In the fixed bridge version the Kairos is fitted with a stainless steel Tune-o-matic, made in Japan by Gotoh, which guarantees maximum sustain and the possibility of varying the angle of incidence between the strings and the saddles for a greater possibility of personalization.

In the version with the Tremolo the Kairos instead uses a Wilkinson bridge, with two pivots, of standard dimensions but with modern constructive attentions and more performing than traditional tremolos.

Some accurate shapings were designed for the forearm and the chest, both very deep, to provide improved ergonomics for the body and, as a direct consequence, a general feeling of comfort and pleasantness, reducing thus fatigue caused by poor positioning and improper contact.

The headstock is parallel to the fretboard but it has a vertical drop which allows the strings to have sufficient angle to give the right pressure on the nut to ensure the proper sustain without using a string tree on the 1st and 2nd string that would increase friction affecting the functionality of the tremolo and especially the tuning tightness.

Its particular shape, next to the joint, where the headstock and the neck meet, alongside the sixth string, allows the head to resist better to greater tension generated in this point, eliminating any potential torsion.

The truss rod is two-way action, with adjustment at headstock

The neck is made of a single piece of flamed maple "quarter sawn" (chosen for its undisputed qualities of stiffness, stability and resonance) combined with an ebony fingerboard; 24.75" Scale length ; Profile "modern C"; Nut width: 43 mm (1.7”) wide; Wide at 12th fret: 53 mm (2.1”) : Thickness at first fret 18,50 mm (0.7”) and 21.50 mm (0.8”) at 12th fret.

The inlays in perloyd all have a 6mm (0.2”) diameter  (perfectly centered between the strings).

The ARROGANTIA project conceived a bolt-on neck to take advantage of the intrinsic qualities guaranteed by this kind of necks, but it also provides a contact area with the body which is larger than the ones normally seen in standard guitars, i.e. (in short) letting the heel of the neck extend and  almost reach the bridge pick-up.

This choice guarantees  a clear and quick "attack" that only a bolt-on neck can give and which is able to generate better sustain.

The surface contact area between the neck and the body is 100% paint-free to ensure a perfect fusion between the natural fibers of the two woods, being the key point for tonal transfer through which vibrations are transmitted (which is the essential condition under which the above mentioned principle properly works and a sort of "identity card"of an instrument truly made with utmost care).

The electronics compartment, the pickup rounding and pickguard are efficiently shielded thanks the use of conductive paints combined with aluminum foil.

The 3/5-way switch for the selection of the pick-ups has been positioned to be able to select it with a quick finger movement but away from the strumming area, maybe playing vigorously, avoiding thus the problem of an unwanted switch touch.

Whereas an additional switch positioned between the two potentiometers allows you to switch your Humbucker to single coils.

The nut is a "zero fret" This guarantees the correct height and alignment of the strings above the fretboard; a graphite guide keeps the strings in place at the right distance and on their natural axis, without any deviance, moving onto the self-locking “staggered” Schaller mechanics (thanks to which it is possible to have a regular nut pressure as well as an optimal angle to get a proper sustain)..

The decision to use a fret rather than a more traditional nut was based on the need to create a minimum contact surface area with the string, so that the string could slide with the minimum friction. Furthermore the sound doesn’t change if the string is played open or on any other fret, because the surface is made of the same material as the other frets.