Tag Archives: gibson

All Original… To A Fault?

There’s no experience quite like that of a well-kept, totally original vintage guitar. It’s like opening a rift in the time-space continuum, a direct passageway to an era of craftsmanship that many claim is far behind us. The feel of an old finish or the smell of an old case is enough to drudge up memories of timeless tunes and the players that made them.

As a shop, it’s crucially important we know our stuff and that we’re able to confirm the originality of a piece. This builds trust with potential buyers, and trust is something we value greatly around here. We take pride in the stock we offer, and when something isn’t original we make sure to say so.

This doesn’t necessarily mean that “all original” is synonymous with “better” though. Let’s be realistic: any thing that comes into contact with human beings will wear and deteriorate with use, no matter how precious or well-maintained. Some parts simply must be changed as they fail, whether by age or use, and as many of our most hallowed vintage instruments reach the age of 70 and beyond, it may be time to accept the finite nature of wood, metal, and plastic. At least, those of us without infinite cash at hand.

Over the many years I’ve spent repairing, restoring, and dealing in vintage guitars, I’ve seen many examples of parts that were original but kept a vintage instrument from being fully playable, which is kind of the point of the thing in the first place. If it’s come to that, why not replace the malfunctioning part?

My personal mantra is this: Functionality over Originality.

Disclaimer: I’m about to list some parts on vintage guitars that are prone to wear or failure, and as I list them I want you to keep the Hippocratic Oath of “Do no harm” in mind. I’m suggesting that these parts be changed, but not at the expense of damaging the instrument in the process.

Disclaimer 2: Also, these opinions are those of Michael Adams alone, not necessarily of Mike & Mike’s Guitar Bar.

Disclaimer the third: except for a single case, all of these parts should be saved and kept close to the instrument in the event of future sale. A guitar with a changed part and the original included will always do far better on the market than without.

Disclaimer 4: Disclaim Harder: I still love an all-original vintage guitar.

Surgical Tubing

Early Strats and Teles often used surgical tubing to mount pickups instead of the springs commonly used now. This tubing is squishy yet firm and provides adequate resistance between the bobbin and the pickguard, enabling height adjustment. After many decades, that tubing dries out and crumbles, becoming brittle and plasticky rather than the pleasantly gummy texture of its youth.

Obviously, this is no good and renders pickup height adjustment impossible. I’ve opened up too many vintage instruments to find the pickups rattling around in their mounts, the telltale yellow crumbs of tubing still in the cavities.

It’s best the replace these wholesale, either for springs or new tubing. Many aftermarket pickup makers include tubing with their wares, even. Originality be damned, there’s really not a good argument for keeping them in there.

Just look at this sickening mess.

Pickup Foam (Also Fender Mute Foam)

In my latest Demystifying article, I briefly discuss the tendency of old mute foam to degrade into a hard, sticky goop. The same is true for the foam stuffed under the pickups on old Jazzmasters and Jaguars – that stuff is disgusting. Once the foam turns to tar, it no longer allows the pickups to be adjusted, and it leaves residue everywhere, including your hands. If left in its place, it can damage the other parts it’s stuck to, so it really is best to toss this stuff the moment it’s discovered.

When your original foam turns to a gummy blob, it’s time to forget about being original and replace that stuff. Don’t even bother keeping it. Nobody’s going to be excited to find a bag of guitar jerky in their case.

A srtripped pickup screw (L) and a rusty pickguard screw (R) that I had to remove because it fused with hardware.

Rusty or Stripped Screws

I don’t know about you, but I have a soft spot for the patina of an old guitar, especially when hardware takes on a dulled nature. I find nickel and gold hardware especially alluring as the plating wears and oxidizes.

All of this stuff looks great, but once rust takes hold of screws they become more of a nuisance than anything. Stripped pickup screws take the fun out of functional, while rusty, frozen saddle height screws defeat the whole purpose of them being there in the first place. If a pickguard screw turns to ground cinnamon when you try to remove it, it’s best to simply replace it.

If you’re concerned about gleaming new screws looking out of place on your guitar, there are plenty of places to find aged hardware these days. Keep the old parts in a bag, tuck them in the case, and move on with your life.

Frets

Folks make a big deal about original frets, and I get that; In many cases, such a thing speaks to the quality of care the guitar experienced over the years. To contrast, a sloppy refret is a good indicator that the guitar’s been mucked with in some other way.

Original frets are a nice thing to have, but that doesn’t mean the guitar will play any better. Like anything else, frets wear over time, and at the very least they’ll need a good dressing. Too often guitars are advertised as having “plenty of life left” when they’re actually on the deck with deep grooves from a chord masher.

Personally, I don’t balk at a good refret except in cases where I don’t like the fret size used, like putting Dunlop 6000 on a Musicmaster or something. I count a quality fret job as a good thing, one that ensures my guitar will be playable for years to come. Even Pancake, my beloved ’61 Jazzmaster is at a point in its life where those original frets are just too low, and I’m a guy that likes them low to begin with. I’m loathe to make changes, but even I have to admit that new frets are the one thing that will make this guitar even better than it already is now. And so, that’s exactly what’s going to happen this summer.

Pots, Etc.

Going back to the idea that a guitar should be functional, electronic parts can and will fail with age and use, they were never designed to last forever.

Now, a crackling, dirty pot can––and I’d argue should––be first be addressed with some contact cleaner. However, if the pot’s sweep is nonexistent or it just won’t pass signal any more, replace it. Don’t even trip, just get it out of there!

With so many options for high-quality components like Emerson, Bourns, and even tighter tolerance CTS pots, this is one decision that’s easy to make. 

And as I’ve said before, keep those components if you sell. Sometimes a pot can be salvaged by dismantling and repairing it, but that’s a lot of work for a relatively small payout.

To Re- or Not To Re-

It’s a hard thing for non-guitar oriented folks to understand, but a worn finish doesn’t mean it needs to be redone. I remember the first time my parents saw my beat to hell ’73 Precision Bass, my dad cried out, “That needs new paint!” It took the better part of the afternoon to explain that no, the finish is fine and even desirable to some just as it is, and no, I’m not going to touch it.

Still, there are cases where a refinish is a perfectly acceptable and possibly necessary thing to do. If the guitar in question had a previous owner that just didn’t know better and decided it would look great in his favorite color of latex paint, that’s a good candidate for a refin. Has contact with a reactive strap or cable in the case left worm-like marks all over the face of your guitar? Is your instrument a casualty of the 1970s brown stain and brass nut fad? Friend, you’ve got yourself a ticket to any color you want.

A finish that’s simply worn, I’d leave that alone, but one that’s been intentionally ruined deserves restoration. If you’re currently considering a refinish, I’d urge you to have the work done by a qualified professional, and preferably in the style of the guitar’s era of manufacture for the sake of resale value.

Tuners

It all comes back to functionality, doesn’t it? Old tuners are no exception.

If your original tuners just aren’t holding tune, or if they’ve become hard to turn or locked up, it may be time for replacement. Obviously, lubrication goes a long way, so try that first. Barring maintenance, there are many modern tuners to chose from, most of which come in aged finishes and won’t require modification to your instrument.

On a side note, I can’t stress that last bit enough: don’t modify the headstock of your vintage guitar to install new tuners. If your guitar uses push-in bushings, stick with the same for the new set.

***

A changed part can be controversial for sure, but if the swap is done carefully and the original part is tucked away, then it shouldn’t negatively impact value. It will, however, positively affect the instrument’s usability. And in the end, that’s what matters to a player. Let the collectors have the pristine examples!

bfvc (My dog typed this accidentally, but I thought that was cute so I left it)

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#NAMM2017 DAY 1!

Hail and well-met, favored readers. As you may already know, Thursday marked the first official day of the NAMM (National Association of Music Merchants) Show. Hall after hall, exhibit after exhibit, there’s so much gear packed into each square foot that it’s difficult at first to take it all in. I spent my first day milling around, getting my bearings on the densely-populated show floor, and in the company of good friends and new real-life acquaintances which were formerly of the internet-only variety.

Though I did my best to see and experience as much as possible, there was just too much to pack into a single day, so I’ll be returning to NAMM 2017 for two more days of coverage. In the mean time, I’ve hit some of the bigger booths to give you a taste of what’s in store for this year’s show.

