Guitar Repairs London: 1968 Gibson 335 Headstock Repair



 

On the workbench a 1968 Gibson 335.

   

A phone call from a distraught Stage Tech. This guitar was slowly losing its headstock!

The guitar belongs to Richard Oakes, the guitarist with Suede.

https://en.wikipedia.org/wiki/Suede_(band)

This is his beloved guitar which has had the headstock broken and repaired once before. The Stage Tech had resorted to binding the headstock with Gaffer Tape in the hope that it would last a little longer until the end of the band’s tour.


 

Once on the bench it is clear that the repair is substandard and slowly coming undone.

   

All it takes is a little tug and the whole repair comes apart.

  

This particular break is a bad one, it’s a shear break. The headstock has broken from the neck at 90° to the grain of the wood.

  

This makes for a challenging repair confounded by the fact that it has been repaired once before. All remnants of the old glue must be removed before a new join can be made. Fortunately there is no damage to the end of the truss-rod.

A shear break makes for a difficult repair because it is impossible to rejoin and glue the end grain of a section of wood to another end grain. Reinforcement strips will need to be inserted.

It is important that the any repair work should be discreet and invisible.


 

The Process

Fortunately the head veneer is still in one piece and undamaged. The break has occurred just underneath the top nut. So it is decided that the head veneer should be removed and replaced once the repair and inserts have be added.

The head veneer is clamped under a piece of perspex to keep it flat until needed later on.

  


 

The Repair

The idea is to join/re-glue the neck to the headstock (as best as). And once this is done reinforcing inserts can be added.

A jig is made up to hold the guitar and headstock in place whilst the glue sets.

  

Once rejoined, the neck and head are routed to except the inserts. Brazilian Mahogany and ebony inserts are made up and glued in oversized to be trimmed down to shape once dry.

  

  

  

  

The head veneer is then re-fitted, conveniently hiding the Ebony inserts

And the back of the neck/headstock is refinished to disguise the work.

  

A few other jobs around the guitar are carried out i.e. fret work and a new bone nut.

All in all a successful repair.

I believe the guitar will now only be used for studio work. It is regarded too highly for the rigours of touring.

 



Advertisements

Guitar Repairs London: 1961 Guild M20 Acoustic



 

This lovely old Guild on the workbench is in need on a bit of TLC.

Seasick Steve M20 Full

It’s an M20 made in 1961. This model has been called the Nick Drake model because of the association with him during the 70s.

This particular guitar belongs to Seasick Steve. You may have seen him on the Jules Holland show or heard him on the Chris Evans Breakfast Show on Radio 2.

The guitar has got a few problems. The soundboard has a distortion at the edge of the sound-hole. Frets 1-5 are worn and there are some intonation issues.

Seasick Steve is in London for a limited time so the guitar has to be repaired and turned around very quickly.

 



 

Close inspection reveals a loose X brace on the bass side. This is causing the distortion in the soundboard at the sound-hole. The loose brace is glued, clamped up left to dry overnight.

The intonation issues  is caused by a badly fitting nut. Also it is not intonated correctly over the bridge saddle. These and discarded and a new bone nut and saddle are made and fitted.

A light redress of the frets is enough to take out the wear in the frets.

Soon the guitar is playing smoothly and sounding great.

Seasick Steve thinks so as well.

Seasick Steve

Seasick Steve tries out his repaired M20 in his hotel room.



Electric Guitar Repair: 1968 Gibson Melody Maker



 

Luke Crowther from The Rifles dropped by the workshop a few days back. He was collecting his Gibson Melody Maker.

Melody Maker

On the Bench


This lovely old guitar was made in 1968 and has been cherished by Luke for many years until it was worked on by an over enthusiastic guitar tech and was never the same again. After that it didn’t play very well and the intonation was hopelessly wrong.

A possible reason was identified immediately

Wrap Around Tailpiece

The wraparound tail-piece was never a great idea in the first instance and this one was also tipping forward quite acutely. This type of bridge/tailpiece relies on a raised pattern to fix its intonation. Quite a crude idea which only allows for fine adjustment via two small grub screws hidden in the back end of the wraparound. This allows adjustment forwards or backwards ( or  ) and typically never gives enough movement to permit accurate intonation. 

 

Tailpiece Pull up

This has been modified at some point as it still shows the remnants  of the old tremolo system. And removing the scratchplate reveals some crude routing out for the humbuckers. Certainly not factory spec!

Open Cavity

It’s hard to say definitively but it appears that this guitar had a fixed bridge and fixed tremolo as well as single coil pickups. And at some point a previous owner has carried out all these mods.



 

Time to put it right

First thing is to remove the wraparound assembly and trem remnants.

Tailpiece removed

A modern wraparound is bought in to be fitted. This system has separate saddles similar to the Tune O Matic bridges. This will allow the intonation to be set accurately.

New Tailpiece/Adjustable Bridge Assembly

The threaded inserts that are buried into the guitar body are slightly smaller than the originals. Therefore the holes are plugged and re-drilled. To achieve this two Mahogany plugs a turn down on the lathe, inserted and drilled out.

