Tom Anderson Guitars Prices Full Basic Setup
Sure, a proper education in any pursuit usually pays off, but it’s also worth noting that passion, curiosity, and an apparently innate knack for figuring out how things work can yield surprisingly effective results.Tom Anderson Classic S Icon Sonic Blue Relic Strat. Restring and cleaning: 25.00 (35 for Floyd Rose, 12 string, etc.) Full basic setup and cleaning: 60.00: Full specialty setup and.It’s perpetually fascinating how many guitar, amp and pedal makers have become successful with no formal training in the craft. It is a Hollow Drop Top Classic and it features a PIEZO and a Madagascar Rosewood Board The guitar was barely played and lived in a smoke. Description: Just out of a collection, this near mint Tom Anderson guitar is ready to be played and loved. Color/Finish: Deep Tobacco Fade.
It played beautifully, was made from light and extremely resonant woods, wore an immaculate nitro finish and flawlessly dressed frets, and sounded outstanding plugged in – and was acquired two or three years earlier, I was told, at about half the entry price of a new Fender Custom Shop guitar with similar appointments.Word of K-Line’s quality and value has spread in the guitar world these past five years or so, and Kroenlein’s own reputation as a maker has been justifiably elevated. I first encountered K-Line guitars in the mid 2010s when a friend put into my hands a Strat-like Springfield model that Kroenlein had built for him. Sort: Show: Anderson Bulldog Natural Electric Guitar 06-13-11P - Used. Used tom anderson guitar tom anderson used anderson t icon in distress sonic blue 1 17 18n used used tom anderson 88 (toll free) 91 (local/intl +1) EMAIL CALL US. Min: Max: Related Searches.
I loved to play but also was a curious kid and always loved to find out how things worked, so I spent more time breaking down guitars than playing. My pop had an auto body and mechanic shop right next door to our house. All signs point to Kroenlein rising to the next level in this arena, too – up there with Grosh, Lentz, Tom Anderson and the like – although many current owners of his recent creations will tell you he’s already there, and it’s hard to argue.“Growing up as a kid in Saint Louis,” Kroenlein says, “I began playing guitar when I was about 10 years old.
“Other guitarists around always commented on my guitars and how they played, so they asked me to do the same for them. Upon heading to college in the early 90s (where he earned a BA in economics) this proved a better means of acquiring satisfactory guitars for his own playing than any off-the-shelf options he could actually afford to purchase.“I would buy necks and bodies and experiment with different combos until I found what worked best together,” he recalls. So, I suppose some things came more natural to me.”Like many in the ‘tear it down to see how it ticks’ camp, Kroenlein eventually began putting the things together for himself, from the raw parts. I worked for him through high school and during breaks in college. My dad taught me about mechanics and painting, as I was a barfly in the shop as a kid.
By 2011 we were 95 per cent in-house made. With the help of others, I began making bodies first and then necks. A few years into that, he pushed his skillset further, hewing the foundations of his guitars from the tree up.“By 2009 I was without a day job, and hungry to make it a go,” says Kroenlein, “so I invested in CNC machinery. Initially, I used third-party cutters for the wood and began building K-Line parts guitars.”As he fed this demand from local players, Kroenlein made his ‘part-time hobby business’ official with the founding of the K-Line company.
‘G’ guys are not as accepting of different headstock designs either. I realised quickly that the was much less and the competition was greater. I stayed away from the set necks until much later when in 2015 I did a run of Specials and Juniors. “And when big companies decided not to listen to the players, it opened the door for many of us to… not reinvent the wheel, but to put a better set of tyres on it. I love single coils.”For a budding guitar maker, at that time, the format also made for a somewhat easier ramping-up into production.“Parts were easier to get,” Kroenlein says. I was a fan, and my first guitar was a Blackie Strat.
More specifically, hardware that performs as needed but also provides the sound needed. After that, quality hardware matters a lot. I hand-select my wood based on moisture content, and I spend a bit extra to get the driest wood possible. Specifically, dry, resonant wood. Asked the difference between a good and a great guitar, he replies without hesitation:“Wood.
“Like a nice hand-rolled fretboard edge, saddle screws not sticking out of the saddle too much, proper neck-pocket angles to ease set-up and feel. A great example is with a very popular brand bridge for S-style guitars: great workmanship, they look great, but they can make my guitars too bright and harsh.”Materials aside, Kroenlein displays a lot of thought for the little hand-applied details that will often help to take a guitar from ‘maybe’ to ‘yes!’ As players, we all know them when we feel them, but they are all too often missing from guitars that are otherwise of quite good quality, and for which we might have paid a tidy sum.“I think it’s important to pay attention to the fit and finish and the little things,” he says. Some of these people equate, say, a bridge that costs $200 being the best bridge out there. Often times the lesser quality of steel in certain parts produces the desired outcome in tone.“Today’s world is full of forums and information where many people are armchair pros of all things guitar.
The upside of the effort proved two-fold: there’s now another major K-Line component made entirely in-house, and the practice eliminates a significant part of the sonic stew that was dependent on the work of others.“I actually started making pickups about eight or nine years ago, developing the process when I had the time,” he says. I’m not a fan of lots of emails when a nice 30-minute phone conversation can take care of any questions.”Part of this quest for the best led Kroenlein, after several years of selecting his pickups from among the popular high-end makers on the market, to learning to wind his own. I like to make myself available to chat with them to ensure that we are on the same page the entire way through the process. I make them like I like them.”A big part of that principle, too, involves Kroenlein’s attitude both before and after the sale – what we generally refer to simply as ‘customer service.’“I am asking people to send me, quite frankly, a lot of money. As a small company, you must make sure that nothing leaves the shop unless it meets standards set forth. Always strive for only the best quality you can deliver.
Consistency is always the key. Find your materials, find your wind technique, and repeat. The real hard part is not chasing tone down a rabbit hole. I officially launched the pickup line at NAMM 2018 after a long journey of trial and error. Having the ability to go back on the winder and alter a pickup slightly to get the exact sound is priceless.“Another aspect is pride. Let me say that I was not disappointed in the options already available, but I was unable to truly have control beyond off-the-shelf pickups.
Fine skills such as fret and nut work, for example, required some practice.“I am a bit different, as I did not start out as a repair guy or go to any specific schooling except the school of hard knocks. So, when you can be truly proud to call them your own and save some cash, I call that winning.”Coming at the venture as a self-taught luthier, Kroenlein obviously had to develop certain skills that weren’t entirely empirical, and which didn’t flow naturally from his experience working after school in his dad’s car repair business. Any little amount of cost that can be saved by doing the work yourself helps the bottom line.
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