EARTHQUAKER DEVICES (BOOTH 4296)

Running behind as I was, I rushed to get to the EarthQuaker Devices booth before the Vanessa Wheeler demo set was over. Alas, it turned out that she had fifteen less minutes than I believed, so I missed it. Still, I’m proud of my good friend for landing such a cool gig! And from the videos I watched on Instagram, her singer-songwriter vibe and chordal wizardry paired beautifully with the subtler side of EQD.

In turn, this afforded me the chance to fully experience EQD’s range of pedals with a BilT Relevator through their headphone rig. Among my faves from this year’s setup were the Acapulco Gold (a single-knob distortion) and the Rainbow Machine, which is pure joy in pink pedal form. The new Space Spiral seemed to be all the rage, and sure enough, this modulated and ethereal delay gave me literal chills, boasting sounds I never imagined coming from a delay pedal. It is 100% worth your time.

img_4637We stayed to see a demo set by Sarah Lipstate, who weaves spooky and cinematic tapestries of sound under the moniker Noveller. Armed with a ’65 Jaguar and a host of clever boxes, Sarah showered us in washy, moody tunes that were orchestrated movements rather than songs. Moaning and wailing, her guitar sounded less and less traditionally “guitar-like” as her set waned on. This is what I love about EarthQuaker’s NAMM presence: they choose such a wide range of musicians that the versatility of their pedals is absolutely clear.

Before we left the EQD area, we met up with a few cherished souls, among them Chandler Eggleston (guitarist for Carter Winter) and Andrew Sinclair from Madlab Coffee. We banded together, feeling much safer in numbers as we traversed the busy show floor.

FENDER (300E)

img_4640From EarthQuaker, we headed straight upstairs to check in on what Fender was up to at NAMM 2017. Fender’s exhibit is even more exciting than last year, boasting a ton of Custom Shop instruments and the new American Pro line as well. The full AMPRO line was well-represented: Strats, Teles, Jazzmasters, Jaguars, Precision and Jazz basses too. Decked out in new, bright colors, your first look at 2017 Fender is a pretty sight for sure.

Walking toward the rear of the exhibit, you’ll start seeing Journeyman and Masterbuilt guitars for the year. Among my favorites were a Journeyman Relic Bass VI in Shell Pink, a host of sparkle-finished Custom Shop guitars, and a special collaboration with my pal Paul Frank. Yes, that Paul Frank. This Telecaster features a custom-printed foil paper under a lovely metallic burst, a Curtis Novak gold foil in the neck, and one of Fender’s new RD bridges. I always love to see Paul’s cartoons put to good use on a musical instrument.

The Paul Frank Telecaster is so wacky. I love it.

The Paul Frank Telecaster is so wacky. I love it.

We also ran into our pal Matthew Farrar from Fender’s Artist Relations department and had a lovely chat about staying healthy during NAMM. If you’ve never been, you may not have heard about the yearly bug that goes around, not-so-affectionally known as NAMMthrax. Having suffered from this last year––like a mix of the flu, pneumonia, and the less savory bodily functions––I can tell you, it’s earned a fearful reverence from attendees and exhibitors alike. Matt recommended getting sick before NAMM, but for those less inclined to get sick at all, carrying some hand sanitizer and overloading on multi-vitamins seems to be the usual preparation.

GIBSON

Before heading back downstairs to the main floor, we stopped by Gibson’s hall. As I walked between the ropes leading inward, a Gibson-branded girl in tiny shorts stopped me by placing her hand on my stomach. She then grabbed my badge and scanned it without saying a word. This was weird and uncomfortable.

Andrew is a total boss

Andrew is a total boss

It seems that scanning the QR code on our badges (and the personal info that goes with it) is the price of entry here. Andrew smartly asked if they were taking his info and when the girls answered in the affirmative, he held his badge against his chest and exclaimed “CAN WE NOT” as he passed them. I admired him for that.

Realistically, this probably leads to an innocuous email list, one that I’ll likely unsubscribe from as soon as the first blast hits my inbox. No harm, right? Thing is, this just didn’t feel good to me, and that’s the real damage here: Making consumers and retailers feel uncomfortable and possibly less welcome while trying to build buzz for new models seems like a total misfire.

Simply asking if I’d like to sign up for more info would have sufficed, or perhaps incentivizing the move somehow would have smoothed over the whole transaction; just taking it didn’t sit well with me. Gibson doing so with neither explanation nor respect for personal space made me want to leave before I’d even crossed the threshold. It should also be noted that Gibson are the only exhibitor doing this.

This out-of-touch practice did little to ingratiate Gibson to myself or my friends, and in fact, we left mere seconds later without really caring about the guitars or other products found there. And that’s to say nothing of how outdated the whole “booth babe” concept remains in 2017. So, no, I won’t be covering Gibson.

BENSON & RONIN (Booth 2294)

img_4675It’s always good to see friends, and Chris Benson has always been a good one to the shop. We’re huge fans of his amps, from the 30W Chimera and 15W Monarch to the 1W Vinny head & cab. At the time a demo was going on, so I didn’t get to spend any time with Chris’ bass amp, which I’ve been dying to try. Another mission for Friday, I suppose.

At the same booth we also found Ronin guitars on display. I don’t know about you, but those deep carves and uniquely crafted lines just slay me. Such artistry begs to be played, but like I said before, a demo was going on. We were SO in the way. I did, however, manage to snag a few photos. Just look at that!

This is beautiful.

This is beautiful.

SINASOID MEETUP!

Our friends and makers of our very favorite cables on the planet (including my own signature Redbeard cable) held a small get-together for artists in their Hilton Hotel room toward the end of the day, a lovely time for all. We got to hear about plans for 2017 including some very exciting, very hush-hush developments for the company. With as much traction and support as they had in 2016, I think this year’s going to be huge for them. I’m so proud to be a part of their lineup.

REVERB.COM (Booth 4368)

img_4687It’s always good to run into the fine folks at Reverb.com. Although Reverb is a retailer, they still brought plenty of eye candy for the show, including a Sheltone Electric GalaxyFlite, a custom Jazzmaster that exceeds all expectations from price to playability. I’ve had the great honor of keeping and inspecting two of Shelton’s guitars over the last year, so do expect an in-depth review of his wares soon. Spoiler: I love them.

Reverb also had another of my favorite builders on display, namely Paul Rhoney. The last Oceana available for some time is available there, its striking red-and-black finish catching the eye the moment it’s in view. Paul’s put his company on hold for the moment, but he’s not gone for good! He just moved to Portland, OR and you can catch him at NAMM with Veritas Guitars (Booth 2290). I’ll be checking in with them over the next few days.

Vanessa was suitably infatuated with this one

Vanessa was suitably infatuated with this one

I also had the absolute pleasure of handling a hardtail Jazzmaster-style guitar from Electrical Guitar Company, a first for me. I’ve always wanted to spend some time with their aluminum instruments, and even though I didn’t get to plug this one in, I came away from it completely impressed. I’ve never owned a Travis Bean instrument––the company handles the reissues of these legendary beasts––but I’ve long admired their quality and unique feel and tone, so being able to experience these guitars in-person was a huge treat for me. THANKS, NICK!

The Electrical Guitar Company Ken Andrews (Failure) model.

The Electrical Guitar Company Ken Andrews (Failure) model.

END OF DAY 1

I’ll be back tomorrow with more photos, info, and scoops on what’s new at NAMM.

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To Mod or Not To Mod…

IMG_3374-imp

…that is the question
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous guitar tone
Or to take arms against percieved troubles
And by opposing end them.

In the opening phrase of Act III of Shakespeare’s Hamlet, the titular character weighs in on death and suicide, the unfairness of life, and whether one is any better than the other. Likely the most quoted phrase in existence, The Bard’s universally famous question has been repeated, adapted, chopped up, parodied, and revered in innumerable ways since the great tragedy was written in or around the year 1600.

And so, in a flash of utter predictability, I’ve tweaked those first six lines to fit today’s musings, and to be honest, I think it works. The despondent prince was, in essence, comparing life and death, wondering if one had merit over the other. And when we’re modding guitars, it sometimes feels so dire, does it not?

The Heart-ache, and the thousand Natural shocks That Flesh is heir to

When customers write, call, or visit me to ask what I think of their proposed modifications, it’s an exciting prospect no matter what we end up deciding. Instruments are an intensely personal thing for musicians, so the idea that we can easily take a guitar you like and turn it into one you’ll love is why this world is so fun. Like all things, mods have their place, and can be just the thing to rejuvenate your creativity.

