A customer brought in this Epiphone Zephyr Emperor Regent without the original New York Pickups. Having rewound some in the past I have an understanding about how they are constructed. The owner wanted to try something different so I made a set of traditional single coil bar pickups in the same type of mounting rings as the […]
I recently finished restoring this Mosrite guitar made in 1960 by Semie Moseley. It appeared on the Antiques Roadshow a while back with a replacement head plate, pickguard, and had the back of the headstock painted black to hide several breaks and repairs. https://www.youtube.com/watch?v=7t9Cvp6BI78 After removing the head plate and the black paint from the […]
This Gretsch Electromatic suffered a fall right on the output jack which pushed it straight through. I decided to install a metal jack plate to cover the hole. It is tempting to just screw the plate on but the thin walls of the body don’t provide mush support and the plate would likely come loose […]
Here is an interesting repair I had in the shop this week. The owner of this Dean Z wanted to replace the existing bridge with a TonePros AVR-II. (The AVR-II is a solid replacement for for Gibson ABR-1 tune-o-matics.) This posed a couple of challenges. Although the bridge I was replacing was an import ABR […]
This custom guitar was designed by Michel Fortier and he brought it to me for assembly. He put a great deal of thought into all of the components and assembly methods. The Mahogany and tiger Maple body was made by Musikraft and the Wenge neck was made by Warmoth. The fret markers and side dots […]
I have had several interesting pickups in the shop for repairs lately. This is a pickup from an Alamo Lap Steel with a damaged coil. I always attemp to repair pickups before I resort to rewinding. If the break occurs inside the coil you are out of luck, but if you can find a loose […]
Here is an interesting repair I just finished. This Dearmond 1000 Rhythm Chief was in pretty bad shape. The coil was broken, the wire had deteriorated, the rod had been straightened and shortened, the back of the control case was missing, and the mounting bracket was broken. This pickup has an interesting coil. The 3rd […]
Sometimes when you are making something really small you need a 1200 lb. machine to do it! I recently got this Gorton Pantograph and have not had much time to use it but I needed to make a truss rod cover out of Wenge and it seemed like the perfect opportunity. This machine was primarily […]
Here’s an interesting situation that came up the other day. A Kramer guitar came into Robot Monster with a truss rod nut with the hex wrench hole stripped out. It is easy to find replacement nuts for Gibson or Fender guitars but it is often difficult to find them for imports with metric threads. In […]
This nice 1974 Stratocaster was in the shop for a refret. It is getting Jumbo frets but the neck was was made with a very thin curved rosewood veneer fretboard. The larger frets require a much deeper fret slot. I could have sawed the fret slots deeper but this would not have looked good from […]
This neck came off a 1964 Jazzmaster that was heavily modified and adorned with ornaments. The fret markes had been gouged out leaving odd shaped jagged holes and the fretboard was worn, pitted, and scarred from some terrible fretwork. The veneered fretboard left very little material to work with. To clean up the fret markers […]
One of the sides of this Korg Delta was cracked and the owner asked me to make wooden replacements. This seemingly simple task turned out to have quite a few challenges. The brackets that attach to the sides are recessed, at different depths no less. I used the router table to make a duplicate of […]
One quick way to change the look of your instrument without permanent alteration is to make a new pickguard from a different material. Here one of my customers had me make a mirror guard for his flying V.
Tune-o-matic style bridges are very convenient for setting intonation but depending on how well they are constructed they can also be a source for some tone loss. A customer of mine has a pair of Gretsch archtops with floating bridges that he wanted to have replaced with solid bridges. I looked at the available offerings […]
A good of mine found a Les Paul Standard that has all the qualities he was looking for except for the finish. I stripped it down to bare wood, installed a bone nut, and refinished it with an amber top and cherry back.
I am constantly looking for ways to improve my accuracy and I have settled on a new method for spacing strings when cutting a new nut. The goal when making a new nut is to get equal spacing between each string. Since the strings have different diameters the spacing between them is unequal. Special rulers […]
This Martin dreadnaught as a problem found on many older guitars. The bridge pin holes have been worn to the point that the ball ends of the strings sit below the surface of the bridge plate. This condition occurs slowly over time when the ball ends of the strings are installed below the bridge plate and are forced against the plate rapidly as the guitar is tuned to pitch. When installing strings on an acoustic with bridge pin the string should be inserted through the hole, the bridge pin installed loosely pushing the ball forward, and the string should be pulled up against the top of the guitar while the pin is pushed gently into place. The pin should not be too tight. It is the ball against the bridge plate that holds the string in place, not the pressure from the pin.
When the plate gets worn it can be replaced entirely or the repaired by removing small divots of wood around each pin hole and gluing in new wood.
This sides on this Gibson mandolin had become distended over time to the point that they could not be pushed back into place. Pushing one area in just caused it to bulge in another area. I decided that a small amount of wood needed to be removed from the tail end, reducing the circumference of the sides. To do so I removed the back, the kerfed lining, and the tail block, and then used folded sand paper to slowly remove wood from the seam at the tail end. It was critical to know exactly how the sides were matching up at all times. I tried making a standard for the match the back but I really needed to be able to adjust the pressure on the sides evenly all the way around the body so I took the time to make a set of 20 clamps that insert into 1/4″ holes around the perimeter of the mold that push against the ribs.
These little clamps work extremely well and I am happy to have them for future repairs.
I had to replace some of the kerfed lining, remove a small sliver of maple to reduce the folding pressure on the top, and add a small piece of maple to the opposite side to fill the gap. There are a few areas where a small misalignment can be felt but overall I am happy with the results. This is an amazing sounding Mandolin back in playable condition.
Repairing the braces on this Es-125 is fairly straight forward but it is a bit like building a ship in a bottle. The clean the underside of the top I used rare earth magnets with sandpaper. Moving a magnet on the topside of the guitar moves the magnet with sandpaper inside the guitar which removes the old glue and exposes clean wood for regluing the braces. Similarly, I used sandpaper stuck to a stick to remove the old glue from the braces.
The most important part of the process is making a caul to preserve, and in some cases recreate the top arch. If an archtop is strung and played with loose braces the top can sink inward causing very low action or an abnormally high bridge setting. If the braces are glued to the top without a caul they will conform to the new arch which is not functional. To make the caul I use the back of the guitar as a guide and bandsaw the caul to match the curve.
At this point it is just a matter of applying glue, aligning the brace, and having a plan to get as many clamps in place as possible.