Archive for the Store News Category

Guitar Repairs in Berks & Montgomery and a rare 23 fret Peavey (?)…

Posted in guitar repair, Store News with tags , , , , , , , , , , , , , , , , , , on March 29, 2012 by Coyle's Richboro Music

Breaking News…we are expanding our presence West!  Don’t worry, we’re not moving, just offering pickup and drop off services at the High Street Music Company in Pottstown.  Located at 135 E. High Street, Pottstown, PA 19464.  Phone is 610-906-3357 .  Just drop off your instrument with Louis at the studio and we’ll get you a free estimate by phone or email within a day or so.  Right now it’s a 5-day turnaround, but it sure beats driving all the way to Richboro from Berks and western Montgomery county.  For directions and hours, check them out at www.thehighstreetmusiccompany.com

 Our guitar repair shop is busier than ever and we want your business!  Plus that pesky urge for world domination, but that’s another post.  And not  just guitars, but your violin, mandolin, dobro, bass, amplifiers, PA gear, you name it. Setups, refrets, pickup installations, structural repairs, electronic mods, trem installations, nuts, saddles…you get the idea. We do it all, satisfaction guaranteed.

Here’s a link to our repairs page with some basic services and pricing info.  All other jobs by quote. Hope to hear from you soon.  Email us at richboromusic@verizon.net or call 215-355-6711.

Now on with the show.

Here’s an interesting one.  First I’ll say that we’ve noticed an increase in Strat owners leaving the back plate off of their guitars. Nothing new, but seems to be more common. At least for the last 3-4 weeks. So that made us think of offering customized trem cavities. Yes, we are serious. First we sunbursted the cavity on a black strat. Looked cool. No pics. Sorry.  Then we did a stencil. Looked nice too. Today’s pic features a burled maple laminate over the ash body to match a stunning burled maple neck. Think about it. Nothing says custom like a personalized trem cavity. And if you don’t have a trem cavity, we’ll route one for you. Then we’ll stencil it.  Just think about it.

Here’s a killer Tele that we installed one of our all time favorite pickups in, the G&L MFD. It’s the soapbar looking jobbie in the neck position. To do this, we had to expand the route in the neck position and route the pickguard.  Sounds incredible on this guitar.  Pares nicely with the bridge pickup and a nice 2007 Monte Antico Rosso red.  This Tele has a 3- way toggle on the upper horn for pickup selection and the conventional spot for the selector is now a 3-way for the humbucker for Split/Parallel/Series.

Peavey Mystic. I know. I want one too. Super cool guitar from the mid 80’s with Peavey’s little understood T-60 tone circuit. I don’t know if that’s the formal name but that’s what we’ve always called it. When the tone control is on ’10’, it’s a single coil. Back it off a little and it’s a humbucker. Back it off a little more and the tone control starts doing its job.  So usually when people plug these in, they complain the pickups are weak. But back that tone to ‘9’ and the hum goes away, the volume goes up and the low mids arrive to the party.  So what’s the problem with this one?  It’s the bridge. Can’t intonate it. See here…

Even with the saddles all the way forward, still too flat at the 12th.  What we guessed was that the bridge placement was done with a 22 fret neck in mind. So after some careful measuring, we decided to cut down the neck to allow for proper intonation.

Here we are after some time with my old Ginsu knives. They can even cut a penny. Saw a Ginsu salesman do that when I was about 9.  Or maybe that was Cutco. No it was Cutco, I was 8, and they were scissors that cut the penny. My saw cut this neck. Then we smoothed it out on the belt sander, gently rounded the edges and refinished the end of the neck.

We also had to re-drill the neck screw holes.  Nice clamp shot. My favorites.

Now it’s the very rare 1985 23 fret version.

And now a glamour shot of that Mystic…

Here’s another of our Custom Carve Necks coming off the line. Well, the bench. We don’t have a production line. Yet. Lightly flamed and gunstock oiled for our favorite blend of feel and sheen. Sounds like a hair color commercial.

Thanks for looking and check us out at www.richboromusic.com

And if you happen to work east of Reading along the 422 corridor or east of King of  Prussia on the PA Turnpike, give us a call and take us up on our  complimentary pickup/delivery service to your business or office.  Pickup and delivery between 10am and 11:00 am Monday thru Thursday only.

