Koll Custom DL Thinline

This is the second Koll DL Thinline that Saul built for me. It has the same body style, shape, size and construction as the first (see previous review).

Number two has P-90s (Seymour Duncan Vintage at the neck and Custom at the Bridge), a Bigsby tailpiece, separate volume controls and a master tone control with a push-pull phase reverse switch. The Bigsby is a B5 - the same "horseshoe" kind that you see on flat-top guitars - ground to fit the curved top of the DL. The tuners are locking Sperzels.

The top and back are carved quilted maple. The sides are bent quilted maple. The three-piece neck is made of birdseye maple with walnut stringers. The top and back are bound with 5 layers of black and white. The neck, headstock, pickguard and f-holes are bound with 3 layers of black and white. The inlays are the same style as found on a Gibson Super 400, except that on the Koll the markers go all the way to the 21st fret. The neck heel is decorated with a bit of inlay. Unlike number one, number two's back does not have an access panel for the electronics.

I haven't weighed number two, but it is slightly heavier than number one's six pounds.

The finish is a gorgeous blue burst fading to yellow in the center.

The guitar comes with a custom-fitted hardshell case; it's arched top and back for extra protection.

This is my first P-90 guitar. I love the fat, focused sound of the big single coils. Of course the single coils pick up a bit of hum that I don't get from the humbuckers on DL #1, but that's to be expected. The phase reverse switch opens up a second palette of sounds, thinner than the first and perfect for certain types of comping.

The Bigsby works perfectly, with no tendency to pull the guitar out of tune.

I play improvised solo guitar in a style that I call psychedelic folk rock. I play through various clean amps or a DI into the venue's board. I normally use a warm hall reverb program. Depending on my mood I might add a bit of tape echo, chorus or Leslie.

This guitar was built entirely to my specs, starting with the uncut blocks of wood. Saul is a master craftsman and artist; he did a fantastic job building this instrument. There's nothing about this guitar that I don't like.

I have no worries about this guitar. When I play a gig I take one of my Koll DLs and a spare set of strings.

Saul lives and works close by. I visited his shop several times during construction to finalize certain details. Visits with Saul are always a pleasure. He is always helpful and considerate. Despite what must be a considerable workload, he never seems rushed or distracted.

DL #2 suffered from a broken push-pull switch. Saul replaced it while I waited.

I started playing a long time ago. I've been playing "seriously" since 1999.

The Koll DLs have spoiled me for all other guitars. Except for an inexpensive guitar purchased specifically for camping at Burning Man (and since sold) I have not bought any other guitars since I ordered DL #1 in 2002.

If I ever had to replace this guitar, I'd order another Koll DL and wait patiently for Saul to work his magic. The wait can be rather long, but the end result is spectacular.

As I mentioned in the prior review, my rating of 10s across the board is not symptomatic of grade inflation or new-toy syndrome. (I took delivery of DL #2 fifteen months ago.) This instrument was built to my exact specs - absolutely no compromises in quality, features or aesthetics. If that doesn't deserve a 10, then nothing does.

I won't disclose the price paid. I will say, however, that this instrument represents an outstanding value relative to what a larger builder (and most small builders) would charge for a comparable instrument.

This is a completely custom guitar I had Saul Koll build for me. I took delivery in early 2004, about 18 months after having placed the order.

The Custom DL Thinline is based on a guitar that I had been playing for four years; I knew enough about that guitar to be able to articulate how I'd like it improved. I spec'd some minor changes to the body shape. Saul suggested several cosmetic upgrades that really improved the appearance.

The short-scale mahogany neck has 22 frets, a compound radius ebony board and medium jumbo frets. Fret markers are split parallelogram MOP inlays. The straight-pull headstock is faced with ebony veneer and an inlaid MOP Koll logo. Tuners are non-locking Sperzels. The nut is bone and the truss rod cover is ebony.

The body has a carved figured maple top and back and bent maple sides. The internal construction leaves much of the top and all of the back free to vibrate, while the use of rails rather than a center block reduces the weight; the guitar weighs exactly six pounds.

Finish is a beatiful burst shaded gradually from a deep red at the edges to an amber in the center, and covered with a nitro lacquer.

