#16
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Quote:
Replacing the adjustable saddle might be an option however, although how much improvement in tone you would obtain is a moot point, given that it is a plywood top. |
#17
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Thank you, murrmac, for pointing at the danger of gluing the bridge on a laminated top. This had not yet occurred to me but I think you are absolutely right. I am really grateful for getting all this advise from you all!
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#18
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I bought one of these used in 1970. Years later (1973) I decided to refinish it. It only took a few passes with a sanding block to discover that it had a thick plastic finish, not nitro.
I suspect that yours has the same finish. Best way to check it is to place a small drop of lacquer thinner onto a spot the back of the peghead that will be covered by the tuners. Either way, if you take the finish off (as Tim McKnight suggested) you'll probably lose the rosette decal.
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Michael Propsom |
#19
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How is that neck attached? Does it just go on top with a massive neck block and the screws all the way through? Does it not have a heel?
EDIT: Just did some googling. It would appear so! I wouldn't have thought that would hold up to 12 strings of pressure!
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National Resophonic NRP 12 Fret Loar LH-700-VS Archtop Eastman E8-OM Herrmann Weissenborn Recording King RP-10 Recording King RG-35-SN Lapsteel Maton 425 12-string ESP 400 series telecaster Eastman T485 Deering Americana Banjo My Youtube Last edited by tdq; 02-26-2017 at 11:52 PM. |
#20
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Quote:
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#21
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Mine has one masive heel/neck block. The four screws are truly huge! The construction would even hold up to 24 strings...
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#22
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First steps...
First rough finger board sanding and fret filing.
Last edited by Karel; 02-27-2017 at 08:02 AM. |
#23
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Nack crack?
I had hoped a crack near the headstock was a crack in the lacquer, but after sanding (more and more) I still see a line... . Yet, everything feels very sturdy.
Last edited by Karel; 02-28-2017 at 05:11 AM. |
#24
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Top
Before and after a first sanding (hand) job. The crack lines are way less visible but not yet gone. I am a little hesitant to sand any further/deeper.
Last edited by Karel; 02-27-2017 at 03:55 PM. |
#25
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Quote:
Anyway, I'll be watching and good luck with it all!
__________________
National Resophonic NRP 12 Fret Loar LH-700-VS Archtop Eastman E8-OM Herrmann Weissenborn Recording King RP-10 Recording King RG-35-SN Lapsteel Maton 425 12-string ESP 400 series telecaster Eastman T485 Deering Americana Banjo My Youtube |
#26
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By the way, the bridge and fingerboard are probably Brazilian Rosewood, just in case you were planning on replacing the bridge.
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Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al |
#27
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The bridge is wenge.
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"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon |
#28
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Unless Brazilian rosewood was really cheap in the sixties, I tend to agree with Howard. Interesting to note that wenge, or African rosewood as it is sometimes called, is now an endangered species. Whether it was cheap enough at the time for Eko to use it, I don't know.
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#29
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It was really inexpensive, and readily available. It didn't begin to be scarce until about 1970. That's about the time Martin switched from BRW to IRW for their rosewood guitars.
That bridge looks just like a fingerboard I recently acquired that was reported to be BRW, but it could as easily be wenge. I'll have to do a scratch and sniff on that fingerboard when I get home, it should be pretty easy to tell the difference between BRW and wenge. Howard has handled more BRW than I ever will, so his opinion is more probably correct.
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Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al |
#30
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