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Discussion in 'Tele Home Depot' started by tigger, Oct 21, 2017.
Got an extra chair Rick?
Sure. But you'll have to bring your own stein!
There would come a time early in the afternoon where I wouldn't be able to lift that thing anymore without endangering the cat and the top is too small to get my face in. Maybe something like a dog bowl would be better for a long afternoon.
Aww, Rob, you'd build up your arm strength in no time at all.
I bet Helmut has a whole cabinet full of those !
I'm not much wiser yet. You can see the broken wood around the dowels: that is the second break from the 90's. I think the dowels are probably older: on the rear the break is across the refinished area so it seems to have happened after the refinish. The holly veneer is really thin. No sign of the crown, the logo seems to be inlaid in yet another wood (might be the same as neck repair) and seems like a completely non-original job to me. The edges are not very precise..
At this point I should probably sand it all off with a power sander. I tried separating the veneer with heat but the glue does not melt (perhaps another indication of non-original veneer).
I also started working on cleaning up the heel. By now I'm thinking of the former repairman as Mr. Dowel.
The infamous Mr. Dowel. That has a distinct Monty Python ring to it.
Couldn't you just make a new neck and call it a day? So little of the original is original, I am sure you could make or purchase a better one.
I was thinking the same thought looking at that poor abused peghead. It's going to end up being patched patches, good ones on top of bad old ones.
Give Mr. Dowel's monster a much-deserved cremation ceremony, I say.
I'm all for conservation and preservation of fine old things, but even if possible is all the work this requires worth it?
I don't agree with this. It seems that the guitar was still in playing condition. Though the bridge intonation had to be set. The two main breaks (headstock and heel had been fixed. Not perfectly, but they were fixed.
But Tigger, why did you chose to go through all this hassle instead of just moving the bridge and stopbar? You'll have to move the stopbar anyway. Was the action too high?
Some people like a challenge.
I believe the damage was caused by a drop during Mr. Dowel's funny walk.
Mr Dowel was the local dowlsmithee, purveyor of all things dowel & dowel-like.
Why? Because it was there. Yes, it would be easier to replace the neck. But then what do you have? A vintage body and new, non-original neck. Although still pretty cool, repairing the neck properly and bringing the guitar back from the dead seems like it would be infinitely more rewarding. I only wish I had the skill to do something like that.
Please continue. I'm truly fascinated.
There is something truly perverse and enjoyable about bringing something back to perfect usefulness after all have written it off, especially considering the music that was made on it. As a tribute to Eddy Marron I think it appropriate. Proceed.
Many reasons I guess, most mentioned by others above. I obviously don't need the guitar, I've got more than I need. SGs are special to me for some reason and I hope this will be a very special one. Made to just how I like it, out of old Honduran mahogany and beautiful Brazillian rosewood, with short magnet PAF pickups (technically early Pat #s), and having a personal connection to it from the amount of work I spent on it. Life is a journey, I had to drive 3 hours both ways to buy it but I saw that too as a thing I'm more likely to remember than ordering it off ebay!
I understand that, I like challenges and making stuff myself. But you didn't answer my question (which is now purely theoretical): from a technical point of view, couldn't you just fix the bridge and intonation problem and leave the neck alone?
Similarly to a early 50's Les Paul, the SG was not that playable with the strings so close to the body. Everything was off compared to what a SG is like to me. It is true the repairs were solid, but I really prefer them to be done properly. And I'd have to sand down the neck anyway, the spider-web lacquer cracking with little ridges made it not very comfortable to play. The sound was great, but the playing feel not really.
I have changed my mind about pickup placement. If the braided pickup lead solder grounds are original and untouched on the back of the pots that would indicate original placement. If this is so I wouldn't change them as this would alter the guitar's/ Eddy's tone.
Beating a dead horse with the dating, but I found a useful thread comparing and dating cases: http://www.everythingsg.com/threads/study-of-early-gibson-sg-cases-60-to-65.10998/ (Need to have an add-on to show photobucket pics sadly)
The case that came with it is the "type 3", used before type 4 which came in 1965 with headstock angle change to 14 degrees, so yet another at-most-early-65 feature. The case is stupidly smelly and dirty, I have no idea how to clean the interior, I tried with water but it just glued the plush together. Perhaps I should try some carpet cleaner. For now it's sitting outside with sodium bicarbonate sprinkled inside.
I got some paint stripper that claims it's not very smelly and not very toxic, will try it on the back of the neck. I expect it either doesn't work or is smelly and toxic.
Meanwhile I'm finishing the telecaster, I'm having it reliced by a pro. For free! People pay a lot of money for this:
This is the one pot that was replaced at some point, no clue why. Anyone has any ideas as to what it is and if it can be dated? That would give a lower bound on the repair time. I read the text as U-48 # R12
It had a hole in the top, I suppose burned through while someone tried to solder to it?
I'll see if I can buy a roughly correct 60's pot to replace it. (Or something new with the same taper)