Thanks for watching!

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Adventures in fretting and other odds and ends

Posted in Store News with tags , , , , , on November 4, 2011 by Coyle's Richboro Music

Before going any further, don’t let me forget to ask you politely to check us out at www.richboromusic.com

O.k, now we can proceed.

Hey, who put this half eaten pickup ring on my good china?  Alright, it goes like this. We were installing a new set of Dimarzio’s into a 7-string with factory EMG’s and came accross a couple of issues. First, the squared-off EMG-sized routes didn’t have any space for the Dimarzio’s conventional height adjustment screws.  This is simple enough, a little dremmel-ing, a little touch up stain to conceal the bare wood and you’re golden. Right? No. The factory neck pickup rout was 1.5mm longer on the treble side than the bass side, so when you try to center the pole pieces under the strings, you’re off-center in the rout.  We weighed the option of keeping the cuts symetrical compared to the tightest possible fit (uneven rout) and went with the former.

The cuts are nice and clean and it looks right, but our customer asked us to make some pickup rings that would fit the guitar. He wasn’t comfortable with the extra visible space since the EMG’s were larger. We offered to stain some custom sized maple rings to blend in with the existing dark cherry satin finish.  So 4 rings were cut and glued into 2 and we started some painting.  A blend of Dark Mahogany and Cherry Mahogany tinted lacquer fit the bill.

These are shown in their pre-sanded incarnation. Next is the finished product…

You’ll also notice that we had to trim the neck ring to go around the fingerboard.  Another note for anyone converting from active to passive pickups is that you’ll have to switch your pot values to 500k instead of the 25k mini pots. Not a deal breaker, but you’ll have an additional charge for parts and labor. All in all,  we thought it looked nice and made our customer happy, which should always be the goal.  Alright. NEXT

This is what happens when you find out that there are no $29 tortoise shell pickguards any more. The price of anything tortoise shell skyrocketed in the last few months. And yes, we’re still talking about the fake stuff.  Something about new regulations and the hollow earth theory. I stopped listening after hearing that it would be upwards of $65.  Luckily we still had some old blank sheets in stock for such an emergency (emergency because I already quoted our buddy Ed and didn’t want to have to tell him that his simple pickguard replacement was going to be $70. I don’t care about market values, that seemed a little nuts.) Under that gorgeous blue painter’s tape is the roughed-out tortoise shell P-bass guard. Hand beveled and boned so it won’t chip. No wait, that was Robert Redford’s bat in The Natural.  Just hand beveled. As per usual, no finished picture. This is a disturbing trend in our blogging.  Very amateur. NEXT.

This guitar is property of one A.J. Slick, a killer guitarist and heck of a nice guy. AJ plays with a VERY low action and wanted a setup that would allow him to bend without dragging his fingertips against the fretboard too much.  Then we figured that perhaps a partial scallop that left the bass side alone would be a best of both worlds setup. Nice feel for bluesy double stops on the lower strings AND happy bending. Sounded good.  So here’s what we did…

A nice tapered scallop that transitioned to a regular board around the d string. Awesome, right? But you know what? When you bend the b or g string up a full step, you slam uphill into the fingerboard. Ugh. I guess that’s why we don’t hear of too many tapered scalloped boards.  So we scalloped the rest of it, leveled the frets to a compound 9.5″ to 14″ and now it’s happy again. If  you’ve never played a scalloped fingerboard, picture it like having super tall fret wire so you don’t feel the fingerboard. It’s great for bending and vibrato, giving you a tremendous amount of control. Takes some getting used to, but feels great. The downside is that if you have a heavy fretting hand, you risk squeezing the notes sharp. Surprised it’s not more popular. I should have typed “I’m” before that last sentence. Don’t forget to check out AJ’s playing. He shreds.

