This lovely old Gibson ES330 Semi Acoustic guitar dates back to 1968.
It has been well looked after and cherished by its owner (one of my regulars).
Simple Problem
What had started out as a simple problem soon turned into a long and complicated repair. The jack socket had come loose and when the owner tightened it up all the electrics stopped working. This is a common fault with many types of jack sockets because the connecting cables often break if the jack socket is allowed to rotate. This was the cause of this jack socket failure.
To repair this faulty jack meant stripping the guitar down, taking out all the electrics through the pickup cavity and making the necessary repair.
A Convoluted Scenario
Due to the guitar’s age the wiring had become rigid and brittle. Any slight movement to the components or the wiring resulted in a minute fracture in the wiring circuit resulting in an intermittent fault.
The Dilemma
The value of a vintage guitar is determined by several factors
The make
The condition
The functionality
The authenticity
To remove and replace all of this 330’s electrical wiring and components would detract from its authenticity and therefore decrease its value. However, it could be argued that parts have to be changed and upgraded for the guitar to function properly. Should all the working parts on a valuable vintage guitar such as this one (including the wiring) be continually maintained and repaired?
Take part in the poll.
Votefunctionality if you think that it is more important to change and replace parts as necessary for the sake of functionality.
Vote authenticity if you think that a vintage instrument should retain all of their original parts and remain completely authentic.
Vote now!
Outcome
In this instance the guitar was repaired using its existing wiring and components. It was painstaking work as any slight movement, tugging, pulling or distortion in the wiring would lead to another failure in the circuit.
I am happy to report that the guitar is now fully functional, playing beautifully and remains completely authentic, but for how long is yet to be determined.
Comments Please
Should an old vintage beauty such as this one be kept completely original, even if it becomes very labour intensive and costly to do so?
Or should all faulty parts (such as perishable cables etc) be replaced to keep the guitar in tiptop functional condition?
At what point should the old be replaced by the new?
I would be very interested to read your views on this so please feel free to make a comment.
This 1953 Gibson LG1 acoustic guitar was brought into the workshop several weeks ago.
It was purchased by one of my regular customers from a well known auction site and listed as a “project guitar”. They were not kidding!
The Damage
The back was badly split and cracked
The struts that reinforced the back were missing or cracked
The machine heads were stiff and difficult to use
The bridge was missing.
Not only was the bridge missing, but a bridge shape had been painted on in a disconcerting fashion. The bridge pins were still in place and clearly someone somewhere had been trying to use this guitar in its sorry state.
Being over 50 years old this guitar had suffered serious abuse and damage not only structurally but also to its finish. It was decided that cosmetically the guitar would not be altered due to financial restraints.
The Repair
All splits and cracks to the back repaired
A new back brace made and fitted (without removing the back)
Over three decades I have specialised in repairing Martin, Gibson, Fender, Guild, Takamine, Yamaha, Ovation and Adamas guitars.
Repairs vary from basic set up work to full blown renovation and rebuilds.
The most extreme repair I have undertaken was taken into the workshop about 8 years ago; a woman had bought a Yamaha acoustic guitar for her husband from her local music shop and 2 years or so later he was sadly killed in a car crash. The guitar was also in the car at the time of the accident and was badly damaged in the resulting fire. The widow wanted the guitar restored as a memorial to her late husband but alas the only thing salvageable was the guitar’s bridge. I was commissioned to build an exact replica of his guitar using the old bridge.
Contact me if your guitar is in need of TLC and talk through the possibilities.
Graham Parker Luthier discusses the pros and cons of the Gibson Les Paul with the man himself Les Paul at The Iridium Jazz Club, Broadway, NYC. (He makes a few notes)
