1930 Martin Restoration
Uncle Joe's 1930 Martin
Part 2
Once the neck is reset and reattached, the fingerboard extension now rides above the soundboard (photo 19).
This is because the neck has been rotated downwards. A tapered ebony shim must be made that will fill the gap precisely (photo 20).
Once glued in place under the fingerboard extension, the glue seam is invisible (photo 21).
Now back to the bridge area. Bear in mind that the soundboard is only about 3/32˝ thick. Both the old bridge and the soundboard under it are in terrible shape (photo 22).
The damaged area of the soundboard needs thin layers of fresh spruce. This involves delicately routing away a layer of the damaged wood and gluing in a patch (photos 23 & 24).
Once this is in place and planed and scraped flat (without damaging the surrounding finish!), it is time to make a new bridge from an ebony blank (photo 25).
Pat essentially makes his bridges freehand with a bandsaw (photo 25), a stationary belt sander (photo 26), and a drill press (photo 27).
The result is a new bridge (still to be “finessed”) with identical dimensions to the original (photo 28).
This new bridge is glued in place with special bridge clamps (photo 29).
The bridge still needs a bone saddle in it for the strings to rest on. The precise placement of this saddle is crucial. The slightest error and the guitar will not play in tune. To measure where the saddle must go, Pat strings up the guitar with an ingenious device called an intonator serving as a temporary saddle. This is shown in photo 30 (on a different guitar).
Little brass hooks rest under the strings, serving to lift them above the bridge, just as the saddle will. Furthermore, the exact position of these hooks is adjustable by means of screw mechanisms. Pat adjusts each screw until the corresponding string is in tune and then marks the position on the bridge. When the marking is complete, off come the strings and using a special router guide, a slot is routed into the bridge in exactly the correct place (photo 31).
The new bone saddle fits into this slot and is then tapered and shaped in the classic Martin open saddle slot style (photo 32).
The rest of the repair, the part I thought would be really difficult, namely repairing cracks and gluing down loose braces, is anti-climactically simple. Repairing cracks is basically a matter of flooding them with hot hide glue and holding them in place while it sets. Similarly for gluing loose braces which are held in place by simple sticks while the glue sets (photo 33).
Believe it or not, this primitive stick method is what the C. F. Martin factory uses, which is where Pat learned it. We discuss refinishing the guitar but Pat dissuades me. Similar to genuine antique furniture, refinishing would substantially reduce the worth to collectors of this valuable antique. After three months, we finally get to string Uncle Joe’s Martin up and play it. The sound is gorgeous, especially in the bass where there is a sweetness I have never before heard in a guitar. And the action (the guitarist’s term for playability)? Like butter, in the words of one professional musician.
Two final photos (at the article lead) capture, for me, the excitement and pleasure of this remarkable time.
First is the view of the rushing springtime Exeter River as seen through the window in Pat’s shop.
The second is a candid portrait of Pat in his shop playing his ukulele.
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Pat DiBurro
Exeter, NH
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1930 Martin Repair
03.22.2011
- 1930 Martin Restoration
Introduction
Part 1
Part 2
- 1930 Martin Restoration
NEL Members
The New England Luthiers is an association of professionals and amateurs brought together by a common love of making stringed instruments