), so it needs another 3 weeks for the lacquer to cure before i can polish it up to a beautiful sheen, assemble the hardware and have it ready to play.

Super-G specs

Neck – 3-piece through-neck, 2x African Mahogany 1x Hard Maple
Body – African Mahogany
Fingerboard – Ebony with MOP block inlays and cream binding
Headstock Veneer – Ebony with MOP Lightning Bolt and JPG inlays
Bridge – TonePros Tunomatic nickle
Tailpiece – Resomax Aluminum stop bar nickle
Pickups – Bare knuckle The Mule nickle covers
Pickguard – Black/white/black PVC – full SG pickguard
Controls – 2x Vol, 2x Tone (CTS) Toggle Switch (Switchcraft)
Machine Heads – TonePros Kluson Deluxe upgrade Tuners nickle with green Keystones
Nut Width – 1-11/16″ (42.8mm)
Finish – Nitro-Cellulose Lacquer (thin)

Price – 295,000¥

Bare Knuckle Pickups – Brown Sugar Tele Single Coils







テレキャスターシングルコイルではこのBrown Sugarが人気です。本物のロックンロールサウンドを好む方には間違いなくお勧めのピックアップです。もちろんフロントのみリアのみのオーダーも可能です。たとえばフロントにP90、リアにテレシングル、という組み合わせも良いバランスを生み出します。

”Vintage Hot Teleセットは、クラシカルな研ぎ澄まされたミッドレンジとタイトなベース、特徴的なハイエンドが心をつかみます。
Brown Sugarは特定の地代のビンテージサウンドを追うのではなく、音そのもののバイブレーションを徹底的に追及することで、真のロックンロールアティテュードを溢れ出させています。
アンプをドライブさせることで、なめらかで豊かな倍音を含むワイドレンジなオーバードライブサウンドを生み出し、しかも完璧なワックスポッティングによりハウリングの心配もありません。Brown Sugarはまさしくロックサウンドの申し子と言えるでしょう。”









The name is based on the fact that the guitar is heavily decorated in real celluloid tortoise shell. The Tortocaster is in most ways a traditional Telecaster with some all important modifications. I’ve always loved the Telecaster, a truly simple but wonderfully useful guitar. however I always felt there were two small problems with the Tele, first and most importantly was the neck pickup, although it has a nice clean tone, i always thought it was a little too weak when sat next to that big bright growling bridge pickup and couldn’t help but feel the sound was a little unbalanced. well, i didn’t want to tame the bridge pickup, cause that’s a sound we all know and love and i’ve seen a lot of Tele’s with humbuckers in the neck, but i didn’t want to loose that single coil tone and the stock middle position. after playing around with some different configurations, i found that a P90 in the neck and Tele Bridge was and incredible combination. the P90 has plenty of punch and is in no way outshone by the Tele bridge and adds a wonderful warmth not usually achievable on a Tele. But thats not the best part, I’ve always been a fan of two stock wound single coils being played at the same time (like a vintage Strat set in positions 2 & 4), but when i flicked the switch into middle position and my little Fender Pro Junior valve amp with the gain half way up, i nearly had an accident. it was that oh so familiar stock pair sound with the cut mids but the warmth and lows coming from the P90 and the highs cutting through on the pick from the bridge were nearly too much to handle. at that point i had a moment of regret cause i knew I had to sell this guitar.
The other modification to the Tortocaster is a very simple one, but i find very useful. I’ve never really liked the 3-way Tele switch, on the 5-way it works great cause you only have to move it a little way to change positions and the spring is much lighter. in the 3-way switch, you have to move it a very long way and the spring is very tight, making fast changes… well not so fast. In my there is only one 3-way switch and that’s the 3-way toggle, its quick, reliable and… well that’s it but what else do you need. I’ve angled the switch at a 45º angle as that is the way your hand tends to move when playing. this allows you change with a quick flick or pull of your little finger, no effort and no missed notes.
In short, if you want a reliable, durable, tonally dynamic single coil guitar that you can use for a range of sounds, look no further, you’ve just hit the mother load.

Neck – 1piece hard maple bolt-on with black walnut skunk strip
Body – Ash 2-piece
Fingerboard – Hard maple (1-piece construction with the neck) Tortoise shell dot inlays
Binding – real vintage quality Celluloid Tortoise shell front, back and both centre strips.
Headstock – JPG custom Fender style original shape.
Truss rod – double acting with vintage style slotted nut at the heel
Pickguard – real vintage quality celluloid tortoise shell/mint green/black/mint green
Pickups – BKP Nantucket P90 neck PU – BKP The Boss Tele Bridge PU
Controls – 1xVol, 1xTone, 3-way Toggle switch
Bridge – Vintage ashtray Tele with 6-saddle configuration
Machine heads – ToneProse Kluson Upgrade vintage tuners nickel
Hardware – Custom JPG neck plate, custom JPG Tele control plate for Toggle switch.
Scale length – 25.5″ (647.7mm)
no. of frets – 21
fingerboard radius – 9.5″ (241.3mm)
nut width – 1-5/8″ (41.3mm)
Neck Finish – Nitro cellulose
Body Finish – Tru Oil, super high sheen oil finish

