lcjones Posted February 4 Share Posted February 4 Folks, I have a '66 B45-12 with adj rosewood saddle and trapeze and it has pretty high action. I'm trying to find the fret board plane to the bridge on a normal B45-12 with same rosewood saddle and trapeze. If someone would have the time and inclination, I would request a pic showing a straight edge on the fret board to the bridge/saddle. I'm looking to see if the fret board is aligned even on the top of the bridge or if it aligns higher on to the rosewood saddle. Thanks and appreciation for taking the time. Chap Quote Link to comment Share on other sites More sharing options...
ksdaddy Posted February 5 Share Posted February 5 If I can round up something decent for a straightedge that's "just the right length" I will accomodate. Quote Link to comment Share on other sites More sharing options...
lcjones Posted February 5 Author Share Posted February 5 9 hours ago, ksdaddy said: If I can round up something decent for a straightedge that's "just the right length" I will accomodate. Thank you kindly. Quote Link to comment Share on other sites More sharing options...
ksdaddy Posted February 6 Share Posted February 6 The closest I could come to a reliable straightedge was a 24" square. I think it's close enough. The square clears the top of the bridge (not saddle) by between 1/16" and 1/8". Ideally the straightedge would be lightly touching the top of the bridge. This one's top might be sunken just a tiny bit, which is typical of a trapeze tailpiece setup. This is a 1969 B45-12. 1 Quote Link to comment Share on other sites More sharing options...
lcjones Posted February 6 Author Share Posted February 6 12 hours ago, ksdaddy said: The closest I could come to a reliable straightedge was a 24" square. I think it's close enough. The square clears the top of the bridge (not saddle) by between 1/16" and 1/8". Ideally the straightedge would be lightly touching the top of the bridge. This one's top might be sunken just a tiny bit, which is typical of a trapeze tailpiece setup. This is a 1969 B45-12. ksdaddy, Thank you very much, The photos help me quite a bit. Is your action fairly low? Seems it would be if the top has dropped around the bridge area. Is that a ceramic or a bone saddle? Quote Link to comment Share on other sites More sharing options...
lcjones Posted February 6 Author Share Posted February 6 Long story short.... I bought the B45 knowing it had high action. The seller said it needed a neck reset. As an experiment, and rather than a traditional neck reset, I have steamed the top using the John Miner method (search John Miner Luthier on Youtube). And frankly, it worked. However, I believe I didn't angle the neck just right. So I believe I'll steam her again. Before steaming ............ During steamings ..... After steaming ...... Quote Link to comment Share on other sites More sharing options...
zombywoof Posted February 6 Share Posted February 6 I am no expert having only owned two B45-12s - a '63 and a '61 (which I still play). Both sported tailpieces but are a different beast than yours having been built before Gibson started going with heavier bracing in late-1964. These guitars though were particularly prone to top deformation if you did not keep them tuned down at least one whole step. I have always erred on the side of caution and tuned down 1 1/2 steps. There is some distortion on my '61 around the soundhole. At some point, somebody had attempted to deal with it by beefing up the soundhole bracing. Apparently, it worked as the top has remained stable. Quote Link to comment Share on other sites More sharing options...
ksdaddy Posted February 6 Share Posted February 6 6 hours ago, lcjones said: ksdaddy, Thank you very much, The photos help me quite a bit. Is your action fairly low? Seems it would be if the top has dropped around the bridge area. Is that a ceramic or a bone saddle? The action is fairly low. There is a possibility the neck has been reset on this one. It’s not 100% clear to me but the finish at the neck joint area raises my suspicions. Whoever did it, did an amazing job, I’ve just been known to use a jewelers loupe. I could fire up the blacklight I guess. It is a ceramic saddle. That’s how I bought it. The rosewood one was in the case and I swapped it out one day. Sounded dead. Quote Link to comment Share on other sites More sharing options...
lcjones Posted February 6 Author Share Posted February 6 (edited) Thanks, again ksdaddy. My J50 has a ceramic saddle and I really like it. Keeping an eye out for another ceramic. Yes, the rosewood on the B45 is pretty thunky, not to mention a bridge plate the size of Oklahoma. Tone killer to be sure on the 12. I have a J45 in the shop being worked on with a rosewood saddle. Also with a large bridge plate that's being replaced. I'm hoping that will brighten her up a bit. Edited February 6 by lcjones Quote Link to comment Share on other sites More sharing options...
lcjones Posted February 6 Author Share Posted February 6 8 hours ago, zombywoof said: I am no expert having only owned two B45-12s - a '63 and a '61 (which I still play). Both sported tailpieces but are a different beast than yours having been built before Gibson started going with heavier bracing in late-1964. These guitars though were particularly prone to top deformation if you did not keep them tuned down at least one whole step. I have always erred on the side of caution and tuned down 1 1/2 steps. There is some distortion on my '61 around the soundhole. At some point, somebody had attempted to deal with it by beefing up the soundhole bracing. Apparently, it worked as the top has remained stable. I appreciate your thoughts and information, zombywolf. Thank you. Quote Link to comment Share on other sites More sharing options...
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