Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
While the neck is still off the guitar, I can do some refinishing work in a few areas, do anything that's easier to do 'now' and then get her glued up. The paintwork on the fingerboard is flaky and dry, and has to survive a considerable amount of fretwork etc etc, so I'll be helping it out a bit, and protect it somewhat.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
I added a little wax around the frets, before individually seating them all correctly, with the help of some ultra thin superglue.
A quick clean, and then a bit of ink, followed by a bit more wax. Most of what I put on here will be removed again, but it will keep it happy for now until I've done with the heavy work.
Then I'll do a quick check with a fret rocker, to give me a visual of where the main problems are. Any particularly high frets will get taken down with a flat file, and once I'm in the ball park, I can level off. I think my heavy work level is made from a table leg and a roll of 120 grit.
It does the job though, and afterwards I can go over it all again, and dial it in. I don't think you need me to show too many pictures of a fret job, so I'll plough through as getting tired ha ha.
Once I've levelled off, and fairly happy, I'll actually polish up before I crown. Depending on how much filing, and condition, I'll start of with anything from 180 to 240, 320, 600, then an Indassa pad (about 1000, and steel wool, followed by kitchen towel.
I'll do the crowning after 320, then polish up with the rest. I think that's plenty for frets, especially on a vintage guitar, and leaves them looking really nice, without looking brand new and modern.
My favourite file is a triangular file, although I'd like a slightly longer one, as it can be a bit awkward on the extension. They're great for so many other jobs too. I have some crowning files, but I can shape a fret much better with the triangular file.
I'm not a big fan of taping the whole board. I like to give every fret my attention, and I think you rush through too much when the whole board is taped. When you do them individually, you tend to do a better job, plus it saves on masking tape.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
Let's not forget the pickguard. I wanted to keep things original. It would have been easy to make a new one, but also expensive, as this stuff isn't cheap. I removed the material, fixed any splits in the base etc, and cleaned old glue off, before regluing with Titebond, between none stick paper. A bit of grey primer, and superglue helped create any missing areas, followed by a bit of sanding.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
The tuners generally get a good clean to remove any rust, or grime etc, and make sure nothing is likely to go in the near future, and then I'll coat them in Lubice, which is a teflon based oil that sets like grease and works well.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
The bridge feet were hurting the guitar, so I needed to file them down, and add some protective felt, which won't effect anything too much sound wise, but I think it's a good step.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
She plays really well, so I didn't do so bad, and learned quite a bit along the way.
I still need to do a tiny bit of finishing work, but here's a sneak preview from pictures I have left from the restoration before I went on holiday.
She's strung up with a set of Thomastik John Pearse, but I actually think she could handle a proper steel string no problem if pushed.
I can't remember the action without checking again, but she's low, and unless something unforeseen has happened when I open the case up, (I like to give them time to settle) then she should have a happy future ahead of her, and that's what it's all about, right?
Edit: I took a quick look this morning and the bass is 2mm and the treble is 1.8mm (all adjustable up / down) so pretty much where I want it to be.
To be continued ...... kind of.
Images are resized automatically to a maximum width of 800px
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
Thanks for the comments by folk along the way. Feel free to ask any questions, or offer your own ideas on how you might have approached certain jobs. I'm only learning, same as you, so no egos here.
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
The billiard cue chalk to fit the neck is a nice touch!
HR
_____________________________
I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
RE: Restoration of a 100 year old pa... (in reply to Firefrets)
I have zero exp with the floating bridge guitar so take this with a shot of your favorite grain spirits: I would think the felt under the bridge feet could/might/most likely eat up a lot of sound?
HR
_____________________________
I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
RE: Restoration of a 100 year old pa... (in reply to ernandez R)
Hi man. I find any impact from the thin felt fairly minimal. If I was overly concerned about extra volume and tone, I could fit a different set of strings and raise the action a touch, but for a small guitar, she sounds ok. The strings are designed for this kind of scenario, where you don't want to put an old instrument under unnecessary stress etc.
RE: Restoration of a 100 year old pa... (in reply to davewphx)
Yes, all about gaining experience, and problem solving. I enjoyed it. You gain a bit of insight that you can apply to other jobs, and you get a nice happy lift when done x