True, guitarists are fickle, and what works on Tuesday may be the complete wrong thing come Friday. You may have a friend that tried out a new pickup over the weekend, and blazed through the honeymoon phase and went straight on into divorce. Or take my friend, who bought that expensive boutique speaker for his Princeton and later told me, “I tried to convince myself that I liked that thing.”

I actually really like the mods done to this '70s Les Paul Recording. Many players hated the low-impedance pickups, and those brass plates look particularly good, says I.

I actually really like the mods done to this ’70s Les Paul Recording. Many players hated the low-impedance pickups, and those brass plates look particularly good, says I.

Another good friend toured with a big-time act as tech and tells the story of a night when the guitarist decided that his fuzz pedal didn’t sound right, so he asked for the spare to be put in its place. He played it for sound check, decided he didn’t like it, and had the tech replace it with the third spare, only there was never a third, so the tech put the original back in line. Immediately the response was, “Oh yeah, YEAH, that’s the one!”

And that’s how we are, including myself. From my extensive and incredibly scientific studies, I know that it takes me exactly 0.00359 seconds after performing a mod to start researching other options, even if I love what I’ve come up with. Is this due to the quest for tone we often talk about, or perhaps an inner dissatisfaction that lurks within my being? Perhaps it boils down to musicians being such staunch individualists. No matter the cause, it’s not so surprising that we’re looking for the next new thing as soon as the old new thing is, well, old.

So, when it comes to mods, whether the concept is a passing phase or a long-held belief, it’s good to have a measure of sobriety when considering chopping up your main squeeze. Here are a few things I like to consider before modding:

To sleep, perchance to Dream; aye, there’s the rub

So you have a killer idea to finally achieve that sound in your head. Great! Sleep on it, do some research, seek out demos or schematics, should they apply. Consult a friend, a tech, or the internet. Gather as much information as you possibly can so you’re making an informed decision.

Like all projects worth undertaking, it’s a good idea to slum around forums and the like to get a feel for the kind of work you’re in for. Has someone done this mod before? With billions of people on planet Earth, chances are, yes, someone has. And though it may fly in the face of individuality, checking up on the errant post to glean insight into your desired modification is encouraged if for no other reason than learning what NOT to do!

There have been a few times when I’ve taken on a project that I’ve never done before where checking out one of my favorite forums lead me to a thread simply entitled “HELP!” that gave me all of the information I needed to ensure a fool-proof installation. From wiring a four-conductor humbucker to routing a new cavity for that fancy tremolo you bought at the guitar show, there’s a lot to learn from folks that learned the hard way.

Thus Conscience does make Cowards of us all

Just like your favorite poncho, it’s good to ask, “Is this reversible?” While it’s not a make-or-break kind of question in most cases, this is a great thing to mull over before you pick up your screwdriver or Dremel. There’s no sense in utterly ruining your favorite guitar just because you wanted something different, especially with the glut of aftermarket parts out there these days.

In most cases, things like pickups are totally reversible and really only mean resoldering some connections. No big deal. Swapping necks, similar parts, bridges, all of that is totally fine and you should do it. There are a few cases where I’d caution against such things, and usually that’s when we get into the pristine vintage guitar realm.

Or take this old Gibson SG-1 that I modified for a neck pickup for a customer. Neither desirable nor rare, these guitars are ripe for mods.

Or take this old Gibson SG-1 that I modified for a neck pickup for a customer. Neither desirable nor rare, these guitars are ripe for mods.

If you’re modding, say, a Squier Vintage Modified Jazzmaster, go for it! There are so many of those guitars out there that routing for Wide Range pickups or adding one behind the bridge isn’t going to matter or affect the value in any appreciable way. For a $200 guitar, they’re perfect for this application, and I can tell you that they’re solid testbeds, having worked on more than a few. I also have very little problem doing the above to Fender AVRI guitars, again, because they’re plentiful. Unless you’re thinking of selling your black ’62 Jaguar reissue, don’t feel too bad about omitting the rhythm circuit or slamming some lipstick pickups in there.

If, however, you have a 100% original 1958 Jazzmaster but you really think it needs humbuckers and a Floyd Rose, I’ll probably champion the cause of the unspoiled instrument in front of me rather than simply agreeing and getting out my router.

I’m reminded of a customer we had last year that owned an absolutely mint ’65 Fender Mustang in Sonic Blue. I mean, this was an absolutely untouched, beautiful instrument in every respect. The customer, however, didn’t like blue, and asked if I would refinish it in red. That was one of the few jobs I flat-out declined, and instead suggested we should sell the instrument and acquire either a red one in like condition (for about the same price, too) or buy a guitar that had been mucked with, and refinish that one to the desired color. Eventually, we did the latter, and as far as I know, he ended up being really happy with the new guitar.

In my view, there’s no reason to carve up an immaculate instrument when there are literally thousands of already modded and refinished vintage guitars out there. Sure, things like sound, feel, and playability come into play here, but those things can usually be addressed rather easily. When it comes to devaluing an aged instrument, I try to think a few decades ahead and wonder what I’d think of myself for doing so. That solves more than a few problems.

Of course, if your old friend has been refinished, routed for humbuckers, missing its original guard and decal… then it’s either a good candidate for restoration, or you should do all of those mods you’ve been thinking of! Me, I’m always on the lookout for a cheap, routed-out, refinished ’63 Jaguar that I can do my own thing with.

Also worth mentioning: sometimes you don’t have to do anything drastic to your guitar, what with pickup makers like Curtis Novak putting Mosrite pickups, PAFs, Wide Range humbuckers and Gold Foils in more familiar bobbins.

How about this poor '60s Mustang we adopted last year?

How about this poor ’60s Mustang we adopted last year?

The insolence of Office

When I hear someone say, “It works for ____ so it’s good enough for me,” I tend to worry just a little bit. Not because the proposed mod is a bad idea, but that statement has a lot more going on than the speaker may realize.

Big-name guitarists can get what they want, generally speaking. When you have connections at your favorite guitar company, a dedicated tech or two, and the money to back up your whims, a lot of mods inevitably start to happen. Sure, there’s nothing wrong with swapping pickups in favor of something that suits your needs, but I’ve seen enough modified instruments to know that not every idea is a good one.

A modded '70s Telecaster bass used by studio musician Buell Neidlinger.

A modded ’70s Telecaster bass used by studio musician Buell Neidlinger.

One of the things that often separates the average musician and the touring pro is that they have an army of techs at their disposal, paid well (I hope) to swap those pickups, change out bridges, and glue splintered wood back together on the quick so the show can go on. Some things work, and some things don’t, while others require a lot of attention to keep in check.

I know of one such touring pro that had his tech quickly install a brass nut on his instrument, searching for that brighter sound he craved. When I worked on the guitar some time later, I discovered that the nut slots weren’t cut properly, so the strings were binding up, causing tuning problems. Obviously, this wasn’t ideal. 

The thing is, the player never noticed it, because he never played solos or bent strings, only big chords. He didn’t know about the problem his guitar had because he had a tech to tune it between songs!

The Undiscovered [Flavor] Country

That kind of sounds like a Shakespearean cigarette ad, doesn’t it?

Though this article may sound cautious, please don’t take it as a strict warning against figuring out that sound in your head. At most, I’m just offering a few thoughts to help the potential guitar modder some guidance. What matters most is that you’re happy with the instrument you’re using, and if a cool mod gets you there, then it’s a good one. Some mods might be more effective and less intrusive than others, but there is merit in tweaking a design to work for you.

The old adage “You won’t know until you try” certainly applies. So I say, go for it! But maybe have a good think about it first.

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1969 Gibson SG Restoration

IMG_8037 - Version 2-impOver the summer, I picked up this 1969 Gibson SG Standard husk, totally stripped and poorly refinished in natural. The neck was cracked, some wood at the bridge area was replaced and filled, the contours were sanded away and altered, and before the finish was applied it seems like the body was sanded with nothing greater than 120 grit. Super rough, really disappointing!
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I paid about $400 for the wood, and decided that this would be a worthy candidate for total restoration. With all I’ve learned over the years (beginning in my dad’s woodshop as a kid – I was listening!) I felt as though I was finally able to tackle this kind of thing. I’ve been working on guitars for years now, and in the past few I’ve really focused on finishing techniques, but on a much smaller scale; fill-ins and color matching are more my specialty, but I thought, ‘Hey, why not dive in? What’s the worst that could happen?’ At the very least, I might end up with a vintage guitar that I’d enjoy playing.

