A neighbor of mine brought us this 1960’s Epiphone Casino that he was thinking about selling. But he was rightfully concerned that a few obvious alterations would make it hard to sell at its full value. The first concern is the out-of-place humbucking pickup that someone installed to replace the original P90. The second concern is the missing pick guard. We helped locate appropriate replacements for both that will make this guitar more valuable and  more true to its original look and sound.

We decided it was important to use an authentic pickup from the same time period as the guitar since that would be essential to getting the right sound out of this vintage classic. We  found both an original 60’s P90 and the correct chrome cover in online auctions. They worked perfectly and sound just right.

On the other hand, the owner opted not to go after an original pick guard because of its high cost and lack of impact on the actual sound of the guitar. We found an inexpensive replica that fit well and looked the part after some light distressing and coloring. Maybe the next owner will want to find an original.

The final touch was applying the signature “E” logo on the pick guard.  With the vintage look now complete, this vintage classic is ready to find a new home.

This online auction purchase made a layover at CFW for a body refin, before heading to its new home in France.

The buyer lives in France and the seller lives in Chicago. So before it shipped, the new owner of this vintage Guild Jetstar Bass asked that it be brought here so we could remove a clear refin, and restore its original 3-tone sunburst look.  The trick, was to make the new body finish blend in with the original burst finish still on the neck.

Here’s the untouched neck with its original sunburst finish.

Someone did a very good job of refinishing the body with clear lacquer and it aged nicely. But the new owner really wanted it to be a full sunburst like it was originally. So we got to work stripping back to the bare wood.

Before refinishing, Dan sands the body until all of the old finish is gone. The pickup rout still has the original base yellow color, so he’ll leave that alone and use it for a color reference.

Next, it’s into the booth for sealer coats and a base of vintage yellow.

Then the dark outer burst…

…and finally the red inner burst.

After amber top coats, we distress the finish to blend in with the years of heavy wear on the neck.

What a great looking and sounding bass.  We’ll pack it up carefully and ship it to its new home in Paris!

This 1960 Gibson Les Paul Jr. is a terrific playing and sounding specimen. But it sure didn’t come in looking this great. After the owner picked it up in an auction, he emailed us some rather scary pictures of some truly scary looking “repairs” he hoped we could correct. We assured him we could make it look great and, more importantly, play great again. When it arrived from Florida, we took some deep breaths and assessed the damage.

The first thing that jumped out was a nasty headstock break with an awful looking mix of glue, epoxy, and maybe some bondo caked around the outside. Yuck.

Next there was a deep crack in the neck heel…

…and a large chunk that had broken off and been glued back onto the lower bout.

Finally there was an odd look to the ends of the fretboard. Can you see what’s wrong?

The fretboard has been removed and re-glued – in the wrong spot! That gap between the fretboard and pickguard (above) tells us that the previous repairman slid the board to the back of the nut shelf rather than the front, leaving A) no place to put a nut and B) a scale length that is off by nearly a quarter of an inch. So we knew the fretboard had to be removed and re glued in the right position.

The dots come out and the board comes off. The rather stingy amount of glue residue under the fretboard is yet another mark of the sloppy work that was done before.

At this point, we noticed another problem; the neck itself was loose where it joined the body. So we steamed it off the rest of the way and reglued it properly.

Once the neck and body are properly joined, we can move on to leveling the gluing surface between the neck and fretboard materials and gluing the fretboard on again.

With the fretboard in the right spot, there is once again a nut-shelf.

Now we can start cleaning up the messy headstock. We begin by smoothing away the rough globs of paint and glue from the previous work and using a leveling compound to make the surface level and smooth.

We do the same for the back of the headstock – which already makes it look much better.

It’s still an ugly looking repair, but to make sure it would hold, we put strings on and applied even more clamping pressure (to see if it came open.) It surprisingly held fast and strong. So the previous repairman avoids the shutout and manages to at least get this part of his repair right!

After applying some red finish to match the original color, Dan draws in grain lines by hand.Then he shoots clear top-coats of nitrocellulose lacquer, blending it in to the original finish. He does the same for the crack at the neck heel.

For the body crack, we wanted to take a minimal-impact approach. So we used a colored filler to level the area around the break and again sprayed a light coat of nitrocellulose to blend it in.

Once the new nitro finish is cured, we can level and prep the fretboard and hammer in new frets.

Finally, we go back to the crack repairs and distress the new finish to make it look like nothing ever happened.

This classic guitar looks great again and is ready for many more years of music.

