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Discussion in 'Tele Home Depot' started by tigger, Oct 21, 2017.
Wow! What a mess.
Go slow and it will be fine.
Some of the new hardware arrived. I think it's funny how the "aged" hardware looks quite different to actual old hardware:
(New Faber on the left, old on the right)
Just curious why you're going with new "old" hardware rather than keeping the authentic old hardware?
Good question: the stop-tail is not original and I don't know what it is. It seems to be made out of something heavy, definitely not aluminum. The tailpiece is the later wired model and has been ground down from the bottom. Both of it's studs are bent as you can perhaps see and one is for some reason shorter than the other. It's saddles are not notched centrally and I expect them to give me problems when I flip them to the correct orientation and set correct intonation. I may still use the original bridge, but everything but that I prefer to have new. I think the bridge might be also bent a little as can happen.
Couple of questions... Wasn’t the wired ABR-1 the version being used by 1965? Also is it just the picture or is the new bridge thicker than the old one?
Wow, lots of glue!
From the way you describe it, I wonder if some of it might be "hot" glue, like from a hot glue gun?
On your pickups:
I've seen a couple of instances where on older Gibsons, the neck measured out a little higher than the bridge, but both instances were on L.P.'s with P.A.F.'s.
Sometimes working on a guitar that's been tinkered with is like doing re-model work on an old house - you never know what you might uncover!
Faber is very good stuff. At this point with all of the replaced mystery hardware, I think it an excellent choice.
Yes, I think the bridge is original. The Faber ABR-1 is indeed thicker, but looking at images it seems closer to the 1950's Gibson ABR-1 than the original which is pretty wonky - no wonder they often collapsed.
I don't think it's the same hot glue that is used nowadays but perhaps it got drier over time? It dries up pretty shiny.
As for pickups, I think I mentioned that I saw someone state that Gibson was putting them in randomly up to the 1970's. I wonder if I should swap them, but then the neck pickup sounded so sweet... I would describe the sound coming out as surprisingly warm, wood-y, and acoustic. Honestly remembering that is my main motivation to get this guitar together again.
I tried to do some research as to when were the key repairs done, but found no conclusive evidence. Throughout the 70's it was the main guitar of Eddy Marron, a German Jazz player. Here are some photos I could dig out:
Probably 1975, to me it seems the neck is already straight here rather than at an angle, but it could easily be an illusion:
72-74. The headstock of the guitar on the right side of the image, seems to me it already has grovers installed?
1976. The guitar still has the crown inlay, but the truss rod cover is white (there was none with the guitar).
https://a3-images.myspacecdn.com/images01/116/cf6e7db7357beab52efe95bcf802cbc8/full.jpg (image doesn't display here)
Around '75 again I think. The guitar has a stop tail on all known photos, but here it seems the
vibrola holes were perhaps not yet filled in.
Excellent photos! Love the history.
What a labor of love. And so cool you found those old pics of it being played.
I'm loving this thread. The history is a nice little push over the cliff
No progress sadly since I've been away from home most of the time. I did manage to use a vacation to spray what I hope are final coats of lacquer on a tele I built in 2011 that I decided to refinish and turn into a (mostly) blackguard. I couldn't get a good amber color on it with weak amber lacquer (it was too orange), so I shot bit of tobacco neck tint lacquer, and a tiiiny bit of amber, and am hoping to yellow out the clear with UV. Sorry for the phone quality photo:
I could also totally not decide whether I want the grain to be shown or not, so I did one pass of grain filling, and now I've built up the lacquer to basically mirror flat finish, but I'm expecting it to sink in just a little.
If I had a view like that from my back porch, I'd install a pipeline to the nearest brewery, and a permanent tap on the porch, right next to the most comfortable chaise lounge I could find, and spend every day just taking in the view, becoming even more useless than I already am!
Sadly that's the vacation spot! I'd take me 3 hours to drive to work through two mountain passes if I lived there! (The mountain in the background is above Stelvio pass, which you would have seen a dozen times if you watch Top Gear/Grand Tour)
LOL, it was the lacquering that threw me off! I've taken some small guitar build tasks with me to work on during vacations, but shooting lacquer--wow, you're hard-core!
It is a gorgeous spot, and I agree with you, I'd even endure Atlanta commuting traffic to live in such a place. oh, wait, I already do endure Atlanta commuting traffic, but I don't have a beauty spot to come home to!,
The reason why I took it with me is that I don't actually have a good place to shoot lacquer in the city and I think all the neighbors are about to call police on me once they figure out what's the terrible smell
Or watched the Giro d’Italia - it’s legendary on that bike race