Although I discussed this project openly, I didn’t advertise it for sale or anything because, to be perfectly frank, I wasn’t entirely sure what I’d end up with. I trusted in my abilities and my aptitude for learning quickly and adjusting my process on the fly, but this was my first total refinish, so I wanted to make sure it was good before I went spouting off about how we offer full restorations as one of our many services.IMG_6017-impWith all of the work that needed to be done, I absolutely had to strip the body again. I mean, I’d have to rework the carves on the body anyway, and the finish was really thick and the wood didn’t have the proper SG look. You see, one of the things that sets 1960s SGs apart from those made in the 1970s and beyond is those deep, gorgeous body bevels that make them look so much meaner and tougher than the others.

Given my obsessive-compulsive wiring, I set to work with sandpaper and a block with the mission of restoring the depth, sharpness and allure of the carves.

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Soon, I had the body stripped and sanded from 120-320 while I reshaped absolutely everything, from the horns to the backside bevels, to the neck joint and even the slightly sharper late ’60s bottom carves behind the tailpiece. The hardest part was the interior curves of the neck, for which I studied some hi-res photos as Mike Ball’s original 1968 SG for reference.

After sanding to 400 grit, the next step was grain filler, which is really important to getting the right look to that old Gibson Cherry. See, I searched the internet like crazy for examples of good refinished SGs to pattern my work after, and I couldn’t find anything. I saw a ton of refins, but few that looked quite right. I took it as a challenge to really dig into what makes these guitars look the way they do, and ebony grain filler is a big, big part of that late ’60s look. (everyone else seemed to either skip this step entirely or use a neutral color of filler that didn’t show off the grain of the mahogany.)
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Always up for a challenge, I decided that instead of purchasing proper spray equipment or building a spray booth, I was going to do this in true D.I.Y. fashion: I would only use only amateur finishing supplies to really get the feel for the pros and cons of what’s available to the first-time restorer. This meant rattle can finishes (I used Stew-Mac products entirely) and power tool buffing pads.

IMG_7075I was a little concerned when I sprayed the first coat of cherry. I expected it to be bright as the first run was a tack coat, laying down some color so the next coat sticks. But it was RED, not cherry. When spraying, I usually spray a coat, then wait 30 minutes and spray another. Two hours later, I’ll do another and let it go overnight. After two bright red coats, I started to get really worried, but I put it out of my mind on a Saturday night and came back on Tuesday to discover that the color had darkened considerably. That made me happy.

After the red, I sprayed some amber laquer to gently age the finish. As you know, nitro finishes ‘fade’ over timeIMG_7323, so the clear coat takes on a yellowish hue, which contributes to the softened look of older colors. This step really made all of the difference! The color just got more rich from then on, and after that, clear coats!

With some elbow grease and 1000-1500 grit wet sanding, as well as buffing on my wheel with various grades of compound, I ended up with a shiny finish far beyond what I expected.

Seriously, I still can’t believe that I did this with rattle cans and elbow grease! IMG_8036-imp

I sourced vintage parts all around (save for the tuners, electronics, Lollar imperial pickups and pickguard) and I couldn’t be happier with the results. It looks right, plays beautifully, and sounds freaking amazing.

Oh! And a note on the spot of wear on the horn: that’s fully intentional. I lightly aged this guitar, but the one rally cry against relic guitars that I hear more than any other is that the wear doesn’t have a story. Well, this one does: when I had all of the parts collected, I took a long, hard look at the guitar and thought about what fictional character may have used it before I came along. So, the story with that wear is, the previous owner stashed his picks right between the guard and the body, and when you’re in the heat of a hot solo, you don’t have time to be careful. IMG_8035-imp

If you’re on Tumblr you may recognize this same guitar from the many, many happy photographs of DeeBeeUs, one of the kindest souls on the web. He owns this one now, and from what I can tell, he’s very, very happy with it. -MJA

 

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A Note on Gibson’s Recent Price Increase and Spec Changes

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Earlier this week, Gibson released (or was it leaked?) statements concerning a price increase and changes to most of their models that left most of the guitar community feeling underwhelmed. Now, bear in mind that the source for this announcement was from Gibson’s Amazon.com page, the URL for which is no longer active. Could be a mistake, but our friends at Reverb.com, while unable to reveal their sources, have confirmed that the announcement is indeed genuine. (See comments)

Before we get into it, I want to say that I’m concerned by this announcement but only because I love Gibson’s instruments so much. Sure, we’re way into Jazzmasters and the like here, but I cut my teeth on Gibson guitars. Some of my earliest musical memories are deeply connected to the image and sound of Angus Young’s fleet of SGs, Jimmy Page’s EDS-1275 doubleneck, Johnny Marr’s ES-355, and I’ve always idolized the classiness of a white Les Paul Custom. My first “real” guitar was an early graduation gift from my parents, a black Gibson Les Paul Standard that they picked up for well under street price. And I got that one because high school Michael saw an old photo of Joe Perry playing almost the exact thing. Some of the best guitars I’ve owned were Gibsons, from my ’77 Walnut ES-355 to the ’68 SG Standard I sold to Other Mike for what would become my trusty Jazzmaster. I’ve owned various Les Paul Jrs, a stunning ’59 ES-330, and Gibson J-series acoustics that have blown my mind. My current acoustic is a ’64 J-50 that’s played-in and beat up, but sounds huge; the guitar I sold to fund that purchase was an ’03 J-45, which was the best acoustic I’d ever played until the ’64 came into my life.

My hope in responding to this announcement isn’t simply to complain, but to come from a place of deep respect for a company that’s meant so much to me over the years; a company that, as it seems to this casual observer, has been in decline for some time. This week’s announcement feels like an even steeper descent to me, and though I have little voice on the issue, it felt right to call out what appears to be another major misstep.

Let’s take a look at the text:

“Gibson USA continues to raise the bar of Quality, Prestige and Innovation with the new line up of 2015 guitars. All Gibson USA guitars except for the Les Paul Supreme, Firebird and Derek Trucks SG will ship with the G-Force tuning system. Among many of the added features is the new Zero Fret Nut which is a patented applied for nut that has adjustable action capabilities. The new Tune-O-Matic Bridge features a hex wrench adjustment on thumbscrews for easy action adjustments. All guitars receive a professional set up with accurate intonation, and a new PLEK program with 27% lower fret wire. All models now have Pearloid Inlays and the fingerboard is a thicker one piece rosewood which is sanded and buffed with a new oil treatment for smoother and easier playability. To take it a step further Gibson USA has increased playing comfort by widened the neck and fingerboard by .050 per side. Sparing no expense, Gibson USA even changed the internal wires from 28 awg to 26 awg, along with a new and improved jack design and together they give you an improved uninterrupted signal. For 2015 Gibson will be producing gloss lacquer finishes and no more Satin or Vintage Gloss finishes. On top of all the upgrades Gibson USA did not stop there. They are now introducing a removable Les Paul pick guard with NO SCREWS NEEDED. In honor of Les Paul’s 100th birthday all LP and SG guitars will carry the 100 logo on the headstock and a Les Paul Hologram on the back of the headstock for authenticity and tribute to the man himself. To wrap everything up, each 2015 Gibson USA guitar ships in a Gibson Hard Shell case.”

That’s a lot to take in, so let’s go through it piece by piece.

“All Gibson USA guitars except for the Les Paul Supreme, Firebird and Derek Trucks SG will ship with the G-Force tuning system.”

That’s a pretty huge statement. Note that it says “All Gibson USA guitars…” with three exceptions listed. The above leads me to the conclusion that the Les Paul Custom, SG, Flying V History, Trini Lopez, Les Paul Traditional, Grace Potter V, RD Artist, etc. will all include the G-Force tuning system. Does this also include acoustic models? I ask because the language used is “All Gibson USA” and not “All Gibson Memphis” or “All Gibson Nashville”, without mention of Gibson Montana.

aa430cc388df770d58f3c7bf2eb194a99248353cThe G-Force system (not pictured above) if you didn’t know, is just Gibson’s Min-ETune but rebranded. Part of the evolution of the Robot system, the Min-ETune promised quicker and more accurate tuning with a smaller overall footprint, taking the tuning facilities out of the signal path of the pickups completely. Never a fan of self-tuning guitars personally, I certainly can’t fault Gibson for developing a product, but to force that product onto every model –– a product that most musicians don’t seem to want –– doesn’t seem like a wise move.

