As for the original creations, I am particularly motivated by a good understanding of my client’s requirements and by the quality of the finished work. _For me each guitar or bass guitar that comes into my workshop is worthy of the same care and attention, whatever its value or the amount of work to be carried out. _Guitars and Bass guitars are fragile instruments which will undergo different types of disagreeable situations, usually due to humidity, temperature variations... and to the hazards of life... You should know that a large amount of this damage can be repaired, even if sometimes It seems a lost cause. In any case, don’t hesitate to contact me, or bring me your guitar for a diagnostic, all quotes are provided free of charge and with no contractual requirements.
Damage to the fretboard
A fall onto a piece of furniture damaged the neck of this Ibanez guitar, ripping out a part of the neck and the fretboard. Even though the splinter had been saved it was not complete, and in this case it was better to make and adjust a new part.
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Repairs and repolishing of a Gibson Les Paul neck
Other than a broken headstock the neck of this Les Paul showed signs of heavy use. Having re-fixed the headstock the whole neck was stripped; it was completely impossible to create an invisible varnish match in "Cherry Red" as the colour and slight opaque quality won’t tolerate approximate measures. Once the base had been recreated using pure pigment mixed with varnish the joint was made at the heel. The joint was made ‘blind’ which means that the body of the guitar was entirely masked during varnishing. The joint was smoothed using a coat of transparent varnish.
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Repairs to a broken headstock
The breakage of the headstock of the Heritage was due to a weakness in the grain of the wood in the area of the fissure. The area was so fragile that a durable restoration could not be guaranteed by ‘glueing’. A decision was taken with the client to undertake a complete reconstruction of the headstock, using this opportunity to modify the pattern to that of a Gibson ES 175.
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Martin 000 restoration
This magnificent example of Martin know-how came into my workshop to have the bridge re-stuck and for an inlay of the owners initials on the headstock (see the “custom shop” page).
The soundboard, which was fantastically aged and crackled, was very damaged - in the area where you would normally have a pick guard - through more than seventy years of use. As this mode doesn’t have a pick guard the soundboard had received a lot of scraping from picks and fingernails, which had literally removed the surface of the soundboard from the strings to the lower side. A well intentioned person had try to cover the damage, or perhaps just to protect the area by covering it with a substance that I had a lot of difficulty identifying – probably wax – which had been “tinted” (or I should probably say “dirtied”) with whatever had come to hand. The result was not very attractive and distorted the beauty of this venerable guitar.
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