What else…

Oh yeah. Where to put a battery in a Les Paul w/ EMG’s when you don’t want to keep removing the plate but don’t want to rout a hole in the body?  This was the idea of our good buddy Walt.  This only works with the small dime-sized  pots due to the spacing with the battery box.  Looks clean, no permanent mod to the guitar and works like a charm.  I’m sure you can buy one of these pre-fab from somebody, but it’s an easy install with a roto-zip and some super glue. Just remember to measure the depth and choose the right box. And it won’t work on Gibsons with the little hub tab for the lead and ground in the middle of the cavity without a little rewiring.

Frets! Lots of refretting done this week. Two particular guitars of interest were an old Guild Madera with what looks like a finished fingerboard (with lots of aged goodness and finish build-up around the frets) and a Taylor 714. In both cases we had to pre-cut the frets to length and nip the tang edge to fit inside the bindings. You have to be very careful to pre-radius the fret wire otherwise you risk the ends sprouting up when you press or hammer them in. Since you don’t have the barb to grap the wood on the ends, they want to spring up leaving an unsightly gap if not done properly.

 Don’t adjust the color of your monitor, there is a little green around those fret slots. There’s lots of bunched up material around those slots.  This board must have been stained and lacquered at some point, as you can see the base color or the wood in the worn spots. We REALLY wanted to scrape and level, but the goal is always to leave a fingerboard like you were never there on an older guitar unless instructed by the customer to the contrary.

Here’s one of the original frets juxtaposed against the backdrop of  an amazingly similar and completely untouched fingerboard. Gotcha! It’s the same guitar. Genius!  (That was my inner Jon Lovitz coming out. Sorry.)

This Taylor has rosewood binding, so you need to shape the fret ends prior to pressing them in and shave the tangs so that there’s a little extra fret to hang over the binding at the end of the fret slot.  We like to bevel the edges too before popping them in.  It’s  a little extra work, but nothing’s worse than a bad fret job. With delicate bindings (or in this case, lightly finished bindings), the less time they’re touching a file, the better. Just take your time and test fit a few times before final pressing or hammering.

Here’s an “in progress” shot of our Custom Neck Carve on a Danelectro. After the shaping and re-radiusing of the fingerboard, we refinished the neck in gloss black to look factory original. And yes, no final pics. Sorry. This guitar also got a modern top-loading WD hardtail strat bridge.  Those pencil marks are the guide lines that we use to carve the back of the neck into an offset V. We call it the Transitional Taper.  See more details here…

A few cases of Peter Green-itis this week, but on opposite ends of the spectrum. One came in to do, one to un-do. This involves taking apart a PAF-style bucker and flipping the magnet to reverse the polarity, thus making the two pickups out-of-phase with both on. Gives you a nice thinner, lower output tone without switches or push-pull pots. Close to a single coil in response without the  noise. Slightly more nasal, but still a very cool tone. Made popular by the legendary Peter Green of The Blues Breakers and Fleetwood Mac fame.  Only effects the pickups with both on at the same time, so it’s a great way to add versatility to a Les Paul (or a Reverse Flying V, as we did this week) with traditional braided leads.

Here’s a side view of another guitar getting our new neck carve. That’s a steep 6.5″ radius off the edge of the fingerboard.  Like falling off a cliff into thumb-over-the-neck heaven. The radius transitions to a flat 14″ so you can bend all the way up with no fretting-out even with a low action.

Thanks for watching.

Adjusting a 50 year old ES and another cool Strat overhaul

Posted in Store News, Uncategorized with tags , , , , on August 19, 2011 by Coyle's Richboro Music

visit us at www.richboromusic.com

Here’s a beauty. 1961 Gibson ES-335 dot neck.  An all time classic. Makes you smile just lookin’ at it. Only problem is…

After a couple of  previous refrets and some aggressive beveling (the angle at which the fret ends taper up to the crown of the fret wire), the high E string wants to slip right off of the edge of the fingerboard.  We discussed a few options to correct the issue with its owner, Barry.  We could A) refret it again, providing more level fret material at the edge of the fingerboard, B)  fill the high ‘E’ slot in the existing nut and recut it further away from the edge, or  C) do what we ended up doing. Tthe third  option was to replace the nut and cut it for a slightly narrower spacing of 1  5/8″ instead of 1  11/16″ .  We felt this was the least intrusive and most effective way to correct it, especially since the guitar’s owner Barry loved the way the neck felt with the low profile well-played in frets.