As a tech, I’ve worked on plenty of the Robot and Min-ETune guitars, but would you guess that one of the most frequent requests I’ve gotten with the lower-model Robot guitars is to remove the Robot tuners and convert them to a normal guitar? At first, it was because the battery life wasn’t feasible for most touring acts. (I mean, who has time to charge their guitar between sets?) Later, either the owner felt the tuners weren’t dependable or didn’t look good, which I’ve heard quite a few times. The Robot models were fundamentally great guitars, so it wasn’t much of a problem to put them back to, um, regular guitar specs.

LP-Std-HeroOf course, some people find the Robot/Min-ETune guitars to be useful, and that’s great! I knew a guy that used his blueburst first-edition Robot Les Paul and loves it because he can go from Standard to any number of slide tunings he uses on a regular basis. It works for him, and that’s great. However, it seems to be a smaller subset of players that actually want guitars to tune themselves, and offering the Min-ETune as standard across the board doesn’t make me want to purchase a new Gibson any time soon.

“Among many of the added features is the new Zero Fret Nut which is a patented applied for nut that has adjustable action capabilities.”

One of the most common complaints players have about factory-fresh Gibson guitars is that the nut isn’t up to snuff. Either the owner isn’t happy with Corian or Tektoid™ as a nut material, or it’s improperly cut at the factory with the strings too high off the fretboard or pinging wildly with string bending. One of the most frequent jobs I take for Gibson guitars is replacing the nut with a hand-cut piece of bone.

61y2CirnMkL__SL1500__zps9c453266_uofv8cThe new Gibson “Zero Fret Nut” is a nut that has an adjustable brass insert that allows the user to fine-tune action without having to use files. (This idea isn’t exactly new; for years Warwick has offered an adjustable nut on some of their models.) The brass insert also mimics the zero fret found on old Gretsch and Teisco guitars, which governed string height at the first fret by being taller than the other frets while doing away with the need for exacting nut shaping techniques. Traditional zero frets also have the added effect of making open notes sound as if they’re being fretted, resulting in brighter tones from open strings. This was also the goal with the brass nut craze of the ’70s and ’80s, a modification that’s largely reversed on most instruments today.

I can see how this new Zero Fret Nut makes sense from a manufacturing standpoint; workers don’t have to spend more time trying to properly slot nut after nut all day long, which takes up time and money. Instead, they can simply use a small tool to raise the strings until they’re at a satisfactory height, then send it out the door. However, we know from Gibson’s adjustable acoustic bridge of the ’60s that having movable parts at such critical points in the string path isn’t necessarily a recipe for great tone. And although there are some players who prefer brass nuts on their guitars, with the market so obsessed with vintage originality and “tone” most brass nuts are tossed with preference for era-correct materials.

As a tech, I can see myself replacing a lot of these next year.

“The new Tune-O-Matic Bridge features a hex wrench adjustment on thumbscrews for easy action adjustments.”

I’m not going to poo-poo this out of hand, as we’ve all been stuck with too-low or too-high action on a guitar with a TOM bridge and have had to struggle with gripping thumbwheels as hard as we can before the next song starts. The proper way would always be to loosen the strings before adjusting action, but I won’t pretend that not everyone wants to go to that trouble. Of course, thumbwheels aren’t always hard to turn, but anything that makes adjustment easier is potentially a good thing.

The only objection I have to this change is that Allen keys aren’t usually my favorite way to make bridge adjustments, whether it be action or intonation. The Mastery Bridge is an exception to this, being designed with ease of use in mind, but adjusting intonation with hex keys on most other bridges is not fun at all. I’m also curious to how exactly this thumbscrew adjustment works, whether the key inserts at the top or from the side. Without more info, I really don’t know how this might play out.

“All guitars receive a professional set up with accurate intonation, and a new PLEK program with 27% lower fret wire.”

As a tech, I’m somewhat glad to hear this. If these factory setups are actually setups, then I’m excited to walk into a shop and play an on-the-rack Gibson and know it’s going to feel great. Factory “setups” are often disappointing, with action left high to hide bad fret jobs, lessening buzz and rattle that shouldn’t be there in the first place. I mean, sure, a percentage of my business comes from fixing factory mistakes, but if this means that a customer can buy a guitar knowing that it feels good, then that can’t be a bad thing. I’ll try to hold off judgement on this until I play one, because the track record for factory adjustments isn’t good.

blog_P1040558-300x221Although I’ve never been too happy with factory PLEK fret jobs, I’m looking forward to seeing what this new program holds for consumers. Again, taking a guitar off the guitar shop wall and knowing it’s going to have perfectly leveled frets is a boon; just this week, one of my tasks is to level and crown the frets of a brand new Gibson, which is disappointing to the owner. I’m also interested by the idea of lower fretwire, because I’m one of those guys that can’t stand jumbo frets, personally.

“All models now have Pearloid Inlays and the fingerboard is a thicker one piece rosewood which is sanded and buffed with a new oil treatment for smoother and easier playability.”

Nothing too crazy there. The new oil treatment could be cool, especially when most rosewood necks coming from Gibson right now are incredibly dried-out. I wonder just how much thicker these fretboards will be, but I wonder if they mention it only because of the minor controversy surrounding Gibson using laminated fretboards on models back in 2012. Many players were less than happy about the change (to put it mildly) but in response to questions about the laminates Juszkiewicz said “It actually doesn’t change the sound at all,” and “…actually improves the sound.” He also claimed it will “last longer,” but I guess we’ll see. Don’t be surprised if I politely disagree.

UPDATE: Holy shit, I didn’t even think about this until I scrolled through the conversation going on over at Offset Guitar Forum tonight. Again, the phrase “all models” is used here, which causes alarm when we remember that all models don’t have rosewood fretboards… Does this mean that even Les Paul Customs (which had ebony boards until the Government seizure/Henry and Fox and Friends jamboree of 2012 when Gibson switched to the option of baked maple or Richlite, a synthetic material) will now have rosewood instead? Because I hate to tell you Gibson, but we used to buy LPCs because they have ebony fretboards. Oh man, say it ain’t so.

“To take it a step further Gibson USA has increased playing comfort by widened the neck and fingerboard by .050 per side.”

Again, not necessarily a bad thing. I don’t know that many people are complaining that Gibson’s necks are too thin these days, but I’ll reserve judgement until I have one in my hand –– it’s really not a huge difference. This seems to be a reaction to player feedback on Gibson’s use of binding nibs on the fret ends of most bound models, which never bothered me personally but I’ve heard more than a few players complain that their strings are getting caught between the fret and binding as of late.

“Sparing no expense, Gibson USA even changed the internal wires from 28 awg to 26 awg, along with a new and improved jack design and together they give you an improved uninterrupted signal.”

Whoa. Slow down there, Gibson. Don’t go spending all of that precious money on such thick wire! Also, I wasn’t aware that my signal was being interrupted, but there you go. #newjack2015

“For 2015 Gibson will be producing gloss lacquer finishes and no more Satin or Vintage Gloss finishes. On top of all the upgrades Gibson USA did not stop there. They are now introducing a removable Les Paul pick guard with NO SCREWS NEEDED.”

This is possibly the most distressing passage from the now-removed Amazon page. With the doing-away of satin finishes, this could mean the end of sub-$1000 Gibson guitars, which I thought were best sellers for the company. Having quality, affordable guitars in the line should be important to both Gibson and consumers, so I’m hoping they’ll be introducing some models that retain the low price tag and quality of the Faded series.

Additionally, the language isn’t specific as to what type of finish the “gloss lacquer” might be, just that it’s lacquer. Hopefully this is just Gibson saying the company will still use nitrocellulose instead of switching to something else like acrylic.

Gibson have been shipping guitars for ages without installed pickguards, so this could be cool or not. How does it work? I don’t know, but we’ll all be keeping our eyes peeled on that one.

“In honor of Les Paul’s 100th birthday all LP and SG guitars will carry the 100 logo on the headstock and a Les Paul Hologram on the back of the headstock for authenticity and tribute to the man himself.”

It’s a well-known fact that Les Paul LOVED holograms, so I think we can all safely assume that this is what he wanted. I remember reading an interview where he voiced his distaste for the SG when it came out in ’61, which had a lot to do with the body shape and how they moved the neck pickup away from the neck, but Les also revealed that the main reason he wanted his name off of the guitar was due to the lack of holograms.

