A stripped-down, solid workhorse for those about to rock.
Simple, comfortable-feeling and well-built guitar that looks, plays, and sounds damn fine.
Neck pickup loyalists—you’re outta luck!
$1,799
Dunable Cyclops
dunableguitars.com
[Updated 12/19/22]
The prophet Dirty Harry Callahan once said, “A man’s gotta know his limitations.” The same can be said for some guitars. But sometimes design limitations define a guitar’s purpose—or at least suggest the best sonic or stylistic routes to travel.
The Dunable Cyclops is such a guitar—it’s a one-pickup model that borrows the name of the single-eyed giants from Greek mythology. Like those giants, this instrument is a simple creature that nonetheless merits serious reckoning. And as a steak-and-‘taters road or studio machine, the Cyclops measures up.
- First section, tone pot full up; second section, tone pot half back. Carr Vincent amp: volume at 2; treble, mid, and bass at noon; reverb at 3; drive at 3.5.
- Starts with tone put rolled full back and sweeps up to full on. Carr Vincent amp: volume at 5; treble at 10, mid boost on at 10, bass at noon; reverb at 3; drive at 10. Origin Effect Cali76 compressor.
Beautifully Basic
Our test guitar is as solid and handsome as it is basic, clocking in at about 8 pounds with a mahogany body (swamp ash is also available), a 22-fret, African mahogany 25.5”-scale set neck, and an ebony fretboard (also available in rosewood or maple). The bound neck has a comfortable and fast C-profile, and the jumbo Jescar frets are as smooth as a shaved baby goat. The 18:1 Grover Sta-Tite tuners feel solid and turn evenly. A Schaller Tune-o-matic bridge and trapeze tailpiece—chosen, presumably, to get the most natural string tone—hold things down at the aft end of the instrument.
The Cyclops’ headstock has a smartly angled cut with a mid-peak and a volute where it joins the neck to strengthen that vulnerable spot. The controls are simple: a volume dial and a tone dial that would look comfortable on an old toaster oven. The white-black-white-trimmed black pickguard lends a simple elegance. And the body—with a beveled lower cutaway providing easy access to all the frets—has a cool, raw look. The surface is sanded just enough to leave an almost topographical texture, which is sealed by a thin satin-poly topcoat. And oh yeah! The guitar arrived in an Access hardshell case with a set of Schaller strap lock pegs tucked inside. Bonus!
Hold-the-Phone Tone
Even before plugging in, the Cyclops got on my good side thanks to its solid feel and flawless setup. Action is low and comfy—no fret buzz or ill-defined notes. Bending notes and shaking chords is easy. The tone and volume pots feel slick and are easy to adjust on the fly. And once plugged in, tones are crisp and arresting across the board, and not at all piercing, even with the tone pot turned full up. All guitars should come out of the box this ready to gig.
Dunable’s own Slugwolf bridge humbucker is a beast with just the right amount of hair. At 13.8k, the Slugwolf’s output is hot but not uncontrollable. This single hummer has excellent dynamic response and it’s easy to roll back the howl—or bump it up—with the volume pot. According to Dunable, the alnico 5-style pickup uses 43-gauge wire to allow more turns on the double slug bobbins to increase the magnetic field, resulting in slightly thicker mids and treble response that steers clear of shrillness. Those qualities were audible, whether I played through a vintage Supro combo, an old 50-watt Marshall Super Lead, or a Carr Vincent.
For pure, warm, and edgy rock tone, the Cyclops is extremely satisfying. Even with the tone pot rolled back, there’s plenty of articulation in notes and chords. It lived up to my expectations at a rehearsal, cutting through in the small space like a samurai sword. Looking for a dirty slide tone with lots of sustain, I stomped on my Archer overdrive and rolled the tone pot to about midway, then trimmed the guitar volume with another slight pot adjustment. Notes hung in the air with minimal coaxing, ripe with gritty character. And let’s face it: with only two controls onboard, there’s not a lot of ways to go wrong if you buy into this Dunable’s sound and playability—which I do.
The Verdict
Look—I’m usually a neck pickup guy, but I definitely see eye-to-eye with this Cyclops. (Sorry, I couldn’t resist.) I’d happily invite this monocular monster to any rock, blues, or improv performance—mellow or aggro. It’s not cheap at $1,799 for a guitar with just a bridge humbucker, but it sounds great, feels durable and comfortable, is well constructed, plays like buttah, and looks stripped-down cool. That’s a lot to love.
Review Demo - Dunable Cyclops
Love pedals? So do we! Enter the I Love Pedals giveaway for a chance to win the Ernie Ball VPJR Tuner Pedal in White. Come back daily for more chances!
Ernie Ball VPJR Tuner / Volume Pedal - White
The VPJR Tuner pedal combines Ernie Ball’s world-renowned volume pedal with an enhanced definition digital guitar tuner. In the heel-down position, the pedal’s vibrant touchscreen automatically enters tuner mode, allowing for silent tuning. As the foot sweeps forward, the screen switches to volume mode, providing a graphic display of your volume level. Alternatively, the screen can remain in volume mode or tuner mode, regardless of the pedal’s position in the sweep. Simply double tap on the touchscreen to toggle between modes. The VPJR Tuner provides the same rugged construction and time-tested performance as Ernie Ball’s traditional volume pedal, resulting in the most useful guitar tuner pedal on the market.
