With bodies that are 3D printed, rather than carved, Professor Olaf Diegel’s ODD Guitars are truly like nothing you’ve seen or played before.
Ever since the world’s very first guitar was strung up, the folks that build everyone’s favorite instrument have continued the never-ending quest to deliver the next greatest thing in guitar design. Though significant changes to the tried-and-true foundation don’t happen as often these days (for good reason), once in a while something incredibly new, unique and actually functional comes along. The “3-D” instruments coming from Professor Olaf Diegel’s ODD Guitars certainly fit this category. With bodies that are printed, rather than carved, they’re truly like nothing you’ve seen or played before.
Diegel is a design engineer by trade and a professor of mechatronics at Massey University in New Zealand. Fittingly enough, 3-D plays an important role in the curriculum he teaches—a combination of mechanical, electronic, and software engineering—which allows for creating quick prototypes for testing in product-development applications. So as both an expert in this printing technology and a long-time musician, it made sense that he’d find a way combine the two.
The new luthier knew next to nothing about building guitars before starting this venture and cites that as his biggest, initial challenge. But after populating a “cemetery of early guitar attempts” through heavy trial and error and self-teaching through online resources, the young company already offers eight different models in its wildly catchy lineup.
As is common today, ODD Guitars has some of their instrument manufacturing done overseas, except ODD goes the other direction. Once Diegel finishes a design with the CAD program Solidworks, he emails the file to 3D Systems in the U.S., who then prints the bodies and ships them back to Diegel in New Zealand. Since 3D Systems is the world’s largest manufacturer of 3-D printers, Diegel says the manufacturing partnership is fantastic as it allows him to focus on the design side. Provided there are no delays with customs, the luthier usually has a body in hand less than a week after sending the design. It’s at this point that Diegel dyes the body, which allows him to get into all the nooks and crannies of the body before spraying with lacquer.
All of Diegel’s guitars have a CNC-machined, wooden-core insert which joins the guitar’s neck to the bridge. Even with the elaborate bodies that are made from Duraform PA (nylon), acoustically the guitars are akin to a standard small-bodied electric guitar. “I had all plastic bodies on my original designs, but when I started blogging about it, many aficionados said it was impossible to get a good sound without a wooden body,” says Diegel. “So rather than fight it, I put in the wooden insert.”
Diegel outfits his guitars with Warmoth necks and leaves the particular wood and other specs up to the customer. He also allows customers to choose electronics, though his personal favorites are TV Jones Classics due to his love of rockabilly music. “For a more traditional sound, I tend to go with Seymour Duncans of one flavor or another,” he says. But when choosing active electronics for an instrument, Diegel likes the pups made by New Zealand manufacturer Langcaster, whom Diegel contends “makes the pickups with the cleanest sound I’ve ever heard.”
Diegel says the most unique thing about ODD is that his guitars have a larger story to tell. “It’s about the power of designing in the digital age, and about advanced technologies that allow each and every product to be made completely tailored to the user,” says Diegel. “From the 3-D printed bodies, to the CNC-machined inner cores and necks, to the laser engraving and cutting for the inlay work—every inch of the guitar is an example of high-tech manufacturing.”
Pricing and Availability
ODD Guitars are available through Cubify, a 3D Systems sales website for a range of 3-D printed products. Cubify puts customers in touch with Diegel, who works very closely with his clients on the specs of each custom instrument. Beyond neck, hardware, and pickup preferences, this also includes aesthetic variations like printing a customer’s name or band name into the back of the guitar. The turnaround time of eight weeks for a fully custom instrument is mostly driven by the custom neck, which normally takes around six weeks. ODD Guitars range from $3,000 for smaller body guitars to $3,500 for Les Paul-style bodies with a single color paint job, and up to $4,000 for the Americana and its airbrushed paintjob. The pricing includes most customizations.
odd.org.nz
EBS introduces the Solder-Free Flat Patch Cable Kit, featuring dual anchor screws for secure fastening and reliable audio signal.