“Back in the ’50s I said to Ted [McCarty, Gibson CEO 1948-66] ‘Hey, I like what you got going here. It sounds good, plays alright. But the thing is there aren’t enough goddamned holograms on the thing.’ And Ted scratched his head, because we really didn’t have the technology back then, and we didn’t come back to the idea until they made the laser back in, was it ’60? When they slapped my name on the SG without asking, and I said, ‘Hey, whaddabout them holograms!’ but it was too late. So I had them take my name off.” (Gibson Les Paul Book, Bacon, pg 148*)

I’m sure that, were Les alive today, he would be overjoyed. I’m joking, of course. LES PAUL HATED HOLOGRAMS. He called them “3D-for-Devil pictures.”**

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Aside from the new logo looking a bit strange (see the Zero Fret Nut pic above) it is Les Paul’s handwriting and that’s a nice thing to have. This could also be one of the only truly collectable aspects of the guitar, so perhaps this change will work in its favor. Not mentioned in the above copy is that the Gibson Logo is swirly.

“To wrap everything up, each 2015 Gibson USA guitar ships in a Gibson Hard Shell case.”

Okay, this is great. No longer will customers have to argue with store staff about how their guitar actually, definitely does come with a case when they want to charge an extra $100 or give them a gig bag.

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All in all, this list of changes is pretty hard to stomach, especially when the one thing left out is just how much the price of guitars will increase. Now, prices do go up over time when manufacturing costs rise, but our friends at Reverb.com note that while a 2014 Les Paul Standard with flame top “…comes in at $2999, the 2015 equivalent will start at $3879, marking a roughly 29% increase.” That’s a HUGE MAP increase. How will it play out? We won’t know until they’re available.

Let me be clear: I love Gibson guitars, but this is crazy. Perhaps consumer feedback on this list of changes could do some good, but I believe they’ll end up doing far more harm than good. It’s never good to add features your customers don’t want when they’ve been asking for simple, well-built instruments for some time.

Like I said before, I guess we’ll have to wait and see…

…or this could all be a ploy to cause us to rush out and snatch up 2014 models. And then I think that perhaps this could all be just a 2015 model year only affair, meaning that things go back to the way they were in ’14. Who knows? Hopefully we’ll get that info soon.

*Not a real quote. I made that up.
**Also, totally not real.

UPDATE 9/24/14: I visited Guitar Center Seattle with a friend of mine tonight, and the store had just received the first shipment of 2015 Gibson guitars. Suffice it to say, all of the above is absolutely true, including the G-Force tuners on every guitar, the Zero Fret nut, and wider necks. I’ll be posting an in-hand review shortly. Until then, look on Gibson’s works, ye mighty, and despair!

 

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#WEEZERQUEST: The World Has Turned… In Our Favor!

Here’s “The World Has Turned and Left Me Here” from our very first show at Seattle Sunset Tavern! Although we were a bit nervous, we had an absolute blast. And because Matt was there and filming, the rest of you get a taste of our gear before we give you the low-down.

My Name Is Jonas Brothers’ next show is June 22nd at High Dive. See you there!

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#Weezerquest: The Story of ‘My Name Is Jonas Brothers’

IMG_5567-impIf you happen to follow us on our various social media platforms (Tumblr, Instagram, Twitter, and Facebook) then you’re probably already keyed into the fact that we LOVE Weezer. And it’s also true that we have a bit of an obsession with the band, from their sound and gear, to the lore and mystery surrounding the parts guitars, various amp heads and studio setups that make the records we love.

We’re particularly enamored with Weezer’s first two records, 1994’s self-titled debut –– affectionately known as ‘Blue’ to fans –– and 1996’s Pinkerton. Brilliantly crafted power-pop abounded within, with lyrics that require thought and inspection to decode further than the oft-used “geek rock” label, as well as some of the most massive guitar tones I’ve ever heard. And, much like finding newly-unearthed deleted scenes from Star Wars, Weezer’s unreleased B-sides were just as exciting.

As you can imagine, our daily conversations at the shop would often turn to deep, Weezer-related questions; we’d discuss the effect Matt Sharp’s raw, distorted tone on Pinkerton affected the feel of that record; how our minds were blown when we first realized Blue was recorded with an old Les Paul Special DC with P90s, rather than the Strat with humbuckers we see in concerts; how Weezer sounded different from most bands simply because they used low 5ths in their barre chords. Invariably, the question “Just how in the hell did they get that tone?” would turn into an hours-long debate, riddled with speculation and adult beverages.

An in-process shot of my Rivers Cuomo tribute Strat and mock 8×10 cab!

An in-process shot of my Rivers Cuomo tribute Strat and mock 8×10 cab!

Over the years, we joked often about starting a Weezer cover band, of which there are many in Seattle. Once Mike & Mike’s Guitar Bar started taking on a life of its own, it didn’t take long for us to start talking about that old idea in a serious tone. Finally in late 2013, we decided to really go for it, but with one major caveat: we didn’t want to just be another cover band. We wanted to go full-Weezer, replicating the gear responsible for some of our favorite rock tones.

Given the amount of guitars and amps that come through the shop, we decided to get absolutely manic, using our gear hunting skills and detail-oriented minds to deeply research all of the equipment the band used during those years, getting as close as possible to the look, sound and experience that made Weezer so formidable. We poured over the albums themselves, sought out live and studio photos from 1994-1998 (many of which were scans of developed film) and accumulated massive databases of screenshots and the like in order to nail down every last spec we could reasonably determine. We combed through interviews, Weezerpedia articles, forums… you name it.

It’s been a months-long process, but let me tell you: it’s been well-worth it. We’ve beautifully replicated the guitars, amp rigs and modifications that made Weezer sound like Weezer, and we’ve done so with fervor and conviction. We’ve even been lucky enough to gain the attention of the band themselves through the process! Former bassist Matt Sharp has even taken an interest in our attempts at recreating his iconic Jazz Bass, taunting us via social media to let us know when we missed something!

That’s my close-as-I-can-get-from-photos Matt Sharp Jazz Bass replica, worn by our good friend Leah, who used her attentive eye to recreate the ’96’ sticker found on the pickguard of the original bass. Matt Sharp posted the above photo on his Instagram account along with some extremely kind words, our contact info and a challenge to his followers:

…help me salute and celebrate these two lovely lunatics, go to Mike And Mike’s Guitar Bar and take a pic with this crazy, monstrosity of a bajo-doppelgänger and I’ll regram whomever posts the best pic.

The best part? I caught his message about us right after playing a killer first show with our Weezer tribute act, My Name Is Jonas Brothers. Great night or greatest night? What an incredible honor!

In the few weeks since our very first show, the response we’ve gotten from Weezer fans and aficionados has been, well, overwhelming. Even before we played a note, our Tumblr and Instagram followers and friends were cheering us on, and our equally-obsessive bandmates have spurred us on to a level of detail we never thought possible. And frequent Instagram commenter Dan Murphy even coined a hashtag just for us: #weezerquest. (Use it to follow along!)

So now, we’d like to take you on a tour through our journey to put together what we believe might just be the most badass Weezer cover band on the planet. Also, we feel it necessary to document not only our processes and instruments, but also whatever illness we might have that compels us to get so exacting with this band.

And if you didn’t notice, the photo at the beginning of the article isn’t the gatefold photo from 1994’s Blue album. THAT’S OUR GEAR!

#weezerquest is live!

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String Theory

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by Michael James Adams

You know what I love about my job? Well, maybe I should clarify that question a bit, for there are many upsides to this line of work. For example, I love having the privilege of seeing gorgeous guitars of all makes, models and condition. I also love being able to refine instruments for the individual player that’s using them. I like that I can watch Archer, Bob’s Burgers, Star Trek: TNG and COSMOS while I’m working. I like that we get super geeky about things like Star Wars, Doctor Who and Weezer. I like working with my friends.

The thing I love most is helping my friends and customers become more self-sufficient. Sure, this is a move widely regarded to be bad for business, but I don’t see the point in hoarding trade secrets especially when it comes to musical instruments. No matter my level of involvement, there is absolutely no reason that every guitar shouldn’t play and sound its best. In that spirit, I’d like to address the most important, most simple fix for guitars that won’t stay in tune once and for all: how to properly string your damn guitar.

Post Secrets

When a customer tells me their guitar won’t stay in tune,  the problem could be caused by a number of things: the string could be binding up in nut slots that aren’t appropriately cut, strings might need to be stretched or are worn out, or maybe the tuners just aren’t up to the task. All valid!

