Fender Bass Repair : 1969 Fender Precision Bass Truss-Rod Repair





On the workbench is a 1969 Fender Precision Bass with a problematic playing action. The action is high and the bass is very uncomfortable to play.

It was bought through a popular online auction and was brought into the workshop for an assessment after the new owner had tried various adjustments but failed to make the bass more playable.

It had spent most of its life in its case inside a closet. This is confirmed by its amazing condition. The finish is bright and clean with very little markings or lacquer cracks. The hardware is all original and unusually the bridge and pickup covers are still present. I suspect that it was put away and forgotten about because it is such an effort to play. This would account for its immaculate condition.

Click image to enlarge



Fender Truss-Rod

On all early Fender guitars the truss-rod adjuster is at the body end of the neck. Upon inspection it is apparent that the truss-rod is not working as well as it should. Any adjustment has little effect on the neck.

Upon testing the truss-rod, it appears that the adjusting screw reaches its limit before any changes to the neck are effective.

The prognosis is that the truss-rod is either broken internally or that the adjusting nut is ineffectual in some way.

The remedy is to replace the truss-rod.

This is a problematic job as this would require the rod to be removed without removing the fingerboard. It is not possible to remove a Fender style fingerboard without changing the nature of the neck beyond all recognition. This would detract for its originality and drastically devalue the guitar.

A Fender truss-rod is made from a piece of round section steel with a “T” soldered onto one end (the truss-rod fixed point )and a thread tapped onto the other end to except the adjusting nut. Once fitted into place, and when the nut is tightened, the adjusting nut pushes against a fixed internal washer which is part of the inner channelling that the truss-rod sits into.

It is decided to create an opening in the fingerboard directly above the truss-rod fixed point and expose the “T”.  Once exposed, the “T” can be severed and the rod extracted via the body end on the neck.

A magnet stack is used to locate the end of the truss-rod

A section of fingerboard is scribed through and removed thus revealing the “T” fixed point

The “T” is drilled through and severed

The rod is extracted through the body end of the neck

Testing the truss-rod once it has been removed, it is apparent that the adjuster is ineffectual. As the adjuster is tightened it has the effect of ejecting the screwdriver (very frustrating).

Click image to enlarge


A new rod is made up using a piece of silver steel and a different style of adjuster. This is inserted into the headstock end of the neck and fixed. Silver steel is a tougher material and more likely to allow for extra torque that may be needed on final adjustment.

The fingerboard piece is replaced

The area smoothed over and cleaned up

Frets 1 & 2 are replaced and a new bone nut made and fitted.


The Conclusion

I am pleased to report that the truss-rod works well and has made a vast improvement to the basses playability. The initial cost of a repair such as this is easily justified due to the overall value now put on this fully functional  ’69 Fender Precision bass – all original and in excellent condition – in short a splendid bass.

The bass is now permanently out of the closet and enjoying its new lease of life by its new owner.

More on P. Basses here




Vintage Acoustic Guitar Restoration:1977 Gibson Hummingbird





Here’s another golden oldie on the workbench, a Gibson Hummingbird made in 1977.

Introduced in 1960, the Hummingbird was Gibson’s second-most expensive acoustic guitar.

This guitar is interesting from a luthiery point of view as it has a Double X Brace system which was introduced on this model in 1971. In this system, two overlapping X shapes form a diamond which surrounds the bridge plate. Some manufacturers prefer this system where additional strength is required.

Here’s a mirror image of the Double X Brace system inside this Hummingbird

For reference purposes here’s a photo of a double X brace system that I built a few years ago.


This vintage beauty is in the workshop for a set up. It becomes clear during a workbench examination that this ol’ Hummer has some problems that will need to be addressed before it will set up to its optimum playability.

It has a very high action with a very low saddle height,  no room for adjustment there.

Its bridge is beginning to lift

On investigating the guitar’s action it becomes clear that the string height cannot be lowered at the bridge saddle and the only repair solution will be a neck reset. The bridge will need to be removed and re-fitted.


The Neck Removal and Reset

The 15th fret is removed

The fingerboard extension is heated and loosened

A hole is drilled through the vacant fret slot into the dove-tail cavity

The lacquer is scored around the heel

The neck is fitted into a Neck Removal Jig. Steam is pumped into the join to soften the glue

The neck becomes loose and is separated from the body

This date stamp authenticates the guitar’s age

The neck angle is adjusted using the neck reset formula and re-fitted


The Bridge Re-fit

The bridge is heated and removed

Herein lies a problem; this bridge (for some unknown reason) has been inlayed into the soundboard. This could be a reason as to why the bridge has begun to lift and will need to be remedied before the bridge can be refitted.

Take a closer look at the internal image; the bridge-pin holes (through the soundboard and into the bridge-plate) have become distorted. This could cause a problem when trying to re-stringing the guitar as the bridge-pins will not seat correctly.

The solution is to inlay a soundboard patch to restore the soundboard height and to repair the distorted pin holes


The Soundboard Repair

The area under the bridge is levelled and cleaned up

The pin holes are drilled out and fitted with new Spruce

The scratchplate is removed for ease of working

A soundboard patch is made up from Sitka Spruce,  glued into place and trimmed to thickness

The underneath of the bridge and soundboard patch are gently heated to extend the open time of the Hide Glue

The Hide glue is applied and the join is clamped and left overnight

The hole in the fret slot is plugged and re-sawn

The scratchplate is replaced

The 15th fret is replaced

A new bone nut is made and the guitar is re-strung and tested for correct intonation

Back to full health again

More enlarged photos here…

More info here…

More history here…




Acoustic Guitar Repairs: Guild JF55 12 String





 

This Guild 12 string has started to rattle badly across its bridge saddle.

