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Everything posted by robbo25

  1. thanks, Bigtim. Got it. Is it the same basic idea for sound files? Cheers, Rob
  2. Hi, here are a couple of photos of the final result, along with a couple of reminders of how it came to me. Thanks to Drathbun and Zombywoof for advice on how to post photos. I probably should mention that what looks like a huge crack in the last photo is just a reflection (honestly). Also, as predicted by members of this forum, it's really loud! Cheers Rob
  3. thanks, Drathbun, I was just trying to attach a file and was told I had 'Used 475.37K of your 500K global upload quota (Max. single file size: 24.63K'. I didn't know there was a different way to post photos. I'll give it a try. ROb
  4. Mine is square shouldered, but I'm told that the serial number indicates early 1963, before they changed the bracing pattern. Still waiting for a response on how to get my photos up (I'm at my limit and I can't work out how to delete ones from earlier in the thread to free up space).
  5. Hi Can anyone advise how to upload when one is near exceeding one's file upload allocation? I looked back at an earlier post with a view to deleting some files and freeing space, but I can't work out how to do it. All advice gratefully received. Cheer, Rob
  6. Hi All Well, a few of you may remember that my wife bought me a junked Gibson B45 12 string as a birthay present. Finally, finished the refurb today (I was doing other things as well, by the way), so I thought I woul update you and post a final pic. I seem to have run out of pic space on this thread, so I willl start a new thread called B45 12 string refurb revisited and see if I can post pics on there. Otherwise I'll ask the administrator for help.Many thanks to members of the forum who were helpful with advice and sourcing. The guitar was retopped and bound. I used a mix of pale and garnet shellac as an undercoat to try and recreate a somewhat aged look, but the actual finish is General Finishes High Performance Top Coat, as I don't spray and try and minimise exposure to solvents for health reasons. I made no attempt to get out any of the dings or checking in the back andd sides, but just stabilsed the cracks. The bridge is made in emulation of a couple I saw on the web and the tailpiece is sourced from Roberto Brandoni in London. It is not a Gibson tailpiece. The scratchplate was made for me by Taylor Mullins, who was recommended by someone on this forum and did a great job. Originally, I was going to sell it on, but in the end I decided to make it as a lefty and keep it! Sounds pretty good, but I'm still undecided as to whether to leave it with Martin10s at standard pitch or up the string gauge and go down a tone. There is quite a bit of relief but I'm not going to do anything about that till I make a decision on string gauge. Looking back, I believe I overbuilt the top compared with the original, but I was erring on the side of caution given its histpry. Thanks once again to all who helped out. Cheers Rob
  7. I'm about to start work on this project. First stage will be refixing loose back braces. Second will be determining neck angle. Essentially, the heel block has come away from the back of the guitar and is flapping around! The neck is completely tightly attached to the ribs. I propose to make a dummy top of the proposed thickness (I'm looking a 0.5mm thicker than a 6 string)and then shim the block with shims till the fingerboard is at appropriate angle to give the correct height,above the bridge/saddle (will use the current bridge and a dummy saddle to determine this. The construct a single mahogany shim of the apporoiate size and profile to go between the block and the back. I will then construct the actual top and brace it. I propose to brace more or less as a 6 string with 5/15 wide bracing non-calloped, but possibly parabolic. Basically, I aming to get as close to the 1963 confifuration (this is '63 instrument) withouth having the thing collapse. To this end I envisage using a non-pin bridge wih tailpiece (although I am still scavenging fo views on the comparative merits of the different bridge configuration types. Does anyone have any comments on my proposed approach establishing the correct neck geometry and to bracing, and/or further advice? Thanks, all
  8. I used these in the 70s, mainly because they were cheap and good for the money. I didn't know they were still going. Definitely worth trying again!
  9. Hi Zombywoof. That's what I thought about the bracing in that video. I probably won't bother to contact those guys now. I don't want to end up repeating the exact tactic Gibson used if that led to a diminution in responsiveness. I'm thinking regular 6 string bracing but un-scalloped. I looked at an old book I have by David Russell Young in which he adds a transverse brace crosslapped into the lower bouts of both the x braces. Unfortunately, his guitars were well known for being quite overbuilt. Anyone know of a good source of 12 string bracing information? Cheers Rob
  10. I think he gets that a lot. Bob Dylan's Dream (age 22), Boots of Spanish leather (age 23), Lay down Your Weary Tune (age 22), Hard Rain (age 22), and so on and so forth.
  11. Hmm. Looks like the fox has been at the henhouse. I came across this thread elsewhere on this forum: http://forum.gibson.com/index.php?/topic/138142-another-warning/
  12. Ok. A friend of mine recommended Paul Fox to me, but actually, when I contacted him he came back saying he couldn't do what I wanted, which was a bit of a surprise. I haven't got on to terrapin yet, but looking at their site they look like they will basically do more than Fox at a much better price.