price – ¥200,000


The Groper









All the beef and style of a classic 70’s bass with all the important modern functionality. The Groper mixes the look of a Gibson Grabber with the sound of a Rickenbacker 4003. Unlike The Grabber, The Groper features a 1-piece through-neck for increased sustain and reliability. Coupled with that the bass has been fitted with a customised Hipshot Supertone 3-point retrofit bridge that we drilled out for through body stringing to give extra punch to that percussive sound from the Ricky type pickups. The pickups are hand wound by Brad Burt of Classic Amplification in America. when ordering the pickups, I asked Brad for something with that classic mid-70’s Ricky tone but a little hotter and wound RWRP so a humbucker tone could be achieved in the middle position. The 4-war rotary switch allows for two types on humbucker configurations, the regular parallel type commonly used for humbuckers and in position two the coils are run in series to give a super boomy and warm tone perfect for groovin’ out some root notes.
To look at this bass, you might worry that due to its size it’s gonna be too heavy and weigh you down, but this bass is no heavier than a standard Jazz or P-bass. most fender type basses have a 1-3/4″ (44.5mm) thick body, whereas The groper has a slim and slender 1-1/4″ (32mm) body to keep weight down, but due to the through-neck construction and maple body wings, no tone is lost.
Whether you play pick style or heavy finger style, this bass will cut through and make you heard, the attack achieved by the pickups and bridge style will give an incredibly percussive sound perfect for the rhythm section of any rock or heavy band and the sustain to follow will ensure you fill the room with powerful and deep vibrations.

Neck – 1piece hard maple quarter-sawn through-neck
Body – soft maple 1-1/4″ thick
Fingerboard – hard maple with black sharks-tooth inlays and black binding
headstock veneer – ebony with mother of pearl JPG inlay
Truss rod – double acting with 4mm allen nut at head stock
pick guard – black/white/black PVC
Pickups – Classic Amplification – Classic Rick RWRP set
Controls – 2xvol, 1xtone (CTS), 4-way rotary switch (neck/series/parallel/bridge)
Machine Heads – Schaller BML chrome
Bridge – Hipshot Supertone 3-point
scale length – 34″ (863.6mm)
no. of frets – 20
Fingerboard radius – 12″ (304.8mm)
nut width – 1-1/2″ (38.1mm)
finish – Super thin nitro cellulose lacquer.

price – ¥280,000

The Lap Dancer









A contemporary approach to a classic instrument, designed to give all the sustain commonly achieved from an electric lap-steel but with the deep natural tone you would get from an acoustic weissenbourn. Most electric lap-steels go with the ‘stick’ style design as it is simple to make and sits on your lap easily. the problem with the ‘stick’ design is that there is not sufficient wood on the instrument for it to resonate and give you those nice deep tones that we associate with a weissenbourn. When designing this instrument I decided to stick closely to the shape of the old acoustic shape ( although it was scaled down some to reduce the weight as this would be a solid body instrument).
I then got on to thinking about tone, I wanted plenty of sustain, buy i also wanted a deep and almost hollow sound for a great clean tone. I started out thinking about routing out the body like a Thinline telecaster, but decided that that would be too much and that I’d loose these high mids. After some thought I decided to honeycomb the body, this means i would rout out the body like a Thinline Tele, but instead of having three large chambers that took up most of the body, i would have lots of small ones with about a half inch wall of wood in-between each one, resulting in a perfect balance of warm lows and tight highs and mids.
When it came to wood selection, there was no doubt that the body and neck should be made of mahogany, as it would be the only suitable wood for the tone, but i wanted to keep the classic weissenbourn look, and that posed some problems. Traditionally they were Made from Koa (a very rare wood from Hawaii), which can not be cut down, but has to fall before the wood can be used. Back in the 20’s and 30’s when these instruments were being made, no one cared about cutting down forests and it was quite easy to get nice pieces of Koa. So I had another problem, what wood to use for the top? After a lot of research I found a very similar wood that comes from south eastern Australia and Tasmania called Tasmanian Blackwood (Acacia Melanoxylon) , which is the closest living relative to the Koa tree (Acacia Koa) and shares a very similar grain structure, cloud, figure and most importantly tonal response. I started to make calls and found a great supplier in Australia who could supply me with some beautifully figured wood. the body cap, fingerboard and headstock veneer were all cut from the same block of wood, so the colour and grain match up perfectly.
whether your a lap-steel player looking for something special or a guitarist who wants to branch out to a new sound, why not call into the shop and give it a try.

