Not an SS4L, but rather an S180

I took my guitar into the office to show off to some interested fellow guitar geeks and while there, one colleague (Hi Tatu!) spotted, after doing a Google image search on his phone that my guitar might actually be something other than a Kawai SS4L.

My assumption (and clearly also that of the guy who sold it to me) was that this was basically a Teisco SS4L re-branded as Kawai, after Kawai acquired Teisco.

But if you google Teisco SS4L and Kawai S180 they are actually pretty different guitars. Both have four pickups however, so I guess it is a reasonable mistake to make.

Teisco SS4L

Kawai S180

I googled Kawai S180 and found Jarmo’s Guitars.

(First hit. In Finland. Spooky).

I exchanged emails with Jarmo and he told me that my guitar is definitely an S180. Probably 1964.

So that makes this guitar 51 years old, Wow.

Some smaller updates…

  1. I am told (thanks, Marko!) that Kawai means “cute” in Japanese!
  2. I plugged the guitar into an amp and clonked the pickup pole pieces with a screwdriver. All pickups are alive, but two out of four of the toggle switches are a bit ropey and will need replacing. Tone circuit clearly works too. I could hear the pickup noise being shaped. Who knows about the volume pot. At least it doesn’t feel good.
  3. I just bought some Teisco / Kawai tuners on eBay that I hope will fit this guitar. Let’s see.

That is all.

Kawai evaluation. Spoiler alert: It’s pretty knackered.

So I found an hour the other day to start really examining my cheesy late 60s guitar purchase, the Kawai SS4L I bought last week.

The first impression that this could be a mighty fine guitar still holds, but I am now more intimidated by the amount of work needed to get it into playing shape.

Let’s summarize what I know so far.


2015-10-14 22.24.46

The mounting plate on the back is in horrible shape and there seems no saving it. I have already taken it off, probably permanently.

As noted previously, the tuners are missing. Or in fact it looks like bits such as the posts, keys, gears have been ripped off for use somewhere else. The nice front mounting plate remains though. So I will try to keep it. The sub-assembly on the back is knackered and bent and probably not useful once I buy new tuners for the guitar.

Like the tuner mounting plate on the front of the headstock

The tuner mounting plate on the front of the headstock is nice and distinctive. I hope I can buy tuners to fit through it

Further down the neck the string guides and truss-rod cover look OK. But who knows what the nut is like.

Sting guides, truss rod cover and nut

Sting guides, truss rod cover and nut

The frets are really really small and low profile. Maybe this is why it is used so much for slide? But I will want the option to play it normally. So let’s see down the road if that is possible. If not then a re-fret by a professional will be necessary.

Semi floating bridge

Semi floating bridge

The bridge is there and not attached. Unlike the Fender guitars I am more used to, this is semi-floating and will rely on string pressure to keep it down. I say semi-floating because i also have my Ibanez ES175 copy where he bridge is not attached in any way. The thumb wheels remind me of a Tunomatic.

I don’t understand the vibrato system at all. It looks cool from the outside, but when I take off the cover I don’t get how it moves. It doesn’t feel springy. Maybe with strings on?

Vibrato assembly from above

Vibrato assembly in context

2015-10-14 22.26.10

Vibrato assembly

2015-10-14 22.51.51

Inside the vibrato assembly: What is going on?

The neck plate is has a nice “Japan” stamp on it. I read on a forum that it might actually be a set neck and not bolt-on at all, but Teisco / Kawai just wanted to make it look like a Fenders, so they screwed on a plate. I haven’t taken it off to check.

Neck plate stamped "Japan" Merely cosmetic?

Neck plate stamped “Japan” Merely cosmetic?

Whole lotta switches

The front of the guitar is taken up with three metal scratch-plates. One in the centre of the guitar holds the four pickups. Another chrome plate on the upper bout has holes where two pairs of rocker switches used to be. The third on the lower bout holds the master tone and volume, plus four toggle switches. That is a lot of switches.

Upper bout. Missing the rocker switches.

Upper bout. Missing the rocker switches.

Lower bout. With tone, volume and four toggle switches.

Lower bout. With tone, volume and four toggle switches.

If the toggle switches are original, then this means there were 8 switches in total on the guitar. That’s pretty crazy. But it could mean that, if each pick up had a switch in both signal and ground, any combination of the four pickups in series and parallel would be possible. This is something like the way Brian May’s Red Special is set up.

Looking under the hood of the lower bout chrome plate then it seems like even though the rocker switches have been removed, the wiring seems pretty complete.