  13. Well, well. Thanks, Nick
  14. Hi Zombywoof and thanks for that impressive info. I certainly wouldn't have known the date from the headstock detail, and it is nice to know that it is 'right'. The bracing sounds rather frightening and I'm not surprised so many caved in. Must have sounded wonderful though. In terms of what I do, I think it is important to strike a balance. For example, I've seen an extensive youtube clip of a repairman (English, actually, so I'll be on at him) retopping a B45 12 with extra braces running alongside the lower bout parts of the x braces & not much scalloping. I'm sure it'll hold together, but it looks like a sound killer. I'm going to try and find out where he got his info to make that bracing pattern, but I can't see going down that route would be right. About the bridges, I have seen both pin and tailpiece bridges with non-adjustable saddles on auctions sites since I got mine, but most of them were later '60s and '70s. Of course they could also be retro fits. Also, a lot seem to have the belly at the back, like Martin do. Maybe they aren't right or this was a later approach? Regarding pickguards, I found Fox guitars who specialise in retro pickguard copies. $60 ish seems like a lot, but if all goes well, it will be worth it. Incidentally, I am sure you are right on the money with the 'less stress' suggestion regarding tailpieces. With a tailpiece, all the force is downwards onto the bridge, whereas with a pin bridge there is torque back and forth on the bridge, resulting in the twisting you note. Thanks again for your help. Cheers Rob
  15. Interesting. So that just leaves the problem of bridge lifting. However, I have also read several accounts of tailpieces being ripped out. Food for thought.
  16. J45Nick and Bassetman Thanks for your support. Nick, I am conflicted about adjustable saddles generally, as, in theory, they should lead to bad transmission from the strings to the top because a) there are only two small points of contact between saddle and top (the adjustment screw bearing points) and B) there is no opportunity for the whole bridge to transmit vibrations, as there is with a well-fitting fixed position saddle. On the other hand, in practice I had two guitars in the past with adjustable saddle and they both had great sound. I should have mentioned that, as I am left handed and intend to repair this guitar for left hand playing, I would be making any bridge from scratch, including an adjustable one. A few lefties were made of this model, I believe. As to the wedges, they look like the result of a reset which chewed up the dovetail. There have been further wedges stuck to the outside of the block, but these are just hanging on. Finally, I think you are right on the money with the fingerboard. A very thinly planed EIR board beneath the original sounds a great way to go. Good call on the top bracing. Apparently the early slope shoulder B45s (1961) had scalloped bracing, but probabably not the square shoulder ones, which also had extra braces running parallel to the X braces. Also the braces supplied have very extreme scallops. I'll probably save them for another project and go with either less pronounced scallops or some sort of parabolic bracing. Thanks for the input
  17. Hi Jalex Indeed I am - about 30 miles away. In fact, my next door neighbour has 2 Brook guitars (a regular 6 string and a baritone). Both are excellent and Brook use native UK timbers or reclaimed where possible. Cheers
  18. Hi I'm retired and an amateur guitar maker. So here is my next project. I got this guitar from ebay at £170. The serial number puts it at 1963. It is as you see in the photos attached (no top, fingerboard chopped off at fret 12 and also lifting, probably as a result of an abortive attempt to remove the rest of it) with a couple of extra difficulties, which I will describe: No adjustable saddle for the bridge (I believe this guitar was made in 3 conformations: adjustable saddle, pin bridge; fixed saddle, pin bridge; bridge plus tailpiece); several back braces loose; several cracks in the back (possibly with amateur repair attempts); top block detached from back of guitar; some bowing in of sides around the neck/top block area. On the plus side, the seller has sourced and included the necessary bindings and bracings from StewMac (these alone would cost about £50). A very exciting and extensive project. I've taken the first step by buying a torrified spruce top (£70), recommended by someone on a guitar makers' forum I'm a member of. I do have some Gibson specific questions which I hope members will wade in and help with. Given the extent of the repairs necessary, I'm presuming this guitar isn't collectable, but I would like to retain as much of the original fabric as possible. With that in mind, should I keep it as an adjustable saddle, pin bridge configuration, or do you all have any thoughts about the comparative merits of fixed saddle, pin bridge and bridge plus tailpiece? Second, the scratch plate is long gone. Were any B45 12s made without a scratchplate (I'm guessing not), and if not, does anyone know of a source of replacements? Finally, the fingerboard is rosewood (although someone has painted over it rather crudely in black!), and since the spec for B45 12s fingerboards of this era is Brazilian, I would naturally like to preserve it. The cleanup and likely refret doesn't disturb me (although the f'board itself is very thin), but does anyone have experience of re-fixing a fingerboard which has been cut in this way (I have both the pieces...). Sorry for the long post, but thanks in advance for any help, thoughts or just good luck wishes you may have. Cheers Rob
  19. Hi I'm Rob from Honiton in Devon, and I just joined and introduced myself on the general forum, but I'll be spending most of my time here, as I just bought a junked B45 12 string, which I will be repairing. I'm confident enough about the repair side, but really hoping forum members will help out with Gibson specific knowledge. I'll be posting info about the guitar directly as a separate topic. Cheers Rob
  20. Hi Everyone I'm Rob from Honiton in Devon and have just joined the forum. I'm retired and an amateur guitar maker. I just got a junked B45 12 from ebay (no top, fretboard hacked off at 12th fret, adjustable saddle missing) and looking forward to getting started on bringing it bavk to life. I'll be asking members on the acoustic forum for advice! Cheers Rob
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