I had the identical guitar from the early 60’s. my uncle and father each bought one of these guitars new. My father’s guitar survived but someone sat on my uncles caving in the top. My brother has the guitar now. I set it up a few years ago and it still plays nicely.
Nice. I just did a Westbrook from 1969 with almost the exact specs and described feel. Had to reinforce the bridge pad. Got to re-used the OEM bridge after making some fill patches under it in the spruce. This one had pulled the neck block away from the back, so the reset was easier. I left the dovetail in tact and just reset the block in the back, repaired the broken kerfing, etc. Still a very light guitar with odd fuzzy areas inside and small framing. Almost sure the Japaneses MFG copied that Gretsch in every way. Wide white binding, skinny nut, all of it ... Kinda cool summer of love era instruments : -)
Sir, I’m addicted to watching your videos. The passion you display in your craft is inspirational from the aspect of attention to the smallest details. I particularly enjoy the videos where you resurrect guitars that have greater sentimental and historical value than monetary. You restore the “voice to grandpa’s guitar” and it can take a person back to a moment once shared. Thanks for sharing these stories with a guitar fanatic like me.
Built the year I was born. Very nice. I never got into the folk boom though. I heard Steely Dan in my early teens and that was that. I really enjoy your videos, it’s fascinating to hear a craftsman’s thought process.
Very cool. This is one of the ones I'd love to have seen a 30 minute vid documenting all these repairs. But then I feel that way about all the vids. ;) Thanks Ted.
I love watching your videos. Even though I'm a guitarist/vocalist, I grew up with an engineer for a dad and have always enjoyed tinkering in the workshop. I've managed a few minor repairs on my Ibanez PF10 Dreadnought like making dings and scratches disappear with shellac and sandpaper, installed custom built fet input pickups both in the sound hole and under the saddle. The inner mike is adjustable which is very useful to balance the sound for recording in rooms of different size and acoustic.I also hand carved and sanded my own bone bridge and saddle. I bought this guitar brand new in 1985 just as the agents were unpacking the new consignment from Japan, and I took my time finding one that spoke to me. At the same consignment they also had beautiful top grade Yamaha concert classics one of which my music teacher convinced them to sell to me one for twelve post dated cheques.The Ibanez has a solid red cedar top and solid Mahogany neck, back and sides and has aged beautifully.What used to be a slightly brash tone has mellowed out into the sweetest full sound. My Yamaha has Indian Rosewood back and sides and a Spruce top and it has most definitely become much louder, deeper and more sonorous with time. It's amazing how much detail comes through even when softly played. I can confidently assert that the bone made an incredible difference to the quality and clarity of the sound.I wouldn't mind working in a workshop like yours, it looks like a very interesting experience.
How do you think - does the added body depth add to the instrument's musicality. This guitar sounds great. I detected a bit of enthusiasm in your tone when you mentioned it was deeper than a Martin. The old guitar has, "Some playing wear", which could explain some of its nice tone but what about the thick body?
You're right - that'a a very clear tone and worth saving. Great video. Forgive my ignorance - what would cause the dot inlays to recede like that? Is it the actual pearl(oid) inlay that is shrinking? Or is it some sort of shift in the rosewood board?
I think the original holes were drilled quite deep and at some point somebody pressed on them. I'm not sure. Celluloid does shrink a bit, but not that much.
@@twoodfrd : Very interesting! I didn't think they could sink that much naturally either, so thanks for the info. Appreciate the response. Keep up the great videos.
Hi, if you're still there... did you find anything weird about the neck joint when you did the reset, or was it a pretty normal dovetail joint? A guy is going to bring me one of these next week, he thinks it needs a neck reset, and I'm wondering if I'm going to encounter anything unusual or problematic when I go to remove the neck. Thanks!
I got a historic series Gretch built around 2001 in Korea and it is honestly one of the best acoustics I’ve ever played. Of course it’s pre-Fender so maybe that’s got something to do with it.