The electronics is passive, wired as a modern Gibson-style two-humbucker guitar with two volume and two tone controls. The selector switch is near the bridge. The pickups are Seymour Duncans: Jazz at the neck and Pearly Gates at the bridge. The jack is mounted in a recessed brass cup close to the end pin; this keeps the plug out of the way when I play sitting down.

The body is a small double-cutaway, similar to any of the Gibson ES-3x6 guitars. The upper horn is extended very slightly (not at all exaggerated like, say, a PRS) and holds the other strap pin to improve balance. The upper waist is also offset to preserve visual symmetry.

The neck heel is small and unobtrusive.

Knowing how difficult it is to alter the electronics on a semi-hollow guitar, I had Saul build a small control cover on the back of the guitar. This is fitted to the body using screws and a cork gasket to prevent resonant buzzing.

Neck, headstock, body, traditional f-holes and ebony pick guard are all bound flawlessly in cream-black-cream. Pickups mount in matching cream rings.

The TOM bridge and fine-tuning tailpiece are both Schaller. All hardware is gold plated.

The guitar comes with a custom hardshell case, arched top and back for added protection.

I play a variety of music that borrows from rock, folk, classical and jazz. I play mostly fingerstyle.

Since much of my rock background dates back to sixties psychedelic music, I asked Saul to make me a guitar that will give me controlled feedback at reasonable (i.e. modern small venues) stage volumes. Saul's design for the framework of the guitar was instrumental in acheiving this goal.

The pickups complement each other nicely. It's quite easy to switch between neck and bridge PUs without having either position be woofy or harsh. With both pickups selected, the volume and tone controls can be adjusted provide a broad spectrum of sounds.

This guitar sustains beatifully with or without an amp. Feedback can be initiated and controlled at volumes that make small-venue sound guys and audiences happy. Response is consistent everywhere on the neck. Notes ring out clearly with a feather touch or an iron fist and everywhere in between.

The action is amazing. I actually had to have Saul add a tiny bit of relief and raise the action twice when I picked up the guitar at his shop.

I have adjusted pickup and pole piece height to my preferences and intonation to complement my touch, but have not needed to ajust the neck or bridge in over two years since taking delivery of this guitar.

No flaws. This guitar is both a work of art and an example of master-level craftsmanship.

Of course this guitar will withstand live playing. It's impeccably crafted from top-notch materials. The strap buttons and jack are mounted into solid blocks of wood glued into the frame of the guitar.

I would (and have) used this guitar without backup. In the past two years this guitar has seen 99% of my playing time.

Saul lives very close by; this (together with Saul's experience in having built a wide range of guitars and other stringed instruments) was a significant factor in selecting him to build my custom guitar. I've had numerous conversations with Saul over the past several years regarding this guitar and a subsequent project. He is always helpful, considerate and insightful; never rushed despite what must be a considerable workload.

I've been playing for nearly fourty years - seriously for the past seven. I play through two Fender Vibro-Kings and occasionally a few pedals: Aphex Punch Factory, Voodoo Lab Sparkle Drive and Toadworks Redux are in "heavy rotation", with a newcomer or two on probation. I also have a Leslie 147. I use a Belgian-made Kritz guitar for the rare occasions when I want a single-coil sound.

I thought long and hard about this guitar before approaching any builders. It took me two years of planning (and procrastinating, according to my lovely and supportive wife) before I was ready to commit to having my guitar built. Saul was incredibly helpful in suggesting the last few tweaks that made this the perfect guitar for me.

Would I replace this with a different guitar? Hell, no! I'd order a replacement and wait patiently.

I know that a rating of all tens can be viewed on these pages as symptomatic of "grade inflation", "new toy syndrome" or just plain being unaware of the competition. But I put several years into finding and living with the "gene donor" guitar plus a couple of years planning the project and researching my options for a builder. This has become my main instrument, played almost exclusively since I took delivery over two years ago.

I don't give tens lightly. Even the Vibro-King amps, which are likely to be the *last* amp I ever buy because they work so well for me, only get nines. This guitar was made to my carefully-considered specs. Saul's design and workmanship exceeded all of my expectations. The tens are well-deserved.