So I borrowed Becky’s rolling pin and knocked out the old nut. This was good, not only to correct the edge spacing, but also because this old nut had  been cut and filled a few too many times.  Heck, filling and recutting once is usually too many times. Perhaps I’m becoming a purist. Or just a snob. That’s fine. It suits me because I’m wearing a brand new shirt from the clothiers at Old Navy. The stitching is superb.

Here’s a shot of the bone nut blank, trimmed and shaped but not cut. The corners are still sharp, but we do that last. Next you’ll see the curious look of a compensated Earvana nut placed over top to double check the side spacing. They’re pre-cut to a variety of spacings and make great templates to test string spacing…

The slightly tighter spacing looks good, though not from this vantage point. This picture makes me a little squeamish. It’s just a test, that is not a graphite nut on a ’61 335.  Let’s move on. Since there’s some wear in the first 5 frets, we’ll crown and polish out those dents without removing any more height from the worn frets. I like to thing of ourselves as fret artists. No one else will call us that, but I’m hoping it catches on.

Here’s the finished bone nut all polished up and ready for final setup…

And here we are . You shouldn’t notice the spacing difference, and you really couldn’t feel it. We’re not crazy. Usually you would feel the 1 11/16ths shift to 1 5/8″ spacing. But becuase of the naturally rolled edges of the well played-in neck,  you really don’t on this guitar. The high E  just stopped slipping off the fret edge. And since the new nut slots are the proper size, the open strings have more definition.

And now, more pickups…

What you see here is…

Dimarzio Area 67 neck,  Gibson Firebird middle ‘bucker, Gibson Classic ’57 plus bridge pickup.  Push/pull volume pot to activate the bridge pickup in any position, mini toggle for out-of phase tones with middle and bridge pickups (more on this in a second), G&L’s PTB system with passive treble and bass cut circuit.

Wait a minute. This sounds a lot like the last post. What gives buddy?”

Well, after further consideration, the pickups on this guitar were rearranged to suit it’s owner Mike.  We also added  a few other options.

To add versatility to the double hum combination, we installed a mini switch to reverse the phase of the middle pickup. Since it’s a traditional braided wire, you can’t just make the braid the black and the center the white. It’ll make the pickup cover hum when you touch it.  So…you take off the cover, remove the black wire from the braid, splice on a new lead and you’ve got yourself a workable 2-conductor pickup for the circuit.

This is pre-mod. Forgot the next picture. What else is new. Now picture a nice braided wire paired with a cloth black wire coming from the back of this Gibson Firebird pickup.  That’s it. And there’s just a gentle breeze and the smell of pumpkin bread. And it sounds great out of phase with the bridge pickup. Now open your eyes.

This guitar also got a Hipshot Drop D tuner, GraphTech nut, Hipshot Trem Setter, GraphTech saddles and absolutely nothing else.

So now Mike can choose between the noiseless single coil tone of the DiMarzio Area 67 for great Strat tones, the Firebird middle ‘bucker, the Classic ’57 plus or any of the 3 together, including all at once. On top of that, he can put the neck and middle or neck and bridge out of phase with each other for killer funk tones. You can just hear those 9th chords now.

Click here to hear me play that whistling part of  new Britney Spears song on a dobro in open F#Maj. At about 13:35 it really gets magical.

Thanks.

Lost pics, a headstock make over and pickup installs

Posted in Store News with tags , , , , , on August 14, 2011 by Coyle's Richboro Music

www.richboromusic.com

Well, it’s been a while since we updated anything here, so let’s jump in.  But first I’d like to point out that the reason we haven’t updated anything is that we’ve been busy and keep forgetting the “before” picture. And to be honest, the before is usually as or more important than the after for this kind of stuff. Anyway, here’s some pictures to look at.

What you’re not seeing is that the top of the treble side of this Ovation’s headstock was missing when it came into the  shop. Seems it had an unfortunate accident that split the top very badly in two places, each about 6″ long. It was also separating it from it’s composite back in a few places.

