J50 acoustic

[bobouz]

As mentioned I really dig my plastic/porcelain J-45 - which by the way has an immaculate original bridge-plate in place.

Yes, likewise, the plastic bridge, adjustable ceramic saddle, and bridgeplate on my '66 Epi Cortez are also in perfect original condition. Hard to believe this can be true after 50+ years, but it is indeed.

 

In the OP's particular case, I think the repairperson's decision to do a rosewood bridge & retain the adjustable saddle is a very good one, given that structural damage had already occurred & needed to be stabilized.

 

Each guitar from this era needs to be assessed individually, given whatever set of circumstances are present - and then proceed to retain originality while accounting for structural integrity. Sometimes it ends up being a bit of a balancing act.

[jugheadjr]

The plastic-idea was introduced in '62, but not many from then has it. 1963 was the Year of Plast, , , , hollow plast, belive it or not, , ,

but plastic was hot then and some thought it could safe the world (wonder when the first plastic flowers were seen).

In '64 they began to fade and most 64'ers have rosewood again. Still a LG-0 from '65 I know has plast.

 

You deserve to know that this is the most controversial and scorned concept in the entire realm of acoustic instruments.

Therefore it's so exciting to actually investigate and talk about it.

We've been doin' that a lot in previous threads - perhaps you should look them up.

 

McCartney's Yesterday was done on a plastic bridge/ceramic saddle combo. So was some of the legendary Stones stuff.

Paradox is that many people shot down the plastic bridges while raising (the acoustic sound on) these tunes to holy grails - reality is funny and sometimes quite silly that way.

 

As mentioned I really dig my plastic/porcelain J-45 - which by the way has an immaculate original bridge-plate in place.

 

If beginning to study, you'll find that Bozeman in certain occasions within the recent years has returned to the adjustable bridges - however with tusq saddles.

And in rosewood. The plastic is still a hermetically closed taboo. .

 

Thanks for the info. I've learned a lot the past few days.

[tpbiii]

Oh boy, this photo perfectly illustrates what I had mentioned regarding the string's ball ends being improperly seated & essentially resting & pulling directly on the spruce top (after digging through the bridgeplate).

 

This is the worst case scenario for the plastic bridge set up, as you don't even have the strength of a glued on bridge to absorb some of the pull from the strings. When the top has to absorb the brunt of the burden, lifting & cracks can develop directly south of the bridge pin holes.

 

This guitar desperately needs a new bridgeplate, or at least one of those metal bridgeplate-mate setups as a stopgap measure.

 

That is an old picture -- it is now fixed. Current thinking involves filling the holes individually and reforming. That is what was done here.

 

Best,

 

-Tom

[E-minor7]

Yes, likewise, the plastic bridge, adjustable ceramic saddle, and bridgeplate on my '66 Epi Cortez are also in perfect original condition. Hard to believe this can be true after 50+ years, but it is indeed.

 

In the OP's particular case, I think the repairperson's decision to do a rosewood bridge & retain the adjustable saddle is a very good one, given that structural damage had already occurred & needed to be stabilized.

 

Each guitar from this era needs to be assessed individually, given whatever set of circumstances are present - and then proceed to retain originality while accounting for structural integrity. Sometimes it ends up being a bit of a balancing act.

Agree ^ the originally plastic bridged SJ in my avatar now has a rosewood replacement.

But like Mr. Threadhosts, it still features the original ceramic saddle. The plate is new as well.

This was done before I got it over 7 years ago and I seriously believe it took some time to warm the new components up.

Especially the G-string sounded cheapish hollow, but over time things began to melt'n'merge.

Could be the whole guitar was in deep sleep and if yes, I insisted to play it back to life.

Don't think it had been touched for ages when it landed here - in all modesty a nice nest for this coool beauty.

 

Here seen with a custom made double saddle insert.

 

1963 ~