Those are mine. Neato and slightly terrifying watching this! No need to worry about disclosure on the custom… it’ll die with me. As for the 61? I don’t know because I haven’t played it. Missing it’s head an all :) Thanks again Ted!
@@Meddled I just recently unsubbed from Dave. He was a funny grump a few years back, now he's just angry and spiteful. I don't know his reasons and I can't pass judgment, but he's become unwatchable and his advice is backhanded and unhelpful
@@Meddled could never stand that guy....then I inadvertently bought a les Paul Studio he had rattle can refinished into a gold top... it was terrible. I stripped down to bare wood.
@@guycalleddave Jimmy Pages #1 is supposed to be around 7 and 1/2 lbs.. and that is on the light side.. Les Paul himself was noted as preferring a heavier Les Paul 10-12 lbs ...
Excellent! I’ve been waiting to see the 61 Red get fixed ever since opening the box and case when it came and my stomach dropped. Yep I was the one who got that in the mail broken here in Texas, and then sold it to your client who owns them both now. The guitar came to me with full tension on the strings and minimal padding and packaging unfortunately… and this was the result. Anyway, Ted, You are doing amazing work and this will now be loved and played! In fact, I’m the lucky one as your client and I converse often and do an SG and guitar nerd out regularly. I’m super excited to see him get these beauties back in his hands and makes some sweet tones! Thanks so much for your craftsmanship and care!
Hey you guys is there a link where we might hear some of the sweet tones you’re making? Thanks for filling in on the stories behind these guitars. Cheers!
Ted, thank you for the discussion of the scope of work and repair vs restoration. As I commented on Matthew Scotts restoration those are players instruments not museum pieces, repair them so they can be played another 60+ years.
@@gramursowanfaborden5820 I live in the north of Scotland (Inverness) so it’s either a long drive somewhere or expensive (and a bit risky) shipping. Thanks for your reply and help.
Better veiwing material than anything on modern day TV, I walked away feeling more knowledgeable and fulfilled than what's on cable TV.. Thanks for everything you do and provide for us instrument lovers seeking more substance in this crazy world we are living in.. I personally could watch for hours on end... A true artist in his craft is timeless..
I’m not a guitar builder but a custom woodworker and I use your videos often for ideas in making out custom knife handles and products so thank you for the time you put into these sir.
This is truly amazing, I enjoy playing and just looking at guitars. I once stood for half and hour mumbling to myself at a music store when they had a bunch of Gibson guitars in a small room. We don’t have big stores where I live so I just stood there talking to myself about how cool and amazing they were and for a person like you who not only brings dead guitars back to life but also documents the process teaching many of my generation of future guitar player and luthiers I thank you for your amazing videos.
My compliments to the repair man!!! I was thinking, wow, my man is matching the old finish beautifully. Then you said "It's looks better on camera...." I have to be impressed, daunting task, but you pulled it off. Shame about the SN but it was probably lost when they stuck the rosewood on the back of the head stock. Again, well done sir.
I’m a standard machinist. All of my work is made by hand with calculation and experience. CNC can do some perfect work, but it requires enough time to setup and code, by that time I’m often already done. Hand work will never be replaced by computer
Les Paul did not ask Gibson to take his name off of the guitar, his endorsement/signature model contract ended in 1963 & because he was going through a divorce he did not re-sign a contract until he negotiated a new one in 1968 late 1967 & it was THEN he requested they bring back the traditional single cut Les Paul. Not that it really matters much but I personally feel it’s very important to note that from 1964 through 1967 Gibson did not make ANY Les Paul models at all. Paul’s name came off the “new” double cut “Solid Guitar” and it went from being a Les Paul from 1961-1963 to being a Gibson SG from 1964 to present. Isn’t it mind boggling that from late 1957-1960 the sales of the traditional single-cut Les Paul slumped so bad they gave up that design all tougher for nearly a decade? You would not think that would be the case when they introduced the now coveted mythical PAF’s in 1957 & the now revered, cherished and also coveted Cherry Sunburst in 1958, you’d think they would have been jumping out of the stores but nope. Sales steadily decreased from late 57 through the end of 1960 when they discontinued it. Insanity.
The term player grade makes me cringe, this whole puristic idea, that an instrument must be undamaged, to be valuable, is absolutely horrible. Besides, all guitars should be player grade. I hate the idea, that someone put in time, energy and experience to make a great sounding instrument, for some lawyer or dentist collector, to buy it, hang it on a wall, and never play it. People are always outraged that players, like Bonamassa, gig with vintage instruments, well that IS in fact their intended use.