2015-10-14 23.11.00

There is also a lot of really thin paper-backed foil inside the electronics cavities. A theory emerges. I wonder if the guitar suffered from a lot of hum picked up by its single-coil pickups? Maybe someone thought that the wires running up from the output jack to the pickups to the rocker switches on the upper bout were part of the problem. There is also some really pathetic paper-backed foil lining the guitar pickup cavity, which might be trying to address the same problem. But if so, they clearly didn’t know what they were doing, as the shielding material seems inadequate and no attempt has been made to ground it. But anyway, I’m guessing the toggle switches were added later and replaced the original rocker switches. The wiring certainly seems amateurish.

There are no loose connections and it could be that if I am lucky, the electronics will work as they are.

In terms of values, it seems to be difficult to read the pots, but If I desolder them I can take a reading with a multimeter. The tone capacitor seems to be 0.05uF.

Pots. 500k?

Pots. 500k?

Tone cap. 0.05 uF ?

Tone cap. 0.05 uF ?


The pickup wiring all seems OK. But there was some crazy stuff going on underneath that middle scratch plate.

Firstly, a previous owner had taped — using basic clear sellotape type tape — a big black magnet to the underside of the bridge pickup. To boost its output? Is there any reason to think this would work?

Underside of pickups with extra magnet piggy-backed on bridge pickup

Underside of pickups with extra magnet piggy-backed on bridge pickup

I also found that most of the pickup height adjustment springs were missing and half that were left were in bad shape. One was even straightened out somehow.

Crazy messsed up pickup height springs.

Crazy messsed up pickup height springs.

So that was pretty much it, except to mention that someone has signed the inside of the volume and tone cavity, and put a date? 2000.

At least I know that someone who owned this guitar before really cared about it. At least enough to do mods to the electronics and try and boost pickup output. And maybe they also signed their name?

2015-10-14 23.13.16

HNGD to me: Kawai SS4L and are the two websites here in Finland for buying second-hand stuff. Huuto is the equivalent of eBay and Tori the equivalent of Craigslist. I trawl both regularly looking at guitar-related stuff, but it is extremely rare to see anything interesting on either of them. They are typically both awash with over-priced Corts and Harley Bentons, budget brands that seem very common in this neck of the woods. Almost all Strat or Les Paul copies, with the occasional pointy-pointy or Telecaster. Quality guitars are expensive and there is very little funky or interesting to be had, unless you go for serious vintage, which means serious money.

So I was really intrigued when I spotted an ad reading HOUND DOG TAYLOR KAWAI SS4L on The starting price in the auction was 100 EURO. When I googled it the first hit I got said Dan Auerbach owned one. More googling revealed this video

And this one:

It was the exact same guitar.

It turns out that Hound Dog Taylor, as mentioned in the ad is also fantastic by the way.

Apparently Hound Dog favoured Teisco or Kawai guitars for two reasons. Firstly because they were important to create his ‘head-cutting’ tone and secondly because they were readily available in pawnshops for around $25, so it didn’t matter much if he pawned or sold his own in order to get some extra money for the kind of hijinks that must have inspired his nickname.

More googling revealed this guitar to be a model originally developed by Teisco in the mid 1960s. When Kawai acquired Teisco in 1967, they continued to produce this model, but changed the brand to Kawai around1969. So this put this guitar around 1969 ish or shortly after. Even older than me!

The ad warned that the guitar on Huuto was missing a few things, such as tuners, pickup switches and pickup wiring. i.e. in need of some pretty serious work.

Still, I was totally in. A crazy four pickup Japanese guitar that might be older than me and has been used by Dan Auerbach and an amazing bluesman I had never previously heard of? For less money than our weekly shop? Wrap that beauty up…

I bid, putting up the price to 105 EURO and waited the 24 hours until sunday evening for the auction to close. I watched it live over the final 20 minutes, sure I was going to get a rival, but that never happened. The guitar was mine.

The next day I paid the seller, Friday afternoon it arrived. Looking like this.

2015-10-09 16.22.43 2015-10-09 16.22.52 2015-10-09 16.23.14 2015-10-09 16.23.30

It’s a bit of a wreck. But completely beautiful.

it should look like this:


So apart from the things mentioned it is also missing a bunch of screws from the scratch plate and is otherwise pretty beat-up and dirty. The seller described its condition as “tyydyttävä“, which translates as “satisfactory”, but really means “not in good condition at all”. So this was no surprise.

The important things are that the neck is in good condition and all four (!) original pickups are there. The original bridge and whammy bar are also there.

Next I need to find time to do a full evaluation of what needs doing to get this little charmer back into playing shape.

Glowbugs. And why I will stop buying Computer Music Magazine.

So, inspired by getting a whole two comments in the last couple of weeks (on a blog that has lain mostly dormant for over two years), I decided to write a post.

