You’ll find a new page on our website starting today, titled “Guitar Recycling.” It marks the beginning of a new endeavor here at Chicago Fret Works. We’ll be accepting donated guitars, basses, or other musical equipment (in working or near-working condition please) for Chicago’s own Intonation Music Workshop. We’ll clean them up, restring them, and pass them on. When you think about it, every time you repair a guitar (or anything else,) you’re recycling and reusing.  But this is even more exciting; you can put your under- or un-used instrument back to work making music and help out some great kids at the same time.

To quote our own most recent blog post, guitars are meant to be played and enjoyed. And here’s another truth; not everyone can afford to take up our favorite past-time.  If you’ve got an instrument that you don’t use anymore, how about putting it back to use and donating it to the kids at

Intonation Music Workshop!

Click here for a nice video story about this project from Northwestern University/Medill News Service.

Guitars are meant to be played and enjoyed, so it always makes us smile to see one that has clearly been doing just that. This 1957 Martin 000-18 wouldn’t color its hair to hide the gray; it wears its age proudly.  So we put away the airbrush and the buffing wheel  and focused on getting it structurally stable and playing better than ever. It took a neck reset, refret, and some sealing of cracks to get it there, but the results were worth the effort.

The cracks on the sides are pretty severe. It will take some patching and, okay maybe a little touch-up to get them stable.

Here, Dan gets the side pieces to fit together perfectly before gluing and clamping them back together.

He fills the larger gaps with mahogony and colored epoxy, then files it level.

Some stain and grain lines were enough to make these patches look like they belong.

Next it’s on to the neck reset. This is a well-known and well-documented procedure where the neck is removed from the body and the dovetail joint is re-shaped to achieve correct playing action. More than 50 years of steel strings pulling on the neck has compressed the wood inside the joint and made the strings sit unbearably high.

Not every guitar is worth the trouble and expense involved in a neck reset, but a Martin holds its value very well. Even one that looks old and worn out like this is a no-brainer for this job.

First we use an electric heating element to soften the glue under the fretboard tongue.

Once the tongue is loose from the body, we drill 2 small access holes through a fret slot and inject steam from an espresso maker to loosen the glue inside – the second hole provides a route for the steam to escape. The wooden jig helps push the neck out of the dovetail joint once it comes loose.

Once the neck is off, we quickly remove the old glue residue from both the neck and body before it hardens and prepare both the neck pocket and the neck heel for resetting.

Dan uses a razor sharp chisel to remove tiny layers of mahogany from the neck heel. Then to really zero it in, he pulls strips of sandpaper to make tiny adjustments until the angle is just right.

We like to say that baseball is called a “game of inches” and guitar repair is a game of thousandths of an inch. Each pull of sandpaper changes the angle ever so slightly; so he counts how many pulls he does on one side of the neck heel, then does the same number of pulls on the other side.

When the neck angle is just right, it gets firmly clamped and glued back into place. When the glue is set, it’s time to replace the old frets.

To soften any glue inside the fret slots, Dan heats each fret with a modified soldering iron and carefully pulls it out.

Once the frets are out, he uses a carpenters level and adhesive sandpaper to level the fret board.

Next he cuts each new fret and hammers it home.

The new frets have to be trimmed, shaped, and leveled before polishing.

Since the new frets sit slightly taller than the old worn ones, we made a new bone nut. This lets the strings clear the fret tops without buzzing.

The improved neck angle allows us to get the playing action perfect, with enough saddle left for adjustments over the coming years.

A neck-reset can effectively give an old guitar like this a new life, promising many more years of music. It would have been a shame to hang this guitar on the wall when that 50 year old wood makes such a sweet sound!

When this Kel Kroydon  arrived in our shop, it was suffering from a case of excessive relief, or “front-bow” where the tension of the steel strings has pulled the wood into a slightly curved shape. With most modern guitars, this condition is easily corrected by a turn of the truss rod. However a guitar like this one,  made between 1931 and 1933, doesn’t have a truss rod. So we have to pull the frets and re-level the fretboard to ensure great action and clear-sounding notes.

Upon closer inspection, we realized that this guitar has been re-fretted before and that the tongue is now pretty thin. Most fret-boards need to be leveled before the frets are installed but the shop that did this last one just went a little far. Now the board is just deep enough for the fret tang to grab so we’ll be careful not to overdo it!

We start by heating and carefully removing the old frets. Heating the wire softens any glue that may be holding it in place.

Next we stabilize the neck on a jig and level the fretboard. Here, Dan is using adhesive sandpaper on a carpenters’ level to keep the playing surface perfectly even. He’s taking special care to keep this step to a minimum since it’s already been leveled very thin. There’s several layers of blue tape protecting the top shoulders of the guitar from the sandpaper.

After cleaning the board and each slot, he hammers in the new frets.

Then he trims the leftover fret-wire and uses a file to smooth and slightly bevel the edges.

Finally, he shapes and polishes each fret to a mirror shine.

With a fresh set of strings, the action is just right.