Neck – 1piece African Mahogany Square profile
Body – African Mahogany Honeycomb Chambered
Body cap – Tasmanian Blackwood AAA
Fingerboard – Tasmanian Blackwood AA with Clay dot inlays
Headstock Veneer – Tasmanian Blackwood AAA
Bridge – Schaller Roller bridge
Tailpiece – Schroeder Stopbar
Pickups – Bare knuckle The Mule (53mm bridge spacing)
Controls – 2x Vol, 1x Tone (CTS) Toggle Switch (Switchcraft)
Machine Heads – TonePros Kluson Deluxe upgrade Tuners with green Keystones
Fret markers – Maple veneer inlaid
Nut Width – 53mm
Binding – Cream Plastic with Herringbone Purfling
Finish – Nitro-Cellulose Lacquer Full Gloss

Price – ¥320,000

The Stalker








A through and through riff monster, the flagship model from our new Japanese workshop. The Stalker is a completely original JPG design. I set out to design a guitar that had the classic look of a 60’s-70’s guitar but with all the playability and advantages of a modern high-end players guitar. The guitar features a maple through-neck with thick mahogany body wings, giving the instrument beefy deep lows combined with a sharp attack that will cut through and give you some real bite. It is fitted with a Schroeder Stoptail wrap-around bridge, however the guitar is also fitted with through-body stringing eyelets, this combined with the through-neck construction will give you sustain like you have never heard, but should you break a string on stage and need to re-string quickly, you can use the bridge loading points in order to get back to playing ASAP.
The Stalker comes loaded with Bare Knuckle Black Dogs as standard (although pickups can be changed to customers specifications). the Black Dogs are a vintage-hot pickup with that classic PAF tone but beefed up for the heavier player.
The Stalker will work perfectly for either Rhythm or Lead players, the beefy bass frequencies with the sharp attack from the maple neck will suit those who love a chunky riff and the killer sustain will enable lead players to hold those high notes as long as they dare. Another great feature for the Lead players is that due to the through-neck construction, the heal of the guitar is very high up the neck meaning you have the normal neck profile going almost right to the end of the fingerboard, so you won’t have to stretch for those high notes, like you would on a Les Paul or a Bolt-on neck guitar.
Although The Stalker is a stock model guitar, it can be customised to the customers specifications entirely.

Neck – 3 piece hard maple through-neck
Body – African Mahogany 1 3/4″ (44.5mm) thick
Fingerboard – Ebony with Mother of Pearl shark tooth inlays
Bridge – Schroeder Stoptail bridge with optional through-body or wrap around strining
Pickups – Bare Knuckle Black Dog set with custom H-gate covers
Controls – 2x Vol, 2x Tone (CTS) Toggle switch (Switchcraft)
Machine Heads – Schaller M6 chrome
F-board radius – 12″ (305mm)
No. of frets – 22
Nut width – 1 11/16″ (42.86mm)
Binding – white plastic front and neck
Finish – Polyurethane Black with clear strip down the back

price – ¥295,000 (inc. tax)

Bare Knuckle Pickups – In Stock!!!

Our first batch of Bare Knuckles just arrived and we’re guaranteeing the best prices in Japan by a long shot.

If you are not familliar with Bare Knuckle pickups, they are hand wound in England and are without doubt the finest quality pickups on the market.

It seems that Seymour Duncan pickups are the most popular in Japan, but BK’s will blow any SD out of the water on tone and looks. Whether you are looking for a authentic vintage tones or a fat contemporary sound Bare Knuckle has something for you.

You’re probably thinking ‘what makes these so much better than a Seymour Duncan?’, well its simple, there are two main reasons. first is that BK’s are scatter wound by hand (this means when the coil wire is wound, each wrap of wire goes over at a different angle and at a slightly different tension, making each wrap of wire a slightly different length, greatly improving the tone). SD and other factory made pickups are wound on a machine, this means the wraps of coil wire go on in a more uniform pattern and tension (not so good).

The second reason is that every part used in a BK pickup is made by Bare Knuckle in their workshop in England, meaning they have absolute control over the quality of the materials and parts used in their pickups. This is not the case with factory pickups, due to the size of their production, the parts for their pickups will come from other factories (not necessarily in the country the pickup is wound in).

Ok, lets talk price. If you walk into a good guitar shop in the UK and buy a BK and an SD, the BK will be about 20-30% more expensive. But that’s not the case here, Japanese retail prices are generally much higher than in other countries like the UK and USA. If we buy a Seymour Duncan pickup we have to buy from the main Japanese distributor and they are more expensive than retail price in the USA. We are an official Bare Knuckle dealer and buy our pickups straight from the workshop in England at trade price. Because we’re nice people we’ll only charge you what you’d pay in the UK, meaning that you pay about the same as an SD in Japan, or even less in some situations.