EBS is proud to announce its adjustable flat patch cable kit. It's solder-free and leverages a unique design that solves common problems with connection reliability thanks to its dual anchor screws and its flat cable design. These two anchor screws are specially designed to create a secure fastening in the exterior coating of the rectangular flat cable. This helps prevent slipping and provides a reliable audio signal and a neat pedal board and also provide unparalleled grounding.
The EBS Solder-Free Flat Patch Cable is designed to be easy to assemble. Use the included Allen Key to tighten the screws and the cutter to cut the cable in desired lengths to ensure consistent quality and easy assembling.
The EBS Solder-Free Flat Patch Cable Kit comes in two sizes. Either 10 connector housings with 2,5 m (8.2 ft) cable or 6 connectors housings with 1,5 m (4.92 ft) cable. Tools included.
Use the EBS Solder-free Flat Patch Cable Kit to make cables to wire your entire pedalboard or to create custom-length cables to use in combination with any of the EBS soldered Flat Patch Cables.
Estimated Price:
MAP Solder-free Flat Patch Cable Kit 6 pcs: $ 59,99
MAP Solder-free Flat Patch Cable Kit 10 pcs: $ 79,99
MSRP Solder-free Flat Patch Cable Kit 6 pcs: 44,95 €
MSRP Solder-free Flat Patch Cable Kit 10 pcs: 64,95 €
For more information, please visit ebssweden.com.
Upgrade your Gretsch guitar with Music City Bridge's SPACE BAR for improved intonation and string spacing. Compatible with Bigsby vibrato systems and featuring a compensated lightning bolt design, this top-quality replacement part is a must-have for any Gretsch player.
Music City Bridge has introduced the newest item in the company’s line of top-quality replacement parts for guitars. The SPACE BAR is a direct replacement for the original Gretsch Space-Control Bridge and corrects the problems of this iconic design.
As a fixture on many Gretsch models over the decades, the Space-Control bridge provides each string with a transversing (side to side) adjustment, making it possible to set string spacing manually. However, the original vintage design makes it difficult to achieve proper intonation.
Music City Bridge’s SPACE BAR adds a lightning bolt intonation line to the original Space-Control design while retaining the imperative horizontal single-string adjustment capability.
Space Bar features include:
- Compensated lightning bolt design for improved intonation
- Individually adjustable string spacing
- Compatible with Bigsby vibrato systems
- Traditional vintage styling
- Made for 12-inch radius fretboards
The SPACE BAR will fit on any Gretsch with a Space Control bridge, including USA-made and imported guitars.
Music City Bridge’s SPACE BAR is priced at $78 and can be purchased at musiccitybridge.com.
For more information, please visit musiccitybridge.com.
The Australian-American country music icon has been around the world with his music. What still excites him about the guitar?
Keith Urban has spent decades traveling the world and topping global country-music charts, and on this episode of Wong Notes, the country-guitar hero tells host Cory Wong how he conquered the world—and what keeps him chasing new sounds on his 6-string via a new record, High, which releases on September 20.
Urban came up as guitarist and singer at the same time, and he details how his playing and singing have always worked as a duet in service of the song: “When I stop singing, [my guitar] wants to say something, and he says it in a different way.” Those traits served him well when he made his move into the American music industry, a story that begins in part with a fateful meeting with a 6-string banjo in a Nashville music store in 1995.
It’s a different world for working musicians now, and Urban weighs in on the state of radio, social media, and podcasts for modern guitarists, but he still believes in word-of-mouth over the algorithm when it comes to discovering exciting new players.
And in case you didn’t know, Keith Urban is a total gearhead. He shares his essential budget stomps and admits he’s a pedal hound, chasing new sounds week in and week out, but what role does new gear play in his routine? Urban puts it simply: “I’m not chasing tone, I’m pursuing inspiration.”
Wong Notes is presented by DistroKid.
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PG contributor Tom Butwin takes a deep dive into LR Baggs' HiFi Duet system.