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​Reader Guitar of the Month: Custom Yellow Active LP

​Reader Guitar of the Month: Custom Yellow Active LP

Name: Terry Kempler
Hometown: White Marsh, Maryland
Guitar: Custom Yellow Active LP

A 6-string tinkerer found a guitar neck with a unique inlay design, inspiring this bright color scheme and some active-pickup experimentation.

It all started with this yellow inlaid neck I saw on eBay/Amazon from China. I loved the inlays and thought it would be fun to design a yellow-themed guitar.


You all will recognize the body as an Epiphone Les Paul SL, which I bought new without the neck. I’m not a single-coil guy, so I swapped out the single-coils and electronics for two Wilkinson Hot Rail pickups. I ordered the neck ($80 total) from China, and it arrived in 12 days! The neck is high quality—the inlays are done very well, and the frets were smoothed and polished with an unfinished plain headstock. I took the body to my local hardware store and found a yellow spray paint for the headstock that was a very, very close match to the body color. The neck fit well and matched up perfectly for intonation.

The Wilkinson Rails worked out fine, but I had a couple of issues. Even though I put two layers of shielding paint in the body, there was still some minor buzz.

Also, I couldn’t get the bridge pickup high enough under the strings and had to use some spacers to raise the pickguard just around that pickup. Even then, I wasn’t happy with the tones. The neck played great, and after sleeping on it (the decision, not the guitar), I decided to go active. I had an extra set of active Guitarheads humbuckers. These are great active pickups, which I use in many of my guitars.

Terry Kempler

I carefully measured a way to put a 9-volt battery compartment through the back and into the control cavity. This way, I only needed to cut through about 1/4" of wood instead of routing out an entire body section. I had to widen the pickup routes in the body, with the bridge being the most work and dust flying everywhere. I then needed to widen the pickup cutouts on the pickguard, which was easier by using a Dremel saw and some filing. Lastly, I had to relocate the output jack because this was where the battery compartment was located.

The output jack was relocated to the side of the guitar where it belongs anyway. All the wiring (volume/3-way switch/tone) and such fit perfectly under the pickguard, and the guitar sounds great with no noise.

I don’t even consider the guitar an Epiphone anymore—it’s my Custom Yellow Active LP.

Send your guitar story to submissions@premierguitar.com.

Reader: Federico Novelli
Hometown: Genoa, Italy
Guitar: The Italian Hybrid

Reader Federico Novelli constructed this hybrid guitar from three layers of pine, courtesy of some old shelves he had laying around.

Through a momentary flash, an amateur Italian luthier envisioned a hybrid design that borrowed elements from his favorite models.

A few years ago, at the beginning of Covid, an idea for a new guitar flashed through my mind. It was a semi-acoustic model with both magnetic and piezo pickups that were mounted on a soundboard that could resonate. It was a nice idea, but I also had to think about how to make it in my tiny cellar without many power tools and using old solid-wood shelves I had available.

I have been playing guitar for 50 years, and I also dabble in luthiery for fun. I have owned a classical guitar, an acoustic guitar, and a Stratocaster, but a jazz guitar was missing from the list. I wanted something that would have more versatility, so the idea of a hybrid semi-acoustic guitar was born.

I started to sketch something on computer-aided design (CAD) software, thinking of a hollowbody design without a center block or sides that needed to be hot-worked with a bending machine. I thought of a construction made of three layers of solid pine wood, individually worked and then glued together in layers, with a single-cutaway body and a glued-in neck.

For the soundboard and back, I used a piece of ash and hand-cut it with a Japanese saw to the proper thickness, so I had two sheets to fit together. Next, I sanded the soundboard and bottom using two striker profiles as sleds and an aluminum box covered in sandpaper to achieve a uniform 3 mm thickness. A huge amount of work, but it didn't cost anything.

“It was a nice idea, but I also had to think about how to make it in my tiny cellar without many electric tools and out of old solid-wood shelves I had available.”

The soundboard has simplified X-bracing, a soundhole with a rosewood edge profile, and an acoustic-style rosewood bridge. For the neck, I used a piece of old furniture with straight grain, shaped it to a Les Paul profile, and added a single-action truss rod. The only new purchase: a cheap Chinese rosewood fretboard.

Then, there was lots of sanding. I worked up to 400-grit, added filler, primer, and transparent nitro varnish, worked the sandpaper up to 1,500-grit, and finally polished.

Our reader and his “Italian job.”

For electronics, I used a Tonerider alnico 2 humbucker pickup and a piezo undersaddle pickup, combined with a modified Shadow preamp that also includes a magnetic pickup input, so you can mix the two sources on a single output. I also installed a bypass switch for power on/off and a direct passive output.

I have to say that I am proud and moderately satisfied both aesthetically and with the sounds it produces, which range from jazz to acoustic and even gypsy jazz. However, I think I will replace the electronics and piezo with Fishman hardware in the future.

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