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It’s in the right hands. Let’s see how this one turns out.
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12-09-2022 01:50 PM
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I never associated jazz with headbanging...
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A general good kind of break if there is such a beast. It is not all splintered and can be glued back in place relatively easy. I wonder how Mark C plans to do this repair. Obviously, he is the premier person to do this fix. Also to note this is not a broken headstock on a cheaper guitar this is a $10k guitar and should get the full treatment to keep it looking as if nothing really happened or at least the minimum. On a $300 guitar not too much worry glue it and be done but on this beauty have to take extra lengths. Hopefully Vinny will be able to post and update and how Mark decided on the repair. Remember glue stronger than the wood.
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Real tough on a blonde! Quite a test as far as looks goes.
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I will post the repair process.
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Dang! I hope there's zero tension on those strings. First thing you ever do right after a break is remove all the tension from the neck IMMEDIATELY. Get the wood in physical alignment and reduce the exposure to the air.
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That is true nightmare. Was it a spontanious break or was it caused by an accident?
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I hope it wasn't one of your guitars Vinny!
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No thankfully. 1 in my lifetime was enough for me.
Originally Posted by RobbieAG
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Oh my, it’s an epidemic. And only on Super 400’s!
Beautiful guitar!
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Interesting how the crack follows the maple curl.
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What is the headstock offset angle? Originally Posted by 2bornot2bop
Sent from my iPhone using Tapatalk
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I’ve fixed a few of those (broken headstocks) in my shop. That one doesn’t look too bad. The refin is the most difficult part.
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Curl is actually an aberration in the growth of a healthy (straight) grained tree. It looks really pretty but it doesn't have the integrity of a unified grain orientation. It takes a really sharp well applied chisel, gouge or plane to cut, rather than ride, those 'waves'. I dare say that in some situations, a straight grained quartered neck stock could have survived a trauma that caused this neck join break. But we do love pretty, don't we? Originally Posted by Woody Sound
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Originally Posted by Jimmy blue note
Well, it's like in real life: some love prettiness as a result of good function, some others like it just for the sake of prettiness. Many guitarists love guitar necks to be as strong and stiff as possible, and nobody likes traumata (except some docs).
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well, Mark Campellone can out Gibson Gibson, so I’m sure whatever repair he does to that neck will be exemplary, even if he doesn’t hide the crack with some tint
BigMike
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Just a thought the next time you see beautiful curl. Those grain fibres want to stay together. Easier if they're not oriented in waves of chaos. A straight line cutting the growth of a wavy piece of wood (the plane cutting a smooth neck blank) is not really working with the nature of the wood. You can counteract the tendencies of wavy growth to some extent by using 3-5 piece necks twisting in opposite ways to 'fight' each other into an alliance, but once you whack it hard, all bets are off.
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Oh boy..
That kinda made me sick a little bit.
My experience with boo-boo was, when I got it back from Ronaldo, you couldn’t tell there was any damage.
But over time the wood shrinks and the glue does not. Then you can (ever so slightly) detect the area of the break, but the neck is always completely stable.
Perhaps Mr C uses a better glue, or less of it, that will keep the break hidden permanently.
I am interested in this thread.
JD
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Also to underscore my previous thread, immediate first aid upon witnessing a break: Originally Posted by Max405
Remove any string tension. The wood will be yanked into an unnatural contortion once the integrity of the wood is lost. Keeping it twisted, especially along the 'hinges' where the wood is now askew and folded, will only impart and teach the wood things it was never meant to twist into. TAKE THE TENSION OFF.
Return the wood to some semblance of the way it once was. This will minimize the oxidation of the exposed wood. ANY exposure of open grain to the air will start a natural oxidation process (you see the way a split tree branch yellows and forms a patina), and that oxidation will impede the flow of glue into the fibres of the wood. Also open grain will dry and split if left exposed. This is why you paint the ends of a log when it's felled.
Have the break worked on AS SOON AS POSSIBLE. Don't just put it in the case, or look for sympathy getting over your trauma by leaving the guitar languish untreated. Speed is of the essence. You luthier is going to have enough to do to clean out the micro splinters and split grain traces that get in the way of a tight fit, without having to deal with the time you kept it out of sight from yourself, or as in the case of this guitar, put it twisted and pulled apart on a stand while taking photos and grieving. First aid. You know a good luthier? Call and tell them it's on the way, get it wrapped up and send it off. THEN tell us about it.
Heh, I'm not being insensitive, just giving you all good advice.
I once had a guitar I'd made for someone. She was moving and it was in a gig bag, beneath a pile of heavy moving boxes. She was so traumatized, she put it in a corner and didn't even open the bag for 9 months. She sent it back to me that way. The seasonal shifts had put all the pieces into totally different planes. It took me near a year of seasonal alignments, cleating, splinting, grafting, inlaying and waiting for alignments, before I could even refinish the repaired guitar.
The trees took decades to find their alignment. It took a luthier a lot of skill to create forces it was never meant to take. It takes an instant to let wood find different ways to want to be. Wood has memory. Get it back to happy memories as soon as you can before it gets any new ideas.
This is the humility of owning a well crafted musical instrument. Know your wood. Work with it. Respect it as a living thing. Address catastrophe fast.
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This is why I don't seek out, or even want, flaming or other figures in guitars, not in the neck or in the body. I prefer plain, straight, even grain everywhere I can get it. It doesn't look beautiful, but I think it's more stable and more likely to provide better sound. I suspect I'm in a small minority, but I don't care. Originally Posted by Jimmy blue note
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Straight grain cut on the quarter where the silk shows in all its glory, that is pure beauty. Love cross silk. That's evidence of the rarest cut in a tree. 90 degree and the greatest strength to weight ratio for a given distribution of wood. That's bling to the trained eye, and a pure ring to the appreciative ear in the hands of a top luthier. Originally Posted by sgosnell
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Gibson has been married to the 17 degree headstock angle for a very long time. It had a mid-life crisis and a fling with a 14 degree headstock angle that started in the late '60s and lasted for a few years, a period when shoes were loose and morals even looser. It's one or the other. Originally Posted by Bflat233
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This headstock was FAR worse and the repair from Mr.C is 100% undetectable even with the brightest lights. Of course it’s VSB.
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Yeah, that a new veneer covering much of the mess that was there.
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When the neck was broke on my 69 SG Std. I took it to a luther and I had tears in my eyes. His buddy chuckled and my guy looked at me and said "It must be your first time" That was in the 1980's and SG is still going strong. I threw the guitar stand away!
Thanks John
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