On close inspection it appears that the bridge is raised. This fault is caused by the soundboard bulging or bellying in an area just behind the bridge. This is the rotational cause and effect of the bridge twisting under string tension and rising up at the back-end causing the string to lose its break point at the saddle. A classic example is the soundboard bellying behind the bridge and the soundboard sinking in front of the bridge. These problems can manifest themselves as poor intonation or string rattle across the bridge saddle. If left unchecked it could result in the bridge lifting and becoming unattached.

The cause of this problem can be due to several factors:

  • Soundboard too thin
  • Loose or weak internal bracing
  • Faulty bridge-plate*
  • Excessive string tension due to incorrect neck angle

On this fine old Guild the neck angle is as it should be. The soundboard seems to be fine with no loose struts. In reality, because this is a 12 string the soundboard thickness and struts are massively engineered. However, the bridge-plate could be at fault as it seems a little undersized to be of any great benefit. With some bridge-plates, over time and with excessive string tension and humidity changes, the glue can start to creep resulting in the plate splitting and going out of shape. In this case the bridge-plate is made of Curly Maple (odd choice) with the grain running along its length.

As all the other possible causes seem in order, the way forward is to remove and replace the bridge-plate with a slightly thicker and heavier plate made of a stiffer hard-wood.

* The bridge-plate is a wooden reinforcing patch that is glued to the soundboard directly under the bridge. It has the task of stiffening that part of the soundboard directly under the bridge and helps to counteract the twisting force from the bridge. Also it reinforces the soundboard area where the bridge-pins and string ball-ends lock into place.



The bridge is removed. The bridge-plate is dampened with a wet cloth to soften the glue. A little heat is used; the heat from a light bulb is enough to warm the plate through to soften the glue

 



The soundboard is clamped in a concave posture to help reinstate a flatter shape and left in a quite part of the workshop for several weeks

 



This short video clip takes you through the repair process

Soundtrack: Perfect World by Jeremy Sherman

 

Follow this link for enlarged photos on flickr…






1968 Gibson Dove: Logo Repair








This amazing old Gibson Dove dates back to 1968. It’s a clean guitar with few bumps and knocks; it’s amazing to see a guitar of this age without any splits or cracks.

 

However, there is one nagging issue and that’s with its logo, half of it is missing!

It was made in the days when Gibson, in their wisdom, inlayed a M.O.P. plate into the headstock, attached the logo stencils and spray-painted the negative space.  After many decades the paint has begun to flake off.  I wonder how many more of these from that era are out there with similar peeling logos.

The remedy is quite straightforward. A logo stencil will need to be created. Care must be taken in masking off the area around the stencil because of the fragile finish.



A positive logo is made up and attached. The remainder on the head is masked-off

 

Numerous coats of nitrocellulose lacquer must be applied to build a suitable thickness

This is the result after many layers



The new logo is carefully cleaned-up and cut-back
The logo and headstock is treated to several coats of shellac to seal,  protect and help with the aging effect.

 

 








Guitar setup: Acoustic Guitar Repair: Fret Dressing a Martin D 28

This Martin HD 28 is in the workshop for a full set up and fret dress. It dates back to 1987 and this is its first serious set up.

The frets are showing signs of wear and tear. Also the fingerboard has started to show signs of wear and has a few grooves worn into it around the lower end on the treble side.
The fingerboard wear is tackled first. It is skimmed between the frets and the worst of the grooves filled and smoothed.

Next comes the fret dress.

The truss rod is released to ensure that the fingerboard is flat and level. The neck is supported along its length. The body work is protected and masked off.

The fret tops are skimmed with a fine honing stone to remove all fret wear and grooves. Also to ensure all frets are a uniform height.

The fingerboard is masked off. Each fret is re-profiled.

Each fret is polished up to 2500 grade Silicon Carbide paper and then finely polished with burnishing cream.

The guitar is strung up and the truss-rod reset for Martin medium gauge strings.

And it plays like a dream.

Meet Colin the happy owner.

Guitar Repair London: 1968 Gibson 330 Semi Acoustic: The Dilemma

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.

Vote functionality 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.


Guitar Repairs In London

Guitar repairs in London:

For your Guitar repairs in London please contact Graham Parker Luthier.

Guitars are shipped  to the workshop from all over the world (even Ascension Island). Please get in touch for set ups, re-frets, headstock repairs, splits/cracks, electrical repairs and rebuilds.

So for your guitar repairs in London, UK or Worldwide please click here

Les Paul and the Luthier

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)

Acoustic Guitar Repair: Taylor Acoustic Guitar

This Taylor Acoustic Guitar suffered a broken headstock. It happened while it was still in its case! I think the problem was in the way the headstock and neck join were manufactured.

If you look closely at the first photograph you will see that the neck and head are joined using a combing joint. In addition to the split across the head the combing joint looked very suspicious. This meant that the neck and head join would need reinforcing.

Guitar Repair: Fender Strat Refret








This Fender Strat was in need of a re-fret and its lacquer was beginning to peel.

More on  re-frets here…








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