First we glued and cleated the seams of the crack. The acrylic finish on these ovations is very hard but also brittle when hit hard enough. That meant that a lot of black finish was missing around these cracks. Since we were on a budget for this job, we sharpied the top wood and did a super glue drop fill.  We used enough Super Glue at one time that the fill-pool of glue started to smoke. Nasty stuff.  So we used our accelorator spray to instantly harden it, scraped it level and wet sanded.  We then sharpied with a fresh broad tip marker over the offending crack.  Since it was a big area to touch up, we used painter’s tape to make sure the touch up lines were clean and matched the grain lines.  The clean lines make the slight color mismatch a little more forgivable. It just wasn’t in the cards to have the top refinished, and this looked a heck of a lot better than it sounds.

Now for the headstock.  Our customer said the headstock was the least of his concerns, but he brought it to the wrong place if he didn’t want it handled with at least a little effort.  Wait, that didn’t come out right. Anyway, I don’t know how to backspace with this voice recongnition software. Um, so here we are gluing a piece of pale mystery wood to his headstock to start the reconstruction process. I had a piece of a 1″x3″ from another project that did the trick. We glued it on at the best angle we could, shaped it and used some wood filler for the rest. Now the back of this USA-made ovation’s headstock shows the 5-piece neck construction with the missing part being mahogany. Next we use some mahogany veneer from the tip of the headstock down to the tuner. We can’t sand the veneer flush as it loses it’s grain after a few passes of 600 grit paper. So we conceal the edge witht the tuner. It still looks a heck of a lot better than staining and faux graining. Next we shape the rest of the headstock and overspray that little ledge at the end of Ovation’s headstock. We’re hiding the 5-ply edge as it was before, instead concealing the repair with Golden Oak lacquer.

After staining the edges to blend it with the veneer, it looked pretty good. Wish this was the finished picture. Just imagine it smoothed out nicely and less “in-progress”.  You have a great imagination. It did look that good.  Now go get yourself a refreshing drink. This blog will still be here when you get back.

Here we are after polishing it all up.  From 300 feet away, you can’t tell the difference.

What next. Oh I know. While doing a pickup install and electronics overhaul in a customer’s Strat, he mentioned that we never put one of his all-timers in our blog.

This is Mike S’s heavily moddified Jazz Bass.  And I mean heavy. Probably 12-13 lbs.  It features Fender Custom 60’s Jazz pickups, series/parallel switching, a blend pot, master volume and tone controls. The series/parallel was a little tricky with the blend pot, but that’s what the internet’s for. I ended up finding a guy’s napkin drawing on a discussion board.  Thanks Google!

This is an older production Kahler bass trem that Mike got on ebay. We’re a Kahler dealer, but this was before they were back in the trem business. Transitioned to golf clubs for a while if my memory is right (I’m not kidding).  I remember them being very helpful even when they weren’t producing trems for a while. Nice guys, sent us some parts a long time ago for a repair. Maybe even the router template. Anyway, I guess that means this job was done years ago. But still, it deserves the attention only modern blogging can provide.

We had to put a support under the lip of this 24 fret fingerboard to support Mike’s tapping style.

I think the neck is a Warmouth and it has a super flat radius.

Of course it has a Hipshot Drop D tuner.  It has to. Mike’s a heck of a good player and really gets the most out of all of the features on here with his aggressive style.  Now onto a guitar that’ll get similar treatment from him…

Alright, now were back to undocumented work. No pics, but here’s what we’ve got. That’s a Gibson Firebird pickup, DiMarzio Area 67 middle and a Gibson Classic ’57 Plus bridge bucker.  He’s also sporting the G&L PTB system with passive bass cut to go along with the traditional tone pot. This way he can tame either humbucker without losing too much volume or adding noise.  Also, his volume control is push/pull to activate the neck/bridge combo. Some folks call that 7-way switching when added to a conventional 5-way.  He’s also all -graphited up with saddles, nut and string trees for tuning stability. Also, yes there’s more, he has a Hipshot TremSetter installed for even more reliable trem use.  And it all works like a charm. It stays in tune even under the worst conditions, like Castrol motor oil.

