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CF-100 restoration continued - headstock and headplate


Bob Marsh

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Part 2 - 5581531375_a63d227626_z.jpg5581531171_e67b6cdd02_z.jpg

 

After sanding the affected area flat I glued a piece of mahogany to the headstock then roughed it out with the thickness sander.

 

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After sanding the repair piece flush I marked the old wings - since they had been deformed by the previous repairman's misguided efforts new wings were required.

 

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Old wings are ground off and new wingblanks are aligned, glued and clamped.

 

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After unclamping the wings and repair piece are ground and sanded flush to blend the edges.

 

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Using a genuine Gibson headplate (Obtained years ago when Bob was a repair depot) I scanned and redrew the headplate, lasered the inlay pockets and inserted the MOP inlays - the Gibson logo was an original from Gibson but we didn't have the flower pot, so I cut one out from a piece of matching .060" Abalam. We didn't use the original headplate for a couple reasons - First, it's the only one Bob has and we keep it as a template for Gibson repairs, also I figured it would be easier and perhaps a bit elegant to make the headplate overlay out of ebony which would eliminate the need for painting later on. Also, the trussrod cutout did not match the CF-100 nor did the tuning key holes match.

 

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After marking the overlay on the repaired headstock and roughing out the excess the overlay is glued and clamped to the headstock.

 

 

 

 

In the next section I'll finish this operation and begin to cover the fabrication of the new fingerboard and the MOP inlays I produced for it.

 

Cheers!

 

Bob

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My thanks to all for the kind words and thanks to BigKahune for the tip on continuing with the same thread - Let's try it out...

 

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Here is the "new" headstock in the process of shaping to a true Gibson profile. Rough work was done on a drum sander (CAREFULLY!!) and then files and sanding block.

 

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Looking at the top you can see how the grafts worked and just how much of the original headstock remains - I would have preferred not to have replaced quite so much wood but the previous modifications made this extreme grafting necessary.

 

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Next was a new fingerboard - I selected a nice piece of BRW from Bob's immense stash, thickness sanded, radiused and smoothed the blank then cut the fret slots. The strip of tape in the second photo serves 2 purposes - it makes it easy to pencil a centerline and mark the approx. positions of the markers (for setting up in the laser engraver) and it also protects the surrounding wood from smoke residue (BRW is oily stuff) that is produced by the laser when the pockets are cut.

 

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Next the Epilog 60 watt laser does its magic and engraves the pockets ( this takes multiple passes because BRW is tough stuff!) Then the inlays are cut from .060" Abalam MOP. The pockets are cleaned up with an Xacto knife and tiny chisel and the inlays are finished with files and sanding blocks until they fit precisely. After setting the inlays in structural epoxy and setting overnight the inlays are leveled using the same 12' radius sanding block used to radius the board blank and polished with increasingly fine sandpaper until smooth and level - a little lemon oil and the fingerboard is ready to be sized, the frets inserted and leveled and then to fitting to the neck and finally binding. That should happen this week and I'll be posting photos as soon as I have them.

 

Thanks again for the interest - After a lifetime of printing schlocky t-shirts and cheap-a$$ plastic pens and the like, working on a piece of music history and, hopefully putting one more back into a musician's hands gives me no little satisfaction (What parent does not want his children to outlive him?)

 

Bob

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Onewilyfool,

 

I would indeed like some reference pics - particularly the back and sides of the headstock, the fingerboard binding showing marker dots, the rosette and, if you could a closeup of the binding at the tip of the cutaway - I'm still rolling that one around as it was missing from this one and I'm sorta guessing at this point.

 

Very generous offer...THANKS!

 

Bob

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Here's my weeks progress on the fingerboard - had to pull away and print some shirts, so I didn't get much done but a bit of work..

 

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After marking an accurate centerline on the board measurements are taken from the old neck and transferred to the board, binding width subtracted and the board is shaped on a belt sander. the sized board is laid on the neck to confirm it is the correct width, minus the binding. The neck of the CF-100 had been sanded by the previous butcher and was not exactly "straight, so the sanding had to be carefully adjusted so the sides of the board match the contours of the neck sides.

 

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A trip of wide binding material is ripped on the bandsaw to the correct height required, just a bit higher than the finished board to account for finishing. Taping the binding to the board to check for height and to check for thickness in relation to the width of the neck - This is to make sure the binding will not have to be sanded more in some places than others which would produce an uneven look.

 

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Finally, a piece of plywood cut to the width of the guitar neck is used here (Though it's hard to see) The fingerboard is double face taped to the plywood and the binding is glued to the sides of the fingerboard and taped securely with binding tape. When the glue has set the tape is removed and we can proceed with the next step which is inserting the frets.

 

That's all I have today guys and gals - Have a great weekend!

 

Bob

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