However, the first thing I’ll check is how the strings are spun around the tuning post, and believe it or not, I’d estimate that with 60% of the guitars I see, the solution for unstable tuning is a proper restring. Seriously.

IMG_3267-impWhat do I mean by ‘proper’? Well, I’m referring to a few general rules when it comes to standard, non-locking tuners:

-it’s best to have 2-5 wraps around the post for stability, though at least three is preferred
-those wraps should not overlap, but wind down the post cleanly
-strings should be wrapped with their placement in mind (i.e. obtaining enough downward force on the nut with respect to their position on the headstock so more wraps may be necessary)
-‘locking winds’ are preferred but not always necessary (or possible)

Let’s dig in!

I’m wrapping to the beat and I wrap it up tight

My first point may seem obvious to some, but I’ve been surprised as of late just how often this one seems to elude some players: too few or too many wraps will have negative consequences on tuning stability. Too few, and the string won’t grab onto the tuning post, continually loosening. Too many, and the string will overlap itself, causing it to shift around on the shaft. This is bad for stability when you’re playing, but even the act of turning the post will make for inconsistent tuning between notes.

Take, for instance, this before-and-after photo of a guitar I recently worked on. This Jazzmaster came in for help because it wasn’t staying in tune, and the problem was the way it was strung. You’ll see that the wraps around the post are sloppy, so when the tuner is turned, the string doesn’t just get tighter, it moves around its bed of windings, jumping from place to place. Not gonna work.

On the bottom is my more meticulous stringing job, cleanly wound and tuning smoothly. Having good number of wraps ensures the string won’t pull itself free from the tuner as well as enhancing the range of available with each turn. As I mentioned before, 3-5 wraps around the post is ideal, but of course, some tuners won’t allow for that many, especially on the low strings. On my ’64 Gibson J-50, two is the most I can get on the low E and A strings, but plain strings should always have at least three.

IMG_4578-impAnd how do I make certain I have 3-5 wraps? On Fender guitars, I’ll pull the string so that it’s semi-taut, then measure three tuners farther than the one I’m stringing. If I’m stringing the low E, I’ll cut the string at the G tuner. For the plain strings, simply pull the string to its respective tuner, then pull it back three tuners; if you’re stringing the G, pull it back to the low E and cut at the G tuner. Simple? I think so.

The above tip also works for basses with all of the tuners on one side, but depending on the diameter of the tuning post you’ll only need to measure out 2 or 2 1/2 tuner lengths away from the one you’re stringing!

For Gibson guitars, or those with the tuners spaced out on both sides of the headstock, I’ll measure in this way: I’ll thread the string through its tuner, then grasp it with my right hand. Extending my middle finger, I’ll touch the 12th fret and pull up just slightly, giving me exactly as much string as I need. Try it!

IMG_4577-impWinding the string in this manner also allows you to vary the number of winds to increase downward pressure on the nut. For instance, if you have strings that jump out of their slots, try a few more wraps first. This won’t work for every instance, but many times it does the trick. Additionally, some ringing out behind the nut can be solved with an extra turn or two, specifically with the G string on a Fender guitar. That string has the longest length of string behind the nut without a string tree, so it’s important to have enough break angle on the nut.

Note: Fender guitars with vintage or Kluson-style tuners, you’ll want to place the end of the string in the hole, then start cranking. That way, the string locks in more positively with the tuner. You wouldn’t believe the number of Fenders I’ve had in the shop lately with the strings just fed through the split shaft, then loosely wrapped around it. Just stick it in there just about as far as it’ll go, bend the string to one side, then go for it.

Pop-and-Lock

Locking winds are good for those of us who require some extra assurance that our strings won’t slip. This works best on any tuner that has a solid shaft, unlike those usually found on Fenders. All of my Gibson guitars get this kind of wrap, which is essentially just wrapping the string around itself on the post.

There are a few ways to do this, with one popular method being threading the string through the post, then the first wrap goes over the and all others go under. This isn’t difficult to master, but if my words elude you, I’ve made a handy gif to go along with them:

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It the above gif, you’ll note that I’ve used the aforementioned middle finger trick, except that I’m not pulling up. The tuners on this guitar made by our friend Stephen only allow for two wraps at the most, so pulling up would have surely given me more wraps than I needed.

The second method (and my preferred) is a little bit more tricky, but it goes like this: thread the string through the post, bend it in toward the inside of the headstock, then back under itself and up and over toward the headstock again. If a picture’s worth 1,000 words, then this gif should be considered my first published short story:

output_4vOuRf

See? Easy. This is the way I string guitars, and they don’t go out of tune when I’m done with them. Simply reverse the procedure for the plain strings, and for 6-on-a-side headstocks, all of them will be done as pictured.

It is my sincere hope that this helps those of you with nebulous tuning problems. As I said before, check the nut, lubricate properly and make sure your tuners are up to task, but start here first; your problem could simply be a few turns away!

We’ll be doing a separate post on locking tuners. It’ll probably be a short one.

MJA

 

 

 

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Mike & Mike’s Pot[entiometer] Dispensary

IMG_6151-impby Michael James Adams

I… I really struggled to make a good joke there. I’m sorry for how lame that was.

So, we have this wonderful little Tumblr site where I keep a log of just about everything that I work on. Tumblr is easily one of the most fun blogging sites out there, and the community we’ve found there is so much fun. I’m constantly surprised to not only see our number of followers consistently rising, but also the amount of interaction we’re receiving. Day-in, day-out, we’re getting messages from all over the world asking for advice about pickups, setup techniques, which colors we like and why we’re so damn fond of Jazzmasters.

At times it’s daunting to answer all of the messages, but I LOVE it anyway; it is simply amazing to me that we can connect with other musicians across the globe, all of us united by our mutual enjoyment of gear. And to you reading on this website (mmguitarbar.com), it’s good to have you as well! I can’t believe anyone reads this drivel. You’re like secret Santas, every last one of you.

Among the topics raised, one of the most frequently asked questions goes something like this: “Why does my guitar not sound good? I replaced the pickups with [insert quality brand] and it still sounds like [insert expletive].”

Now that sounds familiar, doesn’t it? I’ve been there before myself, swapping pickups for new units that cost a decent percentage of my take-home pay, only to find my tone slightly improved; that’s a frustrating, seemingly hopeless place to be in.

IMG_3949-impSo what gives? You buy the pickups of your dreams, unsolder as few connections and you’re suddenly underwhelmed with your purchase. I mean, sometimes that’s because what you bought wasn’t that great to begin with, but in today’s age of Youtube demos and Rig Rundowns, guitar players are far more educated–tonally speaking–than ever. More and more, it seems highly unlikely that most of us would spend money without knowing what to expect. We’re extremely blessed to have the Lollars, Novaks, Creameries, Bareknuckles, Rio Grandes, Fralins and Duncans of the world toiling away so that we can all sound better!

What seems far more likely to me is that while we’ve all been focusing on pickup problems, we have perhaps carelessly overlooked something perhaps even more detrimental to our sound: the wiring harness.

Yes, it’s true: you could have the world’s greatest pickups ever made–some would argue a set of ’59 Gibson PAFs–and your guitar could still sound muffled and altogether dull if the electronics suck. Allow me to explain, and if you don’t mind I’m going to pick on Gibson a little bit just because I hear about this issue most commonly with regard to humbucker-equipped guitars. I find that, with the exception of P90s, most players don’t complain as often about dark single coils. Sry.

Conventional tonal wisdom states that most single coils sound best with 250K pots because these pickups have a wider tonal spectrum than ‘buckers, meaning they generally put out a wider range of treble and bass frequencies than most humbuckers, which cancel hum but also some of the common frequencies picked up by each coil. That pot value effectively sets a cap or dam, if you will, as to the amount and frequency range of the treble available, so you end up with a clear and balanced pickup that won’t hurt your ears, dig?

If you use 250K pots with a humbucker, what you end up with is a pickup that lacks clarity and detail, and is devoid of snappy highs and tight lows. This muddier signal is EXACTLY the reason so many of us prefer 500K pots with humbuckers*, which allow more treble through and produces a drastically clearer and fuller sounding, erm, sound. So that’s why Gibson guitars generally come stock with 500K pots.