Hey man, that Tele has too many knobs. I heard you say that. Don’t worry, it’s just an active gain boost. WHAT!!! in a tele? That’s ludicrous.  No man, it’s great! This American Tele was upgraded with Duncan’s Classic Stack for Tele (STK-T3B for bridge and STK-T-1N) set.  Jim wanted a noiseless set of pickups that would give him a little more output but still deliver the Tele sound he as after. He’s a Strat guy and has all of his guitars outfitted with Vintage Noiseless or Samerium Cobalt Noiseless pickups and, most importantly for him, the EMG Afterburner active gain boost. It lets him overdrive his clean tone at whim and is completely variable from totally transparent to a roar.  Great for blues jams when dynamics is key.  Anyway, that’s what the 3rd knob is.  But the Afterburner requires a 9-volt and he didn’t want a battery compartment cut into the back. So, as we do with his strats, we hide it. For a Strat style with a trem, you can do like Fender does with the Eric Clapton and hide it next to the springs in the back.  But for a tele, we figured under the guard worked best.

So we cut a big enough cavity to fit the 9-volt. But we realized that his neck pickup is mounted to the guard which would make quick changes a hassle. So we decided to mount the pickup direct to the body like a 50’s Tele. Note the screw holes in the neck cavity. We just put the pickguard back and drilled through the adjustment screw holes to line up. Simple.

Now he can remove a few screws and slide the guard away to change the batter every 6 months or so. Battery changes are very infrequent as this unit has a really low draw. Everyone should have an Afterburner.

Here’s the Afterburner in the ‘engaged’ position. It’s a push/pull pot and only works when pulled up. You can leave it pulled up and just dial in the amount of boost you want. Even when engaged, if the knob is all the way off, it’s completely transparent. There’s no kick when you just pull it up. Awesome preamp that adds humbucker beef and beyond to any singlecoil guitar. Definitely recommended with some sort of noiseless pickup like the Duncan Stacks or the DiMarzio Area series. We’ve gotten amazing results with these.

We had so many cool jobs lately, but always forget to take pictures. Maybe next week.

Thanks for watching.  Oh, and I know all of those Ovation pictures are missing. They’re on the hard drive at the shop. I’ll update this on Monday. Sorry. At least I had some pics on my phone.

Anyway, remember to be kind to one another. And buy a G&L guitar. I think that’s it. Click here to see our great selection of G&L guitars.  And don’t forget to run it through a Tech 21 amp.  And you know, for acoustics, these new Washburns are tough to beat. We LOVE them. And be kind to one another.

sticker removal and ANOTHER aged tele

Posted in Store News with tags , , , , on July 16, 2011 by Coyle's Richboro Music

Here’s when adhesive and lacquer just don’t play well together.  After a valiant effort to remove an old sticker, a customer walks in with his beloved LP Studio in need of fix’n up.

Here’s a close-up, showing the finish rubbed to the bare wood in spots…

Now the plan of attack for this guy could have gone a few ways. The main issue was matching the color of this aged Gibson finish. There were about 3 distinct shades of white going on with this guy, so a spot repair wasn’t going to look good. Also the back and sides were really dinged up, so we had to figure out what was worth doing and what to leave alone.  We decided on just overspraying the top. The offending area was sanded smooth, filled and sprayed with arctic white lacquer. After buffing the heck out of the edges, the blend was as good as we could have hoped for.  Since this was budgeted as a sub $200 job including a setup, I think it turned out better than expected.

This IS arctic white, just looks ivory due to my poor photography skills.  I should use the services of Rebecca Coyle Photography, as should all of you.   Don’t worry, the color match was solid.

What else, what else? Oh yeah. We had an old, honest to goodness beat up Tele body. Now we like to build custom guitars with the coolest parts that are within arm’s reach. So we ended up with a ’72 Tele Custom-style pearl pickguard, a Fender Vintage Noiseless Tele bridge pickup, an Allparts hardtail bridge, a creme Bill Lawrence neck pickup and some tuners. The only drag was that we had to rout the body to fit the pickguard. Oh well, here goes…

I didnt’ have a template, or patience, so we did it freehand. The routes are cleaner than they look, but the black stain skewed the edges a little. Not perfect  are they, but we’re a sensitive group here.