Posthole MeasurementHole Plugs in Lathe12.85mm in Mahogany

With the scratchplate removed a few of the scratchplate screw holes are repaired.

Breakout in cavity

Scratchplate Off Plugs Drilled

With the new wraparound bridge installed and the scratchplate secured correctly the guitar is ready to be set-up.

There is some fret wear which is honed out and the frets re-profiled. The fingerboard is cleaned and oiled and the guitar is re-strung with 10-46 gauge strings.

 


 

Luke checks out the guitars new set-up

Yes he likes it, one very happy Rifleman.

 

Luke Playing a Few Licks

Luke Standing

 

Check out the band on Facebook  https://www.facebook.com/therifles

http://en.wikipedia.org/wiki/The_Rifles_%28band%29

 



 

Vintage Guitar Repairs London: 1930s Gibson L0 coustic Guitar Restoration





 

This lovely old Gibson L0 was made in the 1930s.

Exif_JPEG_PICTUREExif_JPEG_PICTURE

It was taken in by this workshop some years ago for an extensive rebuild. It’s had a hard life and had undergone some very strange repairs over the years.

The majority of the internal struts within the soundboard were loose and in a previous and mistaken repair attempt to stabilise the struts, Epoxy Resin had been smeared on the entire underside of the soundboard. Also wooden clothes pegs were glued here and there as a misguided attempt to strengthen various parts of the soundboard.

The bridge was missing. There were several splits and cracks on the soundboard as well as a distorted area around the footprint of the bridge. All in all the whole instrument was in a sorry state and on the verge of being discarded.

Fortune & Misfortune

Fortunately its neck, fingerboard and frets were in good order and the guitar was owned by someone who could see the potential in this old guitar.

After months of intensive restoration the guitar was finally restored and shipped off to its owner in the Midlands.

Much to his distress on arriving it was revealed that the guitar had been mishandled by the carrier during transit. Unfortunately the guitar had suffered catastrophic damage to its ribs.

Side Split 7 Side Split 6

Fortunately insurance had been taken out prior to the guitar being shipped and after much haggling with the carrier the guitar was returned to the workshop and work commenced on its second restoration.

The split was extensive and extended from the waist on one side to the waist on the other.



The Repair

The split had occurred when the guitar (in its case and packaging) was drop upright on its end. This caused a split that ran along the grain of the rib.

The broken halves of the split will need realigning and gluing back together. Also the area along the length of the split will need to be reinforced.


The splits are carefully aligned and glued

Exif_JPEG_PICTURE Exif_JPEG_PICTURE Exif_JPEG_PICTURE Exif_JPEG_PICTURE

Made from old machine head parts and guitar strings, clamps are made up to hold the internal reinforcing strips in place while the glue dries

Threaded MH Threaded ply

Small holes are drilled through the guitar rib for the string to pass through. Once tightened and the reinforcing strips are held in place.

Exif_JPEG_PICTURE Exif_JPEG_PICTURE Exif_JPEG_PICTURE

With the glue dried the sides were lightly sanded, re-finished with a Shellac based lacquer and matted down.


I’m happy to report that the repair went very well and the guitar is now back in action again. No more National carriers though, this one is hand delivery only.

Exif_JPEG_PICTURE Exif_JPEG_PICTURE Exif_JPEG_PICTURE





Acoustic guitar repair London: Gibson 1966 LG-0 (Hot Rod)





Here is an interesting project recently taken in by the workshop: a Gibson LG-O made in 1966

Image  Image

This is an all Mahogany guitar: Mahogany soundboard, back, ribs and neck. This guitar was a budget instrument at the time of manufacture and sold at an affordable price as an entry-level model. The guitar has a slim neck which measures 1 9/16’’ at the nut and joins the body at the 14th fret.

Exif_JPEG_PICTURE

The Bridge

In 1962 with many thousands of the LG-O sold Gibson decided to exchange the standard rectangular Rosewood bridge for a plastic “belly above” type. This plastic moulded version was held in place by 4 screws that attached from under the soundboard up into the base of the bridge. This was done for ease of removal when dealing with replacements. This was upgraded in 1968 with a Rosewood replacement which included an adjustable saddle.

Image  Image

 The Soundboard

The soundboard is ladder-braced with 5 lateral braces across its width. This type of bracing gives a distinctive tone that is indicative of the old acoustic Blues sounds of the 1930s. However, this system lacks structural strength and over time the soundboard can become bulged and distorted with string tension. The over large bridge-plate can exasperate the problem as these where generally made of softwood which also offered little structural strength. The LG-O was discontinued in 1974.



The Brief

Our Brief in this instance was to remove the internal ladder bracing, replace with a scalloped X brace system to give the guitar a more balanced tone and to accentuate the bass tone.

To upgrade the bridge-plate and to make and fit a Rosewood replacement bridge.



Removing the Back

In order to gain easy access to the internal bracing it will be necessary to remove the back.

This LG-O does not have an edge binding around its back outline. Therefore, a thin pallet knife is slipped between the back and the end block to start the separation. Once started a Japanese saw is used to precisely cut through the inner lining. Because of the saw’s thin blade and unique cutting motion very little material is lost during this process.

