Kustom K200A

I have a 1967-8 Kustom K-200A, built in Chanute, Kansas (supposedly by the same factory that built Wurlitzer guitars for a while). It's very similar to the K-200B, for which there are already reviews posted, except that it has fancier 4-dot fret markers and a Bigsby vibrato. Kustom also built the K-200C, which had the fancier neck but no Bigsby and cheaper pickups (though still DeArmonds). The A was the most expensive model, retailing for $300, while the B retailed for $250 and the C for $200.

The guitar is a wild mix of Rickenbacker, Gretsch and Mosrite influences. The body is built from two halves of routed-out maple that are glued together. It is mostly hollow, but there are solid blocks under the Bigsby and the pickups/bridge which provide structural support and reduce feedback.

The 20-fret, bound neck has a rosewood fingerboard and an adjustable truss rod. There is a steel nut and a zero fret, which is highly unusual on an American guitar from the '60s. The tuners are Kluson Deluxes, and the pickups are Rowe-DeArmond 200s (the same as Gretsch Dynasonics, but with a different bobbin and cover).

The tone and volume controls for each pickup are mounted in the pickguard, along with the pickup selector switch and the output jack. Normally I would consider this is a cheap design since pickguards tend to crack over the years, but the six-ply pickguard (!) is as solid as a rock.

The guitar has a 25" scale length. The bridge has six intonable saddles, and can be raised or lowered as a whole.

I also have the original rectangular hard case with the Kustom logo tacked onto the side. It is a high quality case covered in black tolex with a yellow interior, including a sizable accessory compartment. The latches are a little flimsy, but they still work fine. I've also seen pictures of form-fitting Kustom cases, which I assume went with the cheaper variants of the K-200.

I subscribe to the "less is more" philosophy regarding guitars. There are a few features that I really don't need, such as the zero fret and metal nut, but they don't get in the way. At a time when guitar companies were going nuts with onboard effects, it's nice to see that someone built an original guitar based on classic designs, with just a few helpful updates.

The DeArmond 200s make the guitar sound a lot like a '50s Gretsch - twangy and punchy. They don't have a very hot output, but they are pretty quiet for single coils. They don't have nearly the warmth of P-90s, but they can chime with the best of 'em.

A guitar's sustain is largely (but not entirely) dependant on two factors: the way the neck is attached to the body and the mass of the neck and headstock. The neck is attached with four bolts (like a Strat), which limits its sustain somewhat. The biggest sustain killer, though, is the neck, which is incredibly thin. Mosrite players will feel right at home. While this is great for playability, it enhances the guitar's twangy and chimey sound.

The end result is that the K-200 sounds somewhere between a '50s Gretsch hollowbody and a '60s Rickenbacker. If you ever wanted to capture the early Beatles sound in one guitar, this would be it. The lack of sustain may be a deal-breaker for those wanting to play Cream all day, but for fans of the Byrds it's a great guitar.

I don't play at high volumes, so I'm not sure how well the guitar handles feedback. The pickups on mine are not as microphonic as many people claim.

Mine is a sunburst that fades from orange to red to nearly black on the edges. Aside from the natural nicks and scratches found on a 40-year-old guitar, the finish has held up very well. There is some minor flaking by the tuners, but otherwise it's in great shape.

The two-piece maple neck on my guitar is a little odd in that one side has some moderate flame to it while the other has none. I'm pretty sure the builders just used whatever maple they had laying around.

The playability, though, is where this guitar really shines. The ultra-thin neck means that both lead lines and chording are a breeze. Even folks who don't like the sound have commented on how easy it is to play.

Some folks have complained that the thin neck is not durable because it can bend. I've found that the neck joint is quite solid and does not move at all. Additionally, there is a truss rod in the neck, so if it bends, there's something wrong with your guitar. However, I have read that the necks are prone to breaking at the headstock when dropped. Solution? Don't drop your guitars.

The hardware on mine is all original, and it's held up great. There is some corrosion on the Bigsby spring, but that's not a big deal and is easy to replace if I ever feel like it.

The finish is a little thin, but it doesn't seem to wear any more quickly than any other old guitar. However, the placement of the strap button on the bass horn causes the strap to rub away at the finish in one particular spot. This is probably the biggest design flaw in the guitar.

I don't play much outside my living room, but I would have no problem bringing this to a gig.

Kustom is still around, but they haven't built guitars since 1969. I suspect the warranty might be expired...

This is a wonderful guitar for anyone who likes twang or chime. Hard rock is pretty much out, though it can actually do a pretty good Who-like sound when overdriven. Still, if you're trying to play heavy metal on a hollowbody with DeArmonds, you might as well drive an auto race in a Ford Escort.

It certainly gives you an edge on the uniqueness front.