Meet Siccardi Number 28: a 5-ply, double-cut solidbody tribute to Paul Bigsby’s “Hezzy Hall” guitar.
Reader: Mark Huss
Hometown: Coatesville, PA
Guitar: Siccardi Number 28
May we all have friends like Ed Siccardi—along with a rare stash of tonewoods and inspiration to pay tribute to a legendary luthier.
I have too many guitars (like at least some of you I’m sure), but my current No. 1 is a custom guitar made for me by my friend Ed Siccardi. Ed is an interesting and talented fellow, a retired mechanical engineer who has amazing wood and metal shops in his basement. He also has an impressive collection of tonewoods, including rarities like African mahogany and some beautiful book-matched sets. He likes to build acoustic guitars (and has built 26 of them so far), but decided he wanted to make me an electric. The fruit of this collaboration was his Number 27, a Paul Bigsby tribute with a single-cut body—looking very much like what Bigsby made for Merle Travis. Note that Bigsby created this single-cut body and “Fender-style” headstock way before Gibson or Fender had adopted these shapes. This was a really nice guitar, but had some minor playing issues, so he made me another: Number 28.
Number 28 is another Paul Bigsby tribute, but is a double cutaway a la the Bigsby “Hezzy Hall” guitar. This guitar has a 5-ply solid body made of two layers of figured maple, cherry, swamp ash, and another layer of cherry. The wood is too pretty to cover up with a pickguard. The tailpiece is African ebony with abalone inlays and the rock-maple neck has a 2-way truss rod and extends into the body up to the bridge. It has a 14" radius and a zero fret. Therefore, there is no nut per se, just a brass string spacer. I really like zero frets since they seem to help with the lower-position intonation on the 3rd string. The fretboard is African ebony with abalone inlays and StewMac #148 frets. The peghead is overlaid front and back with African ebony and has Graph Tech RATIO tuners. The guitar has a 25" scale length and 1.47" nut spacing. There are two genuine ivory detail inlays: One each on the back of the peghead and at the base of the neck. The ivory was reclaimed from old piano keys.
This is Number 27, 28’s older sibling and a single-cut Bigsby homage. It’s playing issues led to the creation of its predecessor.
I installed the electronics using my old favorite Seymour Duncan pairing of a JB and Jazz humbuckers. The pickup selector is a standard 3-way, and all three 500k rotary controls have push-pull switches. There are two volume controls, and their switches select series or parallel wiring for their respective pickup coils. The switch on the shared tone control connects the bridge pickup directly to the output jack with no controls attached. This configuration allows for a surprisingly wide variety of sounds. As an experiment, I originally put the bridge volume control nearest the bridge for “pinky” adjustment, but in practice I don’t use it much, so I may just switch it back to a more traditional arrangement to match my other guitars.
The Milwaukee-based “guitarist’s guitarist” doles out decades of midwest wisdom on this episode of Wong Notes.
You might not know Greg Koch, but we’ll bet your favorite guitarist does. In 2012, Fender called the Wisconsin blues-guitar phenom one of the top 10 best unsung guitarists, and in 2020, Guitar World listed Koch among the 15 best guitar teachers. He’s been inducted into the Wisconsin Area Music Industry Hall of Fame. Koch is a bonafide midwest guitar god.
He joins Cory Wong on this round of Wong Notes for this meeting of the Middle-America minds, where the duo open with analysis of music culture in Wisconsin and Minnesota—Koch taught at Saint Paul’s now-shuttered McNally Smith College of Music, which Wong attended. Koch and Wong zero in on the blues roots of most modern music and talk through soloing theories: It can be as easy or as hard as you want it to be, but Koch shares that he likes to “paint himself into a corner,” then get out of it.
Koch and Wong swap notes on the pressures of studio performance versus the live realm, and how to move on from mistakes made onstage in front of audiences. Plus, Koch has created scores of guitar education materials, including for Hal Leonard. Tune in to find out what makes a good guitar course, how to write a guitar book, Koch’s audio tips for crystalline live-stream sessions, and why he still prefers tube amps: “I like to crank that sh*t up!”
John Petrucci, St. Vincent, James Valentine, Steve Lukather, Tosin Abasi, Cory Wong, Jason Richardson, Fluff, and more are donating instruments for contributors, and contributions are being accepted via this LINK.
The L.A. wildfires have been absolutely devastating, consuming more than 16,200 structures, and tens of thousands of people–including many members of the LA music community–have been displaced, as well as 29 persons killed. Historic gear company Ernie Ball has stepped up with a large-scale fundraiser, for MusicCares and the Los Angeles Fire Department Foundation, to assist those impacted by the fire and responders on the front line. The company kicked off the initiative with a $50,000 donation.
“We are absolutely crushed by the devastation Los Angeles has endured over the past few weeks,” CEO Brian Ball said in a statement. “As a California-based company with origins as a small retailer in LA County, seeing the impact of these fires in our community is heartbreaking.
Message from Tim Henson
Tim Henson is donating one of his own Ibanez TOD10N guitars for the cause.
“That’s why we’re partnering with our family of artists to give back in a unique way. In addition to our donation, Ernie Ball artists are stepping up to donate personal guitars and gear—truly one-of-a-kind pieces that money can’t buy. Here’s how you can help: Donate any amount and we will randomly give these items away. Every dollar goes directly toward helping those affected by these devastating fires. If you can’t donate, sharing this message can still make a huge impact,” Ball declared.
The fundraiser will continue until February 14.