Except they generally don’t; Gibson, like any other company, has to save money any way they can so they can offer a product with enough profit margin to blah blah blah business stuff. Everyone does this, and if Gibson’s buying bulk potentiometers, they can save a bit of money on each part by loosening the tolerance. Most standard pots have a +- 20% tolerance, but for a little more money you can easily find pots ~ 5-10%.IMG_3339-imp

So Gibson-branded pots that claim to be 500Ks? Yeah, it’s highly likely that they aren’t. Whenever a customer of mine tells me their guitar sounds muddy or isn’t sounding the way they imagined, one of my first fixes is to replace the pots, and so I measure their actual, real-life rating with a multimeter and the results are surprising.

You remember our buddy, Nick? He’s the one that brought me his newish Explorer back in 2012, a lovely guitar in that alluring naturalburst finish. He’d swapped pickups 3 times with similarly disappointing results, so I measured his Gibson-branded, stock 500K pots and guess what? They measured at almost exactly 300K ohms. That’s (I am so bad at math but I think this is right) a 40% deviation from the rating on the side of the damn pot! Sadly, this is not the first time this has happened; sometimes I’ll find a pot hovering between 450 and 420 [insert drug humor] and sometimes as low as 370, but 300K? Damn, son!

As mentioned in this older article, I measured out a set of pots that were within reasonable tolerance from their rating (most were within 5-7%) and built a new harness. Upon installation, the difference was dramatic, to say the least; the previously muddy, ill-defined signal was replaced by an articulate tone, replete with note separation and clarity. Trebles were snappy, the midrange was airy and open, and the bass was just as thumpy as our hopes and experience led us to believe. To this day, Nick frequently tells me that his guitar is now what he always wanted it to be.

So, if your guitar sounds as if its wearing the roughest of Irish sweaters and could use some tonal refinement, before you swap pickups please consider having your electronics replaced as well. Because really, if you’re spending the money on killer pickups but leaving stock, out-of-spec electronics inside your guitar, you won’t be hearing those expensive pickups properly.

wiring50sAnd while you’re on the hunt for a good set of pots (we like CTS, Bourns and sometimes Alpha) please follow this wiring diagram**, which is the proper 1950’s style wiring that Gibson used on their holy grail instruments. I attribute the coveted ‘59 Burst sound not only to the wood and pickups, but also this scheme, which differs from modern wiring in the way the tone caps hook up and the way in which the tone pot is grounded. This makes a HUGE difference, and unless a customer specifies otherwise, this is the diagram I recommend using for most jobs. Seymour Duncan has a great blog explaining the differences in layman’s terms, and I’d also recommend using a treble bleed/volume mod network across the 1 and 2 lugs of the volume pot. Link goes to my favorite, but you can easily build them with your own parts.

In conclusion, the way in which your guitar is wired can have a huge effect on the way your guitar sounds. The things discussed in this article are somewhat simplified, but I can say with complete honesty that this trick as worked literally every time I’ve tried it, on both my personal guitars and those of my customers. Give it a shot! Don’t trust me? Look how cool Nick felt after I swapped out his wiring harness. He felt so good he didn’t give a crap about traffic.

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Nick is a traffic-hating badass. He’s crazy. He’ll point his guitar at you and everything. He doesn’t give a crap.

* Your mileage may vary, but most of us do prefer 500ks.
** The diagram omits ground connections for the bridge/tailpiece stud and to each pot.
*** Things come better in threes.
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Redemption for Matt’s ‘Midnight Cowboy’

IMG_2625-impby Michael James Adams

If you’ve been around the shop at all in the last year, chances are you’ve met the third ‘Mike’ AKA Matt. Matt’s a good friend of ours and Mike Ball’s band mate in The Verb, Goldie Wilson and Elephant Runner. I always thought our little shop was pretty cool, but I can honestly say that having Matt around is a huge boon for us; never has our shipping department run so smoothly, nor have our books looked so pulpy.

Matt’s a fantastic bass player in The Verb and Goldie Wilson, anchoring the low end on his Fender Jazz Bass with an equally thick and loud tone. He’s also a great guitarist, but Matt has had a hell of a time getting everything he wants out of his trusty Telecaster.

Turning Tricks

His Tele, we think, is a bit of a hodge-podge, and so it’s not entirely clear which parts are original Fender and which are from non-Fender sources. It’s a fundamentally good instrument. It’s equipped with an ultra-wide ’50s style maple neck, what we assume to be an alder body (that paint is seriously thick) and standard electronics, save for the pickups: in the bridge is a microphonic ’59 Esquire model from Illusion Pickups, but there was a big surprise in the neck: a gold Gibson Firebird pickup we later discovered was a vintage patent number pickup from the 1960s! Score!

Even with what should be a great pickup combo, the guitar didn’t have quite the tonal options Matt was looking for, so he decided a third pickup was in order. After discussing all of the available options a few months ago, Matt became enamored with the look and sound of the Charlie Christian pickups wound by Jason Lollar. And who could blame him; with a louder, darker personality, we believe the CC would end up being the perfect panacea for the otherwise bright tone of this particular instrument.

“I’m working here! I’m working here!”

IMG_2544-impInstallation of the Lollar CC pickup requires the addition of an oversized, rectangular pickup route in order to fit the vaguely triangular bottom bobbin of the pickup. By a stroke of pure coincidence, our good friend Phil had shown up at the shop some time ago with a set of router templates for–you guessed it–the Lollar CC pickup. Armed with those beautiful plexiglass templates, the hard part of my job was already done!

Aside from the additional pickup, Matt also asked for one of our vinyl record pickguards, this one cut from the Midnight Cowboy soundtrack. (We’ve taken to calling the guitar that, too.) We also replaced the non-Fender ashtray bridge with a Joe Barden unit with compensated brass saddles and a handy cutout on the treble side, which is something I wish other companies would add as an option.

Here's what it looked like all wired up. We did revise the wiring a few times after this shot was taken.

Here’s what it looked like all wired up. We did revise the wiring a few times after this shot was taken.

Controlling all three pickups is a rather ingenious scheme, and I wish I could say I thought of it all by myself. Matt wanted to be able to retain the familiar Telecaster controls of standard models with the added ability to blend in the middle as needed. Sure, we went through a number of custom wiring ideas including putting the CC on a push-pull pot, using a five-way Strat switch, maybe even a blend knob, but nothing really struck Matt’s fancy. Then Matt had the brilliant idea of using concentric pots just like the ones found on the earliest Fender ‘stack knob’ Jazz Basses. Incidentally, those happen to be my favorite Jazz Basses.

It just so happened that AllParts stocks the proper concentric pots and knobs for that exact Jazz Bass model, with an inner 500K and a 250K on the outside. These are meant to be wired as a combination volume and tone control for each pickup, but we devised something a little more fun: the 250K pots of each control wired together as a standard Telecaster control scheme, and the 500Ks utilized as volume and tone for the Charlie Christian!

“I ain’t a f’real cowboy. But I am one helluva stud!”

All wired up, this thing is impressive; the bridge pickup gives you that classic Tele twang and bite, but the Firebird pickup in the neck adds a whole other dimension of paradoxically warm yet bright tone. But that Lollar CC… that’s the star of the show! When soloed, it has a P90 sort of feel but much smoother and darker, and it doesn’t bark as much as it rolls over for tummy rubs. When blended with either of the other two pickups, it’s as if you’re hearing more of the guitar, almost as if the tone is being de-electrified; It’s really something to behold.

IMG_3144-impAfter reassembly, we finally decided the bridge pickup was far too microphonic to be useful, so we gave it a thorough wax bath. Armed with our Goodwill crock pot (which set us back a hefty $4) and a pound of wax, we bathed the pickup for about 15 minutes. I’m happy to report that not only did the pickup perform beautifully when reintroduced to the guitar (quieter than ever!) but we now have enough wax to pot every pickup ever made since the 1950s. I had never considered what a pound of wax looks like, but I can now tell you we have approximately a door of wax.

I also went ahead and cut a new, unbleached bone nut for Matt as the string spacing on the original was just too damn wide. The wide neck is a plus for Matt, accustomed as he is to bass necks, but when both E strings just want to fall off the side of the neck, adjusting the spacing can only be a good thing. And unbleached bone just looks soooooo good.

The end result:

IMG_2919-imp
“You look real nice, lover boy. Real nice.”

Check that out! Pretty sweet, right? I really enjoy doing these one-off custom jobs, and Matt’s Telecaster has never looked, sounded or felt better! Get in touch with us if an off-the-beaten-path custom job is in your future!

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