The Greco Super Real is one of the more sought-after copies of the Gibson Les Paul. They consistently fetch upwards of $1500 on eBay and in our opinion, outshine many of the more common varieties. It’s got great weight, feel, and sound but the appearance is a little less convincing. The owner of this guitar noticed that it had an orange-hued finish that was clearly not the traditional nitrocellulose lacquer found on Gibson guitars. He asked us to refinish it in nitrocellulose and relic the appearance so that it looks more like a genuine vintage Les Paul.

Those original goldtops got their look from clear lacquer finish applied over bronze powder. Over time, the clear finish would wear thin and ‘check,’  exposing the bronze to arm sweat and the oxygen in the air. As a result, many of these 50+ year old guitars have taken on a greenish appearance in the more heavily worn areas. The Greco’s owner knew this and specifically wanted to see this subtle effect on his guitar – which means simulating fifty years of wear and tear in a brand new finish. You’ll see we were up to the challenge.

The work begins with removing the old finish. It turned out to be two separate color layers between the outer surface and the wood. The top layer peeled off in large flakes.

Once all of the finish is off, the entire body gets sanded smooth and prepped for painting. The mahogany back and neck are coated with pore-filler which levels the surface of the wood and makes the grain really stand out under lacquer.

After a sealer coat, comes a white primer for the top surface. This gives a solid background for the gold color coat.

After gold and clear top-coats, the Greco looks beautiful and new… but not for long!  Now it’s time to scratch, chip, cut, and scrape it so that it takes on the appearance of natural wear and checking without having to wait 50 years.

Working from a photo the owner sent us, we started adding the random-looking dings, dents, and finish checking you’d expect to see on a vintage guitar. When we don’t have photos to work from, we use a 15 point checklist with each point graded for light, medium, and heavy wear to try to deliver what each customer wants. Overall, this one would probably fall into the medium/heavy range.

It’s subtle, but you’ll notice that the checking has the greenish hue we were looking for.

There you have it. Turns out you don’t need 50 actual years to get 50 years of wear!

For a variety of reasons, some folks just prefer old guitars. Maybe it’s the neck, worn smooth by years of handling. Maybe it’s the checked and cracked finish that looks like granddad’s old tube radio. Maybe it’s just the charm of something that’s played some music in its time. Or maybe it’s the fact that vintage guitars’ values are reliably and steadily rising – making them a good investment. But some of us can’t find or afford our real dream guitar. So at Chicago Fret Works, we’ve developed a relic process that will simulate aging in a guitar, giving it the look and feel but not the pricetag of a genuine vintage piece.

In this case, the dream guitar is a 1952 Fender Telecaster; the actual guitar is a 2008 Fender 52 Reissue Hot Rod Tele. That guitar looks something like this when brand new:

The Seymour Duncan mini-humbucker notwithstanding, this guitar is made to the specs of an original 52 Tele, including a nitrocellulose lacquer finish, nickel hardware, maple fretboard, and “ashtray” style bridge. These features make it an ideal candidate for a relic job because we don’t really need to replace any parts or completely refinish the guitar before we get started. A poly-coated guitar with modern chrome hardware can be distressed and banged up, but not with the authentic look of nitro and nickel. (If you’re not sure which variety your guitar is, don’t worry. We’ll help you figure it out.)

Here’s how it looked when we were finished:

What’s the opposite of the Fountain of Youth?… We think we’ve found it here.

This 1956 Les Paul Junior belongs to a friend who, yes, found this guitar in her dad’s closet. But she couldn’t play it because there’s a pretty obvious piece missing: the entire headstock! This isn’t your average reglue job. This will require building a new headstock, replacing the truss rod, and making it look as if nothing ever happened. Read on to see how.

Our friend Laura told us this guitar had been in that closet in this condition for more than 20 years before she brought it to us. She recalled that the headstock had broken off years ago and had been repaired, only to break off again. You can see why; the repairman sawed off the end of the neck, cutting straight through the truss rod and creating a very small and unstable gluing surface that was never going to hold under the tension of guitar strings. One flying leap off the drum riser and it probably popped right off!

Look closely at the angle of that cut. If you can imagine, the string tension was pulling the headstock in a direction that would encourage that glue joint to open up. We’ll be cutting a new angle that points the other direction. This will have the strings pulling the joint closed rather than open.  Before we can do anything else, we’ll have to remove the fretboard. We start by removing the inlay dots and heating the fretboard.

Once the fretboard is off, we removed the remnants of the old truss rod. This took some serious negotiating with rusted metal that had fused itself into the wood over 52 years.