A quick strum proved that this small guitar, very lightweight in its construction, is as loud and clear sounding as many larger instruments. It’s a fingerpicker’s dream!

We have a love/hate relationship with Facebook around Chicago Fret Works. But one of the great things about the site is how it helps old friends reconnect. In this case, the two old friends are a 1978 Washburn Falcon and its original owner.  It’s one of those “I never should have sold that guitar” stories that actually has a happy ending.

The Falcon was one of Washburn’s best electric guitar models with a neck-through-body design and a very comfortable back contour that helps for playing notes up high on the fretboard.The owner of this guitar bought it new in 1978 (looking something like the one below,) but sold it a few years later -a move he came to regret. It wound up in the hands of a touring professional who traveled the world with it for many years.

Fast forward to 2010, and the age of online social networking. The two men found each other on Facebook and decided the guitar needed to be back in the hands of its original owner. It arrived in our shop with a new candy-apple red finish job,  missing some of its old parts,  and in need of some TLC. But there was no mistaking that it was the same guitar in the same original case!

We installed a set of Lollar Imperial humbuckers, a set of Graphtech string saver saddles, a Black Tusq nut, and put it all back together.

Note that previously mentioned back contour above, along with a custom made clear plexiglass cavity cover (a removable protective film makes it looks a little cloudy.) The owner wanted to be able to see the ‘guts’ of his guitar.

This old Falcon looks and sounds terrific, but the best part for us was helping reunite a player and his favorite guitar after so many years.

Here’s a project with humble beginnings that grew into a full vintage restoration. The owner picked up this very old Epiphone Devon at an estate sale (along with several other groan-worthy items I won’t even tell you about.) It had been rather sloppily stripped and refinished and the binding had entirely peeled off. Initially, we planned only to add the binding to the body and unfortunately didn’t bother to take pictures. So the photos here begin after the new binding was already in place, when the owner decided he’d like it completely refinished to look like it did originally. It was a good decision.

Here, Dan prepares the body for finishing. The previous finish job was topped off with some white paint or nail polish inside the F-holes, an apparent attempt to make the holes look bound. Based on some good photos of a Devon in its original condition, we decided to clean off the white paint and leave them unbound. After sanding away the old shellac or varnish, Dan sprays a sealer coat, taping off the fretboard.

Next comes the sunburst on the top. Below, he scrapes the dark brown finish off the white binding by hand.

Then full darkening of the back and sides and a vintage amber top-coat.

Once finishing is complete, the new binding blends in and looks beautiful.

The final product fully assembled.

Originally, a Devon would have had a thick and fully-bound tortoise-shell pickguard. Since a hand-made bound guard would have cost $300-400, we opted for a more affordable 3 ply tortoise reproduction. The shape is right and the white middle layer gives a satisfactory illusion of binding.

The original tailpiece and bridge and some period tuners made the whole thing look just right.  The thin lacquer finish helps bring out this guitar’s full, rich tone. A real beauty.

Somewhere along the line, this Tele was modded with a Bigsby and a wide-range humbucker. The current owner liked the guitar overall, but not the sound of the neck pickup. So we installed a Lollar Special T in the bridge position and a Lollar Imperial humbucker in the neck position. Because of the smaller size of the new neck pickup, we mounted it in a chrome pickup bezel and it looks great. I find it hard to look away from this orange soda/dreamsicle-looking guitar.

We had a couple of unusual projects recently that required some creative work with color. The owners of both this 70’s Fender Precision Bass and a modern Gibson SG knew they wanted to refinish their instruments, but wanted to do something a little more unique than just choosing a standard Fender or Gibson color.  Interestingly, both ended up with colors more reminiscent of  vehicles than other musical instruments.

The bass started out with a stripped body. It was a Precision Bass that had been routed at one time for an EMG Jazz pickup and a battery compartment on the back.  We filled both routs  and sanded them smooth to fit the texture of the rest of the body.

For our custom color, we improvised a sort of ‘Granny Smith’ flavored candy apple. It looked a little odd to the two of us on a color sample stick, but our customer loved it and said to use it. By the time it was put together with the original pickguard, pickups, and a new Leo Quann Badass 2 bridge, we were totally convinced he was right. It received a unanimous thumbs up from all parties. It matched perfectly with an owl strap from Chicago-based Souldier Straps.

After staring at this bass for a while, we figured out what it reminded us of:

A 1973 Honda CB500!

Next up is a late model Gibson SG that came in almost completely stripped of it’s original cherry finish.

The owner has a vast collection of green guitars and wanted this one to join that group. He asked us to match the color on a dark metallic-green pool cue and to inlay stars for the fretboard markers.  The new inlays required removing the frets so we could eventually smooth and level the entire fretboard.

Next we prepped the mahogany body for finishing by removing all the old paint and applying grain filler to the pores. This will insure that even a very porous wood like mahogany will have the smooth-as-glass surface look that we want.

After matching that green pool cue’s color and applying top coats of nitro, this SG is uniquely beautiful. Check it out.

