Stang

$495.00

Tags: Complete Amp Cabinet, Copy Available, Garage, Original Available, Self-Standing, Spirit Level

Categories: 25.5" scale, Pro, Simple, Six-String Guitar, Solid Body, Standard Scale

A remarkably lightweight 25.5″ Rubÿtone built around an extruded aluminum carpenter’s level, with a floating rosewood bridge, direct string anchoring and only enough original body retained to make the instrument comfortable, balanced and structurally sound.

Stang is a 25.5" scale Rubÿtone built around an extruded aluminum carpenter’s level that serves as its primary structure. The hollow aluminum beam keeps the instrument exceptionally light while providing a rigid anchor for the strings, eliminating the need for a separate tailpiece.

A floating rosewood bridge transfers the strings to the remaining sections of the original guitar body. The lower bout provides clearance for the picking hand when playing seated and helps stabilize the integrated amplifier, while the upper bout establishes the instrument’s balance when played from a strap.

The body incorporates a Flatsons amplifier. The current electronics also include an acoustic-guitar volume and tone module.

Stang is currently in the Garage pending a revision of its controls and amplification system.

Additional information

Instrument Type	Guitar
Approach	Boneyard Build, Found-Object Build, Reclaimed-Instrument Build, RestoMod, Structural Reinterpretation, Whole Integrated-Amp Build
Construction	Simple, Solid-Body
Body	Solid Body Guitar
Beam	Aluminum Carpenter Level
Neck	Maple
Fingerboard	Rosewood
Headstock	Standard Guitar Headstock
Scale Length	25.5"
Number of Frets	22
Bridge	12-String Acoustic Floating
Tailpiece	Aluminum Carpenter Level
Neck Pickup	Soap Bar
Middle Pickup
Bridge Pickup
Pickup Switch
Controls
Knobs
Amplifier	Flatsons / NUX Mighty Lite variant
Power Supply	9V Rechargeable Battery

Stang

Rubÿtone Guitar Scorecard

8.64 / 10

311 / 360 points

playing

Fun to Play

The first test is whether the guitar makes you want to keep playing it. A high score means the instrument feels inviting, responsive, and rewarding rather than merely interesting to look at. The best examples have enough soul that you forget you are evaluating them and simply keep going.

Playability

Measures how naturally the instrument responds to ordinary playing technique across the neck. Action, fretwork, neck feel, access, and setup should work together without asking the player to compensate for the design. A strong score means the unusual construction never becomes an excuse for compromised playing.

Ergonomics

Considers how comfortably the instrument sits against the body, hangs from a strap, and positions the hands. Weight distribution matters as much as total weight, especially when found objects or onboard amplification shift the center of gravity. The most artful solutions make an unconventional shape feel surprisingly natural.

Tone Quality

Judges the character, clarity, richness, and usefulness of the instrument’s core sound. The goal is not one supposedly perfect tone, but a voice with musical identity and enough detail to reward attentive playing. The highest scores go to guitars whose sound has real soul rather than merely acceptable frequency response.

Tonal Versatility

Measures how many genuinely useful sounds the instrument can produce rather than simply counting switches and settings. Different pickup combinations and controls should create musically distinct choices that a player would actually use. A clever circuit scores higher when its versatility feels purposeful instead of complicated for its own sake.

Amplification

Evaluates how convincingly the guitar performs through its intended amplification system, whether external or built in. Output, clarity, noise, feedback behavior, and usable volume all matter. For self-amplified Rubÿtones, a high score means the amplifier feels integrated into the instrument rather than attached as an afterthought.

build

Fit & Finish

Evaluates the precision and care visible in joints, edges, fretwork, hardware installation, surfaces, wiring, and final setup. Handmade character is welcome; carelessness is not the same thing as character. A strong score shows experienced workmanship while allowing the object to retain the marks and soul of its previous life.

Portability

Measures whether the instrument’s mass and dimensions make sense for the way it is meant to be used. A guitar with an onboard amp may reasonably weigh more, but every added ounce should earn its place. High scores reward designs that are easy to carry, hold, busk with, or live with without sacrificing the idea.

Reliability

Rates the likelihood that the guitar will keep working properly through normal playing, transport, and repeated use. Structural joints, wiring, controls, hardware, and power systems should feel dependable rather than experimental in the risky sense. A high score means the wit of the design is backed by experienced engineering.

Repairability

Considers how sensibly the instrument can be serviced when something eventually wears out or fails. Standard parts, accessible wiring, replaceable components, and understandable construction all help. The strongest designs are inventive without turning a future repair into an archaeological excavation.

Solutions

Scores the quality of the solutions used when unconventional materials create unconventional problems. Beam placement, neck angle, pickup clearance, feedback, balance, and internal packaging are all opportunities to demonstrate experience. High scores go to solutions that are technically sound and artful enough to look inevitable afterward.