So we stained the back a satin ebony and sprayed the top in a satin amber laquer, wore it out, aged it and buffed it to a really thin coating. The edges were scraped and softened.  We’re not going for an authentic vintage look, more of a played-out frankenstein Tele.  The neck got the same treatment.

The headstock logo was embossed and we’re gunning for a hand-painted sign look.  I can feel you judging us. It’s o.k. I was warned.

We copied the finish wear pattern on the neck from a customer’s 50’s Strat. It doesn’t look real, but you get the idea. We’re having fun with this guitar and try to make a head-turning piece of guitar goodness to wow your friends and impress your neighbors.  And it feels great with some major league tones to boot. Yay Richboro Music!

Here’s a gig bag with a Dragon on it. Have a great day.

Rare Les Paul gets a de-yellowing…

Posted in Electric Guitars, Store News with tags , , , on June 10, 2011 by Coyle's Richboro Music

Look away if you’re squeamish…
This poor Les Paul Pro Lite had it rough. First off, it was finished in the rare and desireable Nuclear Yellow finish (it is from ’88) then treated to a few coats of black Krylon spray paint.  We’re picking up where the stripper started getting that evil combination off of this mahogany wonder.

Here’s another in-process shot showing more of that Yellowy goodness.  Note the bevels around the edge. This guitar is almost Ibanez Saber thickness and is remarkably thin for anything that came from Gibson. It also boasts a single P-90 size pickup with EMG-style cover and a Steinberger KB Trem.

And here we are 5 minutes later after dipping it in a tub of brown paint. Amazing how that works.  We kept the yellow edge on the original pickguard, although we were dying to Sharpie it out. I think it’s a nice nod to its history without being too obvious about it.

Here’s the headstock after some mild aging and a new logo. The old logo was silk screened over the previously mentioned Nuclear Yellow.  We put some impressions around the drawn logo to simulate an aged inlay. It sort of works. I think. No, I know it does.  Low self esteem cannot be changed with Oreos. It just can’t.As you can see from this angle, there were a good number of little nicks and dings that led us in the aging direction from the jump. We didn’t want to fill the honest wear and make it look too shiny and new. I’m hoping the owner (Big J) gets lots of excited guitar guys asking him what the heck that guitar is.

And there you have it. Another week in the life at the music store, solving the world’s complex problems by ingnoring them.

A big thanks to Jason for letting us do this job for him.

And now for some advertising…

We have Tech 21 amps in stock. There I said it. And they’re awesome. Come buy one and make your life better one righteous tone at a time.

www.richboromusic.com will tell you how to find us and come by and buy one or have us ship it to you.  You deserve it, after all of the wonderful things that you do.

This week in Guitar Fixin’…

Posted in Store News with tags , , , , on February 28, 2011 by Coyle's Richboro Music

It’s been a little while since we had a minute to update here, so let’s see what’s transpired recently.

This first number is an answer to the question, “How many knobs can we fit on that strat?” 

This is a Squier Strat brought to us by a heck of a nice guy, Haider. He requested some custom routing and to bring a pickguard tracing to life.  It’s pretty ambitious and we were happy to be part of the project.  Those offset ‘bucker holes are actually cut to fit (6) individual single coils. Lots of independant switching is in store for them. Hopefully we get a picture when it’s done.

Here’s a re-bound Guild archtop who’s original binding had shrunken and broken off badly enough to need replacement.  So off came all of the old binding and heel cap, to be replaced with fresh plastic and an over-spray of semi-gloss lacquer around the edges to match the sheen of the finish.  We don’t want the new binding to look out of place.

The finish on this guitar was very thin and worn in a few spots near the binding as it was, so we used lots of rope and avoided taping anything to preserve it. We trimmed it as level as possible without disturbing the finish too much.  Our good buddy Dan can now enjoy playing it without fear that the binding will fall off any more.

What else, what else…hmm. Oh yeah. We almost forgot to post this picture of one of our favorite customers with his prized new G&L.  Thanks for all the pretzels Mike. And we’ll soon have a lefty Custom strat done for this fine gentleman in Green Burst with matching headstock. But that’s another conversation.