So where did we find that killer racing green finish? From Porsche!

This is never how you want your Martin to look. But if your headstock does break off, you’d like to at least see a long break like this one with plenty of lateral gluing surface. Modern wood glues work their way into the pores of the wood, fusing them together again with incredible strength. Some repair shops take the approach of cutting away some of the wood and inlaying a dowel or a new piece to splice the two sides together. There are times when this is called for, but we try to avoid such measures whenever possible because it breaks and cuts even more of the wood fibers. If it ain’t broke don’t break it!

Before applying any glue, we used molding plastic to create a protective caul that fit the exact shape of the headstock. This will keep the clamps from crushing the neck while still applying enough pressure to actually heal the break. Once we have a perfect fit, we apply the glue and clamp it back up.

After the glue is dry and the clamps are off, we apply a small amount of colored finish over the break line. Then we carefully draw in dark grain lines to blend in with the rest of the neck.

The break is now completely invisible…

…and strong as nails. We guarantee this repair will hold until the next time it gets dropped and hits the ground (hopefully never again!)

Chicago winters kill guitars. The weather gets dry and cold, so we turn on our furnaces – drying out the air in our homes even further. Many will see their indoor relative humidity drop below 20% . That’s 25-30% lower than the factories where guitars are made and the wood just doesn’t like it. Like the skin on our fingertips and the seams on our hardwood floors, dry guitars can split open without ever being dropped or otherwise mishandled. Other symptoms we see include:

• rough fret ends that stick out past the edge of a fretboard
• loose bridges and braces
• loose neck joints
• separations along the many glue joints that hold a guitar together
• dramatic changes in playing ‘action’

So what can you do to prevent costly repairs to these problems? There’s so many choices hanging in guitar stores that it can be hard to tell which one to buy. We may kick ourselves for giving away the secrets that keep us in business – but here’s a look at the products that will best help you keep your guitar healthy and happy this winter. You’ll also find a simple formula for how to effectively use them.

We’ve heard some interesting home remedies over the years – from leaving a baggie with a wet sponge in a guitar case to putting an apple or potato inside a case (NOT recommended by these two technicians.) And we’ve seen lots of products too -from film canister size humidifiers with clay inside to rubber tubes with a sponge inside to space-age devices that  can offer protection for months. When selecting products to carry here at Chicago Fret Works, we applied the lessons we’ve learned over the years and chosen these winners:

Best Choice For Acoustic Guitars – Planet Waves Humidipak*

($30) We were thrilled when Planet Waves (D’addario) recently re-released the Humidipak for guitars.  It utilizes sophisticated modern technology for a low-maintenance, long-term solution to keeping fine acoustic guitars properly humidified. Three removable packets hang in black mesh pockets (two for the soundhole and one for behind the headstock,) releasing just enough moisture to keep the inside of your guitar case at 48% for 3-4 months. The moisture is all in those packets – no need for constant refilling with water. Read more about it at www.planetwaves.com . While you’re there, be sure to check out the video of Bob Taylor from Taylor Guitars to see what he thinks.

*Planet Waves did recall this product twice in the past few years for design flaws. They’ve spent lots of time and money eliminating those problems and are releasing it now, confident that it is finally ready for prime-time. More on that subject here.

Runner-up Choice for Acoustic Guitars – Oasis

($20) We really like these humidifiers. They hold enough distilled water to last from one to two weeks without needing to be refilled. Special crystals inside expand into a super absorbent paste that should be replaced each year (replacement kits are available at CFW for $6.) One advantage Oasis holds over every other product is that it will tell you when it’s time to refill by collapsing into a raisin-like appearance that says “Yo! Gettin’ a little dry over here!”

For the tight budget – Planet Waves Humidifier

($8) If you play your guitar every day or two and don’t mind refilling a sponge that often, Planet Waves’ original guitar humidifier is the least expensive option. It’ll work as well as the others but will need more attention.

Humidifying F-hole guitars on a budget

($8) Finally, we do keep a few of the old-style tube humidifiers for guitars and mandolins that have F-holes or for those who just like this style. Fill them up every one to two days.

The Recipe For Keeping A Guitar Properly Humidified:

• A FULL humidifer
• Inside the guitar
• Inside the case   (NOT hanging on the wall or on a stand.)
• From October through April (or as long as the heat is on in your home)

…Or let it go and come see us in the spring for the best structural repairs anywhere!

A favorite customer and friend of ours came in with his father to get a little work done on dad’s travel guitar.  Some of the tuning gears had been stripped to Bits and Pieces so we installed a new set and strung it up. Dad, as it turns out, is Leonard “Lenny” Davidson of The Dave Clark Five. He was kind enough to tell some great stories of playing alongside a 14 year old Jimmy Page, of playing The Ed Sullivan Show and Carnegie Hall, and of a ‘61 Strat he kind of wishes he hadn’t sold for 70 pounds. The DC5 were inducted into the Rock N Roll Hall of Fame in 2008 and here’s some excellent video of that night.  Thanks for the visit and for snapping a picture with us.