Here is a list of what we have in stock and prices (including tax). if we don’t have what you want, let us know and we’ll order them right away.

The Mule humbucker set – nickle covers – ¥31,000

The Mule humbucker set – uncovered black – ¥28,000

Black Dog hubucker set – nickle covers – ¥31,000

Black Dog humbucker set – chrome covers – ¥31,000

Warpig humbucker set – distressed covers – ¥33,800

Apache strat set RWRP – parchment covers (off white) – ¥24,600

Country Boy tele set – nickle & black – ¥19,800

The Boss tele set – nickle & black – ¥19,800

The Boss bridge only – black – ¥10,300

Blue Note P90 set – black soapbar covers – ¥20,500

Nantucket P90 neck only – black soapbar cover – ¥10,900

Prices are calculated at the time of order according to current exchange rate, if you order pickups the price will be calculated when you order, so it could be a little cheaper or more expensive, but won’t be much different.

And remember, if you buy or order before the end of March, you’ll get a 15% discount as part of our opening campaign.

For more info on Bare Knuckle pickups and to see the full range of models and hear sound clips, click on the link below to visit the Bare Knuckle website.


Do you play a Fender Jauguar or Jazzmaster? Does it buzz and lack sustain? We’ve got the solution.

Fender Jaguars and Jazzmasters are great guitars they look cool and the funky electronics give a wide selection of tones. Unfortunately there is one serious fault in the design, there is barely any brake angle over the bridge (the ‘brake angle’ is the angle in which the string bends over the saddles in order to stop the string vibrating). With such a shallow brake angle, the saddle doesn’t fully stop the vibration of the string and you get a large amount of buzz from the bridge. Another problem caused by a shallow brake angle is a lack of sustain. As there is a little movement of the string over the saddle, the string is muted slightly and sustain quickly turns to decay. To add to this, the saddles fitted into this bridge are pieces of threaded bar. this means that the string groove runs at an angle rather than in-line with the string. The result of this is that when the string runs off the saddle, the string is touching on one side of the groove but not the other. Guess what… more buzz.

But don’t fear! We can fix it, and even more we can do it without breaking your wallet.

There are two products you’ll need to fix this problem, first is a set of Mustang saddles, these are properly machined saddles that fit directly into your bridge and allow the string to run through a clean and straight groove. The second part is an Allparts Buzz Stop Roller, this is a roller bar that attaches to the tailpiece with no modifications to the guitar and allows the strings to run under it and increases the brake angle appropriately.

Now, let’s get down to what we’re all thinking, How much?

Well, if you buy these parts from the main Japanese distributor for Allparts, it costs a lot (as they like to charge about 200% of US retail). We buy our parts directly from ALLPARTS USA and cause we’re an honest bunch, we charge you US retail + 5% tax and shipping (5%). So here’s the prices.

Allparts Japan price – Mustang saddles 3,675yen – BuzzStop 6,143yen

OUR PRICE – Mustang Saddles 2,500yen – BuzzStop 3,500yen

When fitting these parts, we strongly recommend that the guitar is set-up (all neck, bridge, intonation and pickup adjustments), as this will ensure that your guitar is playing and sounding as good as it possibly can. the price we charge for a set-up on a Fender style guitar is 5,000yen (which if you do some research you’ll find to be very reasonable).

BUT WAIT! We’re gonna make it even cheaper!

This month we have an opening campaign as our shop is brand new. Before the end of march we are offering 40% discount off all work and 15% off all parts and strings.

Discounted price – Mustang saddles 2,125yen – BuzzStop 2,975yen –                    Set-up 3,000yen

TOTAL 8,100yen

If that’s not a good deal, I don;t know what is.


We understand that guitars, parts, maintenance and even strings can have quite an impact on your wallet. We also realise that most students don’t have that kind of cash on hand, so we’ve decided to extend our opening campaign to all music students indefinitely.

If you study full-time in a music related subject (music, music production, music tech, guitar making, etc) you will be able to take advantage of our discounts. (student ID is required)

The offer applies to all of our services and products, anything from a fully custom guitar, down to a single pack of guitar strings.

We look forward to seeing you and helping you on your way to making a career out of the thing you love most… Music


After months of hard work and high stress levels, we are finally open for business.

To welcome all our new customers, we’re offering a 15% discount off all work and parts in our first few weeks of business. The offer lasts from now until the end of March, so don’t hang about.

Even without the discount we offer competitive prices and guarantee the best service in the city. We import all our guitar parts directly from the States and Europe, this means you pay an honest price for your stuff, unlike all the other dealers in Japan that buy from local distributors. We stock all the popular brands of mod parts and can order anything we don’t have in stock.

So drop on in or give us a call to take advantage of these incredible deals we’re offering this month.