Integration

Measures how successfully all the unrelated parts become one coherent working instrument. Neck, beam, body, hardware, electronics, amplifier, and found objects should cooperate mechanically and visually. The best integrations have a kind of soul: the parts stop looking assembled and start looking as though they found each other.

design

Innovation

Measures whether the guitar introduces a genuinely fresh idea, solution, relationship, or way of thinking about an instrument. Novelty alone is not enough; the innovation should improve the object, deepen the concept, or open a useful new possibility.

Shouldn’t Work

Rewards designs that appear improbable but succeed because the underlying engineering is sound. The wit comes from the gap between what your eyes expect and what your hands and ears discover.

Beauty

Judges visual appeal without assuming that beauty must mean polished, conventional, or expensive. Proportion, material, color, age, texture, and restraint can all create beauty in very different ways.

Sculpture

Considers the guitar as a three-dimensional object even when nobody is playing it. Silhouette, negative space, depth, structure, and the relationship between functional parts should reward viewing from more than one angle.

Coherence

Measures whether the many materials, colors, shapes, and components read as one intentional composition. A Rubÿtone can be busy, strange, or witty without looking accidental.

Relic

Rates the visual and emotional value of genuine age, wear, patina, scars, repairs, and evidence of earlier use. Authentic history carries more weight than artificially manufactured distress.

concept

Stage Presence

Measures how strongly the instrument communicates from across a room or under performance conditions. Silhouette, scale, color, movement, and unusual construction can all contribute before a note is heard.

Stands Alone

Judges whether the instrument feels complete and compelling without requiring a long explanation of why it matters. The story may deepen the experience, but the object should already make a persuasive case visually and musically.

Material Story

Considers how much meaning comes from the history and previous purpose of the materials themselves.

Transformation

Measures how completely the original object has been given a convincing second identity without erasing where it came from.

Boneyard Score

Rates how deeply the instrument embodies the practice of building from saved, secondhand, leftover, or previously overlooked materials.

Necessity

Asks whether each major component has a reason to be there. Extra hardware, controls, decorative pieces, and technology should contribute to function, story, balance, or visual composition.

personality

Story

Measures the strength of the narrative carried by the guitar’s materials, development, accidents, people, places, and decisions.

Surprise

Rates the number and quality of discoveries the instrument offers after the first glance.

Conversation

Measures how naturally the guitar makes people curious enough to ask questions.

Cool Factor

Captures the difficult-to-measure quality that makes an instrument desirable before every reason can be itemized.

Identity

Measures how immediately the guitar feels like itself rather than a variation of something more familiar.

Rubÿtone DNA

Rates how clearly the instrument expresses the recurring ideas behind Rubÿtone: reuse, structural invention, functional sculpture, irreverence, and serious playability.

impact

Humor

Measures whether the guitar contains genuine wit rather than a joke pasted onto an otherwise ordinary object.

Punchline

Judges whether the concept resolves into a satisfying final idea—the moment when the viewer suddenly understands why a particular object, material, or decision is there.

Disdain

Measures the willingness to question inherited rules about what an electric guitar is supposed to look like, contain, or be made from.

Rules

Rates how effectively the instrument departs from established guitar-building conventions while remaining musically and structurally convincing.

Copy Potential

Considers whether the central idea could inspire a new custom build without requiring an exact duplicate of the original.

Evolution

Measures how much useful creative territory remains in the idea after this particular guitar is finished.

THE STORY

If You Play the Guitar Until the Bus Comes, Is It Waiting?

Stang is pretty concise. Little here doesn’t serve a purpose.

The beam is an extruded aluminum carpenter’s level. It’s remarkably light, and its frame lets me anchor the strings directly, eliminating the need for a separate tailpiece.

Even the small pieces of the original guitar body that remain have a job.

The lower bout gives my picking hand enough clearance that I don’t hit my leg when I play sitting down. At the same time, it acts as a gusset that helps stabilize the amplifier. The upper bout sets the balance point when Stang hangs from a strap.

Sitting on your lap. Walking to work. Standing on a subway platform. Waiting for the bus.

That’s what those pieces are there for.

The Electronics Haven’t Caught Up With the Guitar

That’s why Stang is in the Garage.

The Flatsons amplifier actually sounds okay. It’s essentially a version of the NUX Mighty Lite, but without Bluetooth and without much of the functionality that makes the Mighty Lite interesting, including the presets. I can live with the sound.

What bothers me more is the cobbled-on acoustic-guitar volume and tone module. It looks like an afterthought because it is one.

I also don’t want Stang to depend entirely on its built-in amplifier. I want proper volume and tone controls so I can plug it into a stage amp and use it like any other electric guitar.

When I get back to it, I'll start with the acoustic control module. Then I want to find the right place for conventional volume and tone controls without compromising the design's simplicity.

After that, there’s the amplifier.

The Flatsons can stay if somebody likes it. It sounds fine. But if Stang stays in the Garage long enough, I’d rather replace it with something that gives me the features I’m missing—or dismantle a better amplifier and integrate its controls into the design the way I’m approaching newer Rubÿtones.

The important parts are already here: the 25.5" scale, the aluminum level, the floating rosewood bridge, the direct string anchoring, and just enough body to make the guitar holdable.

I don’t want to add more guitar to Stang.

I want to make what is already there work better.