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The re-necked Country Western


E-minor7

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In 2010 I purchased a modified 1966 Country Western.

It had suffered a crack around 1970 and had been re-topped approx 10 years later on the Gibson plant by a colleague to the seller who worked in the mandolin-section then.

 

However the bargain suffered a crack too when I received the guitar and discovered it had the narrow nut.

Seller had read the vague printed serial # as 1964 (1-11/16) it was in fact a 1966 (1-9/16).

Won't go into details about this quarrel as the incident is to be found elsewhere on this Board - instead I'll try to focus on the positive.

As it was clear the thing was unplayable, I began searching for a another neck and was lucky enough to find a well preserved leftover from a J-1000 on the Bay x-mas eve of 2011.

This treasure had very nice diamond inlays, the truss rod worked and the bindings were yellowed like the old CW itself. BUT, , , was a long scale piece of wood !

 

Contacted my luthier and presented the situation and after a few glances (and a bottle of brown rum) he felt ready and willing to take on the job.

Exactly 2 years ago - in the for-summer of 12 - the guitar was ready. Trembling with expectations, my excitement went through the roof the evening I opened the case.

Picked it up in a trance - It sounded louder and strangely enough had a bit less raw trebs. The guitar had gained both volume and in some way sweetness. And I loved it -

It was stiffer and obviouly needed to be played in, but all in all the result was highly satisfying. Have played it a lot. . .

 

A few weeks back I carved an old-vase-ivory saddle to make it even sweeter and since I got it back the bridge has been dyed darker and the top matt-sanded (it was far too glossy from the 1980 restoration). Original chrome 1966 oval tuners are moved over and roll like oil.

 

I know I been talking a lot about this guitar and now was the time for some pictures.

Sharp eyes will notice the soundhole was moved closer to the bridge when re-topped (can be seen on the custom p-guard) -

 

, , , and don't overlook the ingraved silver tr-cover made by a vintage deadhead somewhere in Great Britain.

 

After the first modification ~ The1966CWbeforeneck-change.jpg (when I got it)

 

After the second in 2012 ~ The1966CWafterneckchange.jpg

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I am not sure I would have undertaken all this with a re-topped 1960s guitar so kudos to you. You may just take first prize for the Frankengibson of the year.

 

The reference to moving the soundhole is confusing. You can enlarge a soundhole but move the thing? I would assume you would have to reposition the bridge and bridge plate to accomodate the longer scale (much as Gibson did in 1958 with the first Epis which were basically a long scale Epi neck on a J-50 body).

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Very nice, Em7!

 

So it is nice to play now?

 

 

I was considering the same treatment for my 37 L-0, but I would want to have a similar neck to the original model...(short scale). Guitar sounds great but lots of work needed!

 

 

L-0Neck08a_zps98ba4038.jpg

 

 

BluesKing777.

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Z'Woof: recall this part of the tale:

 

... the soundhole was moved closer to the bridge when re-topped (can be seen on the custom p-guard) -

 

 

 

I suppose, then, that a completely new top was made for this guitar, c. 1980 (?).

 

 

But- so now; your Country Western is a long scale, yes? This, among the many other major changes that this guitar has seen, may have something to do with your observations regarding tone and volume (?). Also- the sound of many (most?) recently neck-reset guitars needs time to calm down. Yours has seen that, and more. Wouldn't mind a little sound clip sometime.

 

Photos below- Emin7's on the left, and a 1966 Country Western that Steve Swan had, to the right (for sound hole placement comparison, etc, if you wish). Sporting one of the cooler soundhole labels, btw:

 

ScreenShot2014-06-02at81018PM_zpseb36ef98.png

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Well, going to the long scale could make this a very interesting guitar. I'm pretty sure that a fair number of the square-dread Gibbies in that period (or a little later) were long-scale in any case.

 

I like this a lot, and would like to hear some sound clips in your great, inimitable styling.

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Yes, the sound-hole was cut to the south by the luthier who replaced the top around 1980.

The reason I went for the guitar in the first place was the fact that a colleague had done the job for the original owner.

A friend or colleague would make something extra, wouldn't he. Surely the modification was seen on the tag too.

Actually proved to be very well crafted. Slightly thicker, but rounder nicely shaped absolutely intact braces. But as said, way too glossy.

Of course I checked if the rosette was right for Gibson at the time as some sort of guarantee. It was, which means 3 rings opposed to 2.

 

My luthier suggested we kept the 1980 bridge where it was, but moved the saddle back towards the pins.

It works fine - and yes, the guitar can be played now, , , I love the sound which is still very much Gibson, but with a minor twist.

In fact it sounds a lot like what it is - a long scale louder Gibson square.

 

Btw. the new neck was bolted on and I believe it's still learning to swing with the rest of the woods.

 

So a Frankenstein, , , yes ideed - but I gladly kiss it now and then after playing. .

 

 

 

 

 

 

 

 

 

@Nick - it can be heard on my version of Joni M's River from last x-mas. It's on SoundCloud.

 

This is before the old-vase-ivory saddle and with newly boiled '12-strings.

 

https://soundcloud.c...beach/the-river

 

 

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Photos below- Emin7's on the left, and a 1966 Country Western that Steve Swan had, to the right (for sound hole placement comparison, etc, if you wish).

 

Maybe you should have made the sound-hole comparison between the Steve Swan 1966 and the first-neck-shot of mine -

 

Here's a pic of a third

 

http://www.vintagean...51/original.jpg

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