About 3 years ago, when we were still living in Arizona, with still a year to go before we moved back here to Helsinki, I bought my daughter a little yellow ukulele. I would pick it up occasionally, finger random chords (too lazy to learn properly) and strum. After a few times of doing this, a piece of music began to emerge and when I played it, my kids would dance. It continued to evolve gradually over the next year or so, developing a relative minor section and a couple of little (I rather arrogantly thought) Beatles-esque baroque runs on the top string.

I continued playing it and my daughters continued dancing to it and enjoying it. I began to try to think of lyrics and a melody but found nothing that would match the music. I then decided that maybe the ukulele part could stand on its own two feet without vocals. Especially without my vocals.

So I made a tune out of it. I recorded the ukulele part into Garageband, then began layering other instruments on top. First some drums, then some electric guitar (heavily processed) and some synths. I then added a bass-line. Here is the result:

I picked the title ‘Glowbugs’, or ‘glowbugs’ as for some reason (over-weaning humility?) I don’t like to use capitals in my track names, because it suggests prettiness, childhood, dancing. Referring to my daughters whom this little tune originally entertained. I used Poolside’s cover of Neil Young’s Harvest Moon (a favourite of my wife’s and my daughters’) as a reference track, especially to set tempo and the drums.

The track (by which I mean my track, not Harvest Moon) to me sounds unfinished. There is little escalation through the 4:21 of the track, it basically just repeats itself, with only the major/relative minor contrast to leaven things. The drum track doesn’t even really have any fills.

But even if I spiced up the arrangement, there would still be lots of mistakes to fix. For example the bass has some timing mistakes and a lot of fret-rattle.

Then I could get onto a proper mix. This would involve me learning about mixing. I have a couple of books on recording and mixing and of course the web is full of advice. I am also a sucker for Computer Music and Total Music. The kinds of magazines that come with a DVD including 6GB of samples and some new effects plug-ins, then tutorials in the mag on mixing and mastering. I am pretty tech savvy (with a degree in electronics engineering that even involved taking some DSP courses), so I always think I could be a pretty good audio engineer if I set my mind to it.

So sometimes I sit down at my computer and think, OK, let’s start improving my mixing. I open up a track and then start going through the process. And then I get bored. Trying to optimise a track that already exists at some level bores the shit out of me. It feels too much like work. It is incredibly time-consuming and detail-oriented. Within 10 minutes of starting I am checking Facebook or surfing the web.

I like playing guitar and creating music. I don’t like cleaning up tracks and mixing.

So that’s why Glowbugs will remain as it is and why I will never again by Computer Music magazine.

I shouldn’t have left you without a strong rhyme to step to

One of my best friends in the world is very fond of the line above from Eric B and Rakim’s I Know You Got Soul. It seems appropriate for this quick revisit of the old url.

For some reason, I haven’t been blogging in over a year. My last post was about moving back from the US to Finland.

A shit ton of stuff has happened since then.

We’ve settled back into life in Finland pretty well. The relocation was very stressful and we miss Arizona very much sometimes, but it has been good overall. We made the right choice.

On the musical front I have been very lazy. I still have the bug itching at me, but I have not been playing. I put one song on Soundcloud last year, but I took it off after a while. Everything on was written and recorded in the US.

I have no calluses on my fingers, which is shameful.

Big news? The kids are getting older, my lovely wife is dangerously close to finishing her masters’ thesis and I have a fantastic new job. I don’t like to mix in too much detail about my personal or working life into this blog, but let’s just say that the job I have now could perhaps be the best job I have ever had. It’s early days, but all the ingedients are there.

Well. TTFN. I still enjoy writing, so maybe I *will* do some more blogging. Let’s see.

In the meantime, “run long and taper” :)


Polar Bears of Helsinki

So,  here we are… 2013 and all that.

The last few weeks have been mainly taken up with upping sticks from Scottsdale, Arizona (in the middle of the desert) to Helsinki, Finland (in the middle of the sub-Arctic winter). It is dark, freezing and frankly has been a tough experience all round. Major culture shock for us and the kids. We’ll adjust, but these first couple of weeks have been a grind.

I have also had to say goodbye to my guitars for a few weeks. They’re on the way from the US in an air shipment that arrives on Monday. But I was reunited with my old 1994 vintage (?) Japanese Strat! It has spent the last two years in a mate’s basement. I cracked the case, picked it up and although the trussrod clearly needs tightening it is in really good shape. It was even in tune!

Sadly, I won’t be doing anything musical for several weeks or even months yet. The immediate priority has been getting us and the kids over jetlag That’s just about done. The second priority is to organize our living arrangements. In Scottsdale we had a 120 square meter, three bedroom, two bath apartment. In Helsinki we have a 58 square meter one bedroom flat. In the long run we need to move out of the city and get more space, but we probably won’t be able to do that for a year or so. So we have a lot of organizing to do.

When the dust has finally settled (around Easter?) I’ll really be looking forward to playing guitar and writing some more songs.