 

Image Exif_JPEG_PICTURE Image

Once the back is removed the simplistic ladder-brace system is revealed. You will notice that a brace and the bridge-plate are missing. I believe these became loose and subsequently lost years before. Their footprints are still visible.

Image



Rosewood Bridge-Plate

The remaining braces are easily removed and the internal face of the soundboard is prepped in readiness for its upgrade. An Indian Rosewood bridge-plate is made up and fitted. Rosewood is the workshop’s prefered material for bridge-plate replacement because of its strength to thickness ratio.

Exif_JPEG_PICTURE  Exif_JPEG_PICTURE

Go-bars are a very handy and simple way to fit bridge-plates and braces. They are made from flexible timbers that allows pressure to be applied where needed whilst glue is drying.

The Bracing System

The bracing system is made up and glued into place piece by piece.

Each brace is made from 1/4 sawn straight-grained spruce individually scalloped.

Image  Image  Image

Image  Image

 Gluing the Back

Once the bracing system is completed the back is cleaned up and glued into place

Image

A replica of the plastic bridge is made up out of Brazilian Rosewood and fitted

Image

The Set-Up

The frets are showing some wear. They are honed and re-profiled and the truss-rod is adjusted.

The guitar is strung up and tested.

Image  Image

Image

 Conclusion

I’m happy to report that the finished upgrade turned out very well. The guitar has a sweet sound with a good balance. It has a warmth and depth to the bass with sweet mids and trebles. It likes to be picked as well as strummed and I suspect that it will record very nicely and with a small body guitar that’s all you can really ask for.

Full size photos available here on Flickr





Guitar and Mandolin Repairs : Kalamazoo Mandolin





This lovely old ‘30s Kalamazoo came into the workshop because it has a problem with its action.

Image

The action is very high and it’s not too long before the reason for this high action is spotted.

The neck is pulling up with the tension of the strings and a gap has appeared at the neck/body join.

Image  Image

According to its owner it had been attended to in the past but the repairer merely forced glue into the join, applied clamps and hoped for the best. Consequently over time the join has failed again.

The only means of dealing with this type of issue is to remove the neck and to make an assessment of the internal join.



The fingerboard extension is heated to release the glue. By teasing a little warm water into the join the hide glue is softened and the neck join becomes undone.

Image

The neck and body are held together with a simple French Dovetail. On close inspection of the dovetail it appears that it does not reach to its full height.

Image  Image

It is decided that a simple solution would be to extend the male half of the dovetail.

The end is trimmed down and a piece of Mahogany glued into place.

Image Image Image

As a safeguard an Ebony dowel is fashioned and inserted down through the body of the join.

Image Image

Veneer shims are added to the dovetail to ensure a snug fit.

Image

The join is assembled using hide glue and clamped.

Image

A few days later the mandolin is strung up, tuned and tested. The join is now gap free and the playing action is as it should be.

Click photo for Flickr pic set

Image

This lovely old mandolin has the beautiful tone of a mature instrument with the playability of a new mandolin, good for another 80 years!





Vintage Martin Acoustic Guitar Restoration : Martin 00-17





Here’s a rare guitar on the workbench, it’s an old Martin 00-17 made in 1949.  Bob Dylan used this model back in the early so called “Coffeehouse Days” more info on Dylans guitar’s Here…

This little gem has some all too familiar problems; it has severe soundboard bellying, the neck is loose giving a high playing action. All of which has probably causing the bridge to lift.

Other issues

There is a small hole in the rib

Initials have been scratched in the lacquer on the back

It has been fitted with inappropriate machine heads

Click image to enlarge

 


With all bridge-lifting or bellying issues the first thing to look at is the internal structure of the soundboard.

Using lights and mirrors to scrutinise the internal bracing it is discovered that the bridge plate is a little loose and not glued at its edges.

By removing the bridge and bridge-plate the soundboard can be returned to its original flat shape.


With very little effort the bridge is removed.

The bridge-plate is soaked overnight. The next day, with a little heat, the bridge-plate becomes detached very easily.

With this area of the soundboard in a “damp” state, the soundboard is clamped into a negative bow and left to dry out for a week or so. This will help the soundboard regain its correct shape.

Once completely dry a new bridge-plate is made up from Indian Rosewood and glued into place. Hide glue is used because it is reversible, this will make the plate easier to remove in later years if necessary.

With the soundboard still in its negative bow the new bridge-plate is fitted, clamped up and left to dry overnight.

The bridge footprint on the soundboard and the underside of the bridge are cleaned up and with the soundboard still in its negative bow the bridge is glued into place.



Hide glue can be diluted to such a viscosity so as to be used in a syringe. Using this method the issue of the loose neck is easily solved by injecting Hide glue into the join and clamping overnight.

The hole and initials are patched up and cleaned up so as not to look too “over worked”. This is quite often a good way of resolving damage to a finish that is already distressed from years of use.

Suitable replacement machine heads are not available at the time of stringing up this old Martin. This will be done when appropriate tuners become available.



Glenn of Glenn’s Guitars plays the changes and checks over the  finished results.

More Martin 0017 photos on Flickr