Model 22
HAHN
The Model 22 (like any good classic-Fender-style instrument) represents more
than the sum of its parts. The two-piece
body is made out of light swamp ash,
which Hahn uses to keep his instruments
light and resonant, and it’s finished in 15
to 20 ultra-thin coats of nitro finish—a
difficult and labor-intensive process. The
two-piece, quartersawn neck fits precisely
into the body’s neck pocket, which almost
certainly gives the Model 22 vibration-transmitting qualities that are closer to
a set neck instrument. Staying true to
design elements of the ’50s, Hahn put the
truss-rod adjustment screw on the neck
heel. That means tweaking neck relief
requires removing the neck, just like the
good old days.
this, combined with the tight fit, enhances
resonance. Hahn even uses a stainless-steel
neck plate that flexes less than a conventional plated-steel plate to bolster the
strength of the joint even further.
Hahn suggested I remove the neck to check
out the finish and neck fit, which I did.
Doing so revealed a very thin finish and
bare wood where the back of the neck and
the bottom of the pocket meet. Presumably,
The Model 22’s hardware includes a black,
one-layer pickguard, a cast-chrome Gotoh
through-body bridge, and Gotoh vintage-style reverse tuners with long stems. The control cavity contains a pair of 250k CTS pots,
an Orange Drop capacitor on the tone knob,
a sturdy jack, and neatly routed cloth-covered
wiring that used just the right amount of solder. I was surprised, though, that the cavity
was not shielded with copper foil, conductive
paint, or even a brass plate on the bottom, à
la Leo’s classic design. Again, Hahn explained
that this was a design choice: He feels those
shielding measures negatively alter tone. To
me, this makes sense in sonically antiseptic
environments, but after playing so many spaces brimming with extraneous noise—from
dimmers, neon signs, fluorescent lighting,
