Gibson L Series

1. Neck Inlays

The original owner decided to put some extra inlays on the fingerboard made of plastic. A couple of them were missing and one badly worn. The current owner wanted them filled and we decided that gold pearl matched best and would last the longest. I wanted to replace them all with gold pearl but the customer didn't. He wins. Here they are ready to be installed with their rerouted cavities.

2. Nut and Saddle Replacement

The guitar needed a neck reset badly, but the owner didn't want to invest in that. He decided he wanted it set up to be a lap slide guitar. We were going to go all brass for both the nut and saddle. I felt like that would be too tinny. I gently coerced my customer to let me do half ebony on the bass side, bone for the treble, and a brass nut to balance the whole equation. Tonally it worked out beautifully as well as esthetically. At least that's how both the customer and I feel about it.

3. Neck Inlays after Installation

Here's the fingerboard after the inlays were installed and cleaned up. Came out very well.

4. The Magic of Tape Clamping

There was a crack running up the center seam of the top. It was level and clean all on it's own. I love it when my job is made easier. A little wax paper on the inside, little fresh hide glue applied with a syringe, and the magic of tape clamping the joint back together with the infamous brown tape.

Came out perfectly. I used naptha to release the tape clamp when it was dry to insure I didn't get any hitchhiking finish coming along for a ride with the tape. The finish was left perfectly intact.

5. A Peek Inside Prior to Cleating

Taking a look inside and cleaning up the glue joint in preparation for some cleats. Miraculously, not a single brace was loose and the bridge plate was in almost perfect condition. A little magnet sanding clean-up on squeeze through and we're ready for cleating.

6. Locating the Braces
With some really tacked painters tape on the top, I used magnets to define the exact location of the braces and at what angle they were running to properly fit the cleats. Great technique. I dotted the lines on the tape to make them more visible for the camera.

7. A Well Placed Cleat

The cleat is in place - held and clamped by magnets. Make sure if doing this for the first time you've got your process down. Hide glue is unforgiving with it's open time. Get the cleat in place fast!

8. The Reassurance of a Clamp

I didn't need to but I figure it couldn't hurt to clamp the cleat as well. A little insurance never hurts.

9. Cleat #2 Prep

All set up for second cleat to be glued in place.

10. Cleat #2 Completed

Second cleat glued and clamped. This one was a lot easier. I hate those ones way far in back of the guitar.

11. Brass Nut Replacement

Here's the finished scalloped brass nut. I love that look!

12. String Action

Here's an idea of the string action, and why it's now a lap slide guitar. The finished saddles were just barely at 1/16th above the top of the bridge on the bass side, and about 3/32nds on the treble to compensate for the bridge's taper and keep the radius flat. I set up the nut so that the bass strings were just slightly lower than the treble falling away towards the bass side in nice even taper for slide playing.

13. A Note on the Pickup

The pickup in this guitar is an Electromuse Model IBF-1 Eye Beam made in the 40's and 50's. It was designed for Hawaiian style slide playing that was popular in the era.

The reason I mention this is that I find the situation a little serendipitous. This guitar (although not designed as such) ended up being a lap slide guitar. I believe that the way the pickup was attached to the top's aperture was key in keeping the top and braces of the guitar in almost perfect condition, reinforcing that area against the slipping neck angle over the years. Funny how things work out. The pickup now has it's muse.

14. Slide on Ol' Girl

Here's the finished beauty. May your slide glide true ol' girl.

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