At this point, we need to create a scarf joint (aimed in the right direction this time) and graft on a piece of mahogony from which to carve the new headstock.

Next, a new truss rod is installed that matches the look and function of the original one.

Now it’s time for this angel to get it’s headstock “wings.” Gibson headstocks have 3 pieces of mahogony that are joined together, then shaped by hand to form the profile that’s become so familiar to us.

In the background you can see a 1959 TV yellow Les Paul Jr. we used as a template to match all of the dimensions of a 50’s Gibson headstock. Once the neck shape is correct, we apply stain to match the color of the new wood to that of the old.

Next comes the Gibson logo using a waterslide decal.  Just like the original.

We apply a top coat of traditional nitrocellulose lacquer and distress its appearance to match the original finish on the rest of the guitar. While we were working on this job, the owner found the original tuning machines but with their white plastic buttons dry and crumbling. We replaced the buttons, allowing us to keep and use the vintage tuners.

Vintage Gibson fans will notice that the serial number we stamped does not begin with a “6″ as a 1956 model would have. The truth is, we aren’t trying to fool anyone with this repair. Anyone who knows what to look for will recognize that the headstock is not part of the original guitar. To make up a correct-looking serial number might bring it a little closer to what an original would look like, but it wouldn’t change the fact that the headstock is a replacement. So we decided that since the number could be anything at all, it may as well be Laura’s father’s birthday. It’s just a little tribute to the man who first bought this guitar when he was 20 years old in 1956.

What a great guitar!

If your 1963 Polaris White Gibson SG Junior had a broken headstock, you wouldn’t throw it in the garbage would you?  Well the lucky new owner of this guitar found it sticking out of a Chicago trash can with all of its original parts! He brought it to us to repair, still amazed by his fortune.

After the head shaking and jaw dropping was finished, we got down to making this gorgeous vintage piece look and sound like nothing happened.

While you and I would never throw a guitar like this away, you can certainly understand why someone might have looked at this break and said, “Well, this old guitar is finished. Toss it.” But we’ve seen and repaired worse breaks and we knew we could make it sing again.

First, we glued the pieces together, making sure the fit was precise and that the two sides came together perfectly.

Then we filled the pits and gaps, matched the color on front and back and aged the new paint to blend in with the old. All of the original parts went back on the guitar with a fresh set of strings and… Voila!

If you’re thinking of throwing away your broken 1963 Gibson SG Jr., please contact Chicago Fret Works at (773) 698-6246. We’ll be glad to take it off your hands at no charge.

Sometimes braces come loose inside guitars as they grow old and dry out. When there’s a big circular soundhole to reach through, those repairs are easy enough. But in this guitar’s case, there are a pair of slender F holes and one brace that’s come completely out. The only way to get it glued back into place is to remove the entire back. Doing that to a guitar made in the early 1940’s means opening up a time capsule that hasn’t been seen by anyone since it left the factory.

Here’s the back, separated from the rest of the guitar. We immediately noticed that all of the braces were coming loose so we decided to reglue all of them. Before that, however, take a look around the inside of this guitar.

It’s so cool to see the plane, pencil, and chisel marks left by the builder at the Gibson factory who carved the inside of the top. You’ll notice that the top braces aren’t placed symmetrically. If it were a newer guitar one might think this was a scientific attempt at getting the bass or treble side to vibrate at a different frequency, but the truth probably is that they just fit best in these positions and someone wanted to get this guitar completed so they could move on to the next one.

One by one, we removed the old braces, cleaned the glue joint areas, and glued them back into place.

Then it was time to put it all back together. We like to fit the clamps without glue, then lay them out in order so we can get them tight before the glue starts setting.

After the box is glued up we re-attach the original binding,..

…lightly touch up the repair area,..

…then string it up and give it a strum. This guitar sounds as great as it looks.

While Fender makes the truss rod true to the period, some of the other treatments these guitars receive at the factory are different from the original. So we took more authentic hardware and parts and distressed them to look like they are 45 years old. Then we completely removed the factory poly finish and applied a more authentic lacquer finish in Sonic Blue.

Notice the bit of red peeking through on the upper arm area? That’s not a mistake. Occasionally in the 50’s and 60’s the factory would be unhappy with a finish job in one color and so re-finish it in another. After years of wear, the original color starts to peek through.

After drying, the finish gets distressed as well and here we are with a guitar that has the true look and feel of a ‘62 Strat, but without the $40,000 price tag.

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