Couldn't agree more. I can see the value in preserving some vintage guitars in museums because of their historical significance, but shaming people for actually playing the ones they own is nonsense. Those guitars wouldn't be of any value today had no one played them in the first place
i think the opposite way to the "player's grade" mentality. instruments are tools and all tools should be used and loved, it's only AFTER they have been used and worn and had a life of their own that they should be preserved in that genuine state, that is an honest representation of that thing. to preserve a pristine model as a museum piece defeats the purpose of a museum piece: an artefact of a time that accurately represents a slice of reality from that time.
Pop has a "player" grade '63 J45. It's had a seriously hard life and it shows. BUT, it's never had any repairs done to the body or headstock. He's got it up for sale because he doesn't want to use it around the campfires, which is where he plays the most now, and it has way to much music left in it to sit in the case. Much like Vintage Cars, I absolutely hate "Collectors" that never use them for the purpose they were made for.
So, is it a tool for making music, or a fetish/art object? That's a difference worth thousands of dollars, and I appreciate the finely tuned ethics of a repair tech who understands it.
Sir you are a true to life artist, magician, craftsmen, a real honest to God/Luthier! Thankx for sharing your talents with all of us amateurs. I just recently repaired my old 1983 Alvarez Regent named Splinter. It got its name from me shortly after I over tightened the truss rod. It sat for 18 or so years in my closet broken. I finally got it back it and repaired the splintered neck and broken off headstock. Thanks for your inspiration. I wouldn't have ever fixed it if it wasn't for watching one of your videos on broken headstocks. Thanks again Dana E💫
You Sir have a big set of balls! Seriously, I really admire your internal compass and honesty. Not much of either going around these days. I sure hope you get your number on these repairs. Man, that 62 is a honey.
Your work is truly art. It is always nice to see an old instrument restored to its former glory. Watching you carve, sand and finish is really satisfying. I can do adjustments on my guitars, but you can make them live again.
Nothing feels better than thinking the video might be close to ending because you know how quickly time flies when you watch these only to see you're only halfway there. Thank you for the 1000x time Ted
It calming to watch and listen to a true artisan. A lot of folks have a talent but have not refined it to the level of being a master. Bravo, sir, bravo.
Great stories - love to hear how the process evolved over generations of the same model.. The hands of ownership on the red SG and how it ended up in your are interesting. Not only do I enjoy your style of delivery but you are obviously as much a great student as you are an amazing teacher. I love the fact that you care about the integrity and the repair history of the instrument. Waiting for another episode is like waiting for a new book from my favorite author. Bravo as always!
One of my first guitars was a Les Paul Jr. from 1961! I got it in the early '70's. The name on the headstock (Les Paul Jr.) was in the gold lettering. I was in my early 20s then, but I swear it was almost weightless.
Please don’t take this the wrong way, but I usually fall asleep to your videos, your cadence and delivery are phenomenal, as well, your knowledge and skill. Thank you C442 FAHQ Racing
Every olympic white LP Custom SG I've seen from 1961-62-63 has the neck binding cracks. Gibson painted Olympic White over the side binding on the neck. The binding shrinks and the paint cracked. I have a 62-63 that is in really great condition. No checking, gold hardware is still gold, 3 PAFs, pots are dated 1961, and the neck binding is still nice except for the first fret shows checking at the binding.
Hand made craftsmanship is always more valuable because of the care. Very true! Very interesting video. Brilliant work on the headstock! Thanks Ted for sharing your skills! 🎶🎶🎶
I happen to catch that interview between Joel & Ian last week. VERY eye opening talk ! He actually said there are a couple of violin repair peeps that use UV additives in they're glue, so it does show up in black light.
I got one for my 10th birthday,still have it and I still play it.Neck fell out,just fell out,when it was about 20yrs old!Had it repaired once and it failed a short time later but the second time worked,for whatever reason!
Always amazing work! I learn something from each video you put out and look forward to the next. I'm still amazed how ANYONE could give these videos a thumbs down.
Great video, always fun to see the really extensive repairs even though they are nail biters for you! Can definitely tell how much thought you put into deciding how to proceed.
Outrageous! Only 25 minutes of master craftsmanship... Seriously, the time flew by. I think we could all do with more repair footage in these vids, if you have it...?
Superb as always. Almost worth having one of those headstock-break-repair-surgery procedures done from new, before it breaks. So satisfying an engineering solution, and so deftly executed by Ted. Awesome.
19:50 if you make a jig for a dremel drill station, drilling with a milling bit will give a cleaner cut regardless of the material you're drilling into. I've drilled clean cuts in cork with a similar setup. The issue comes from the drilling implement not being restricted. One flute catches and makes a mess of the hole.
As always, beautiful work. I just wanted to say that I completely agree with everything you said at the start of the video about the value of human skill and artisanship, and its unfortunate devaluation by collectors who make a fetish of objects that are quite often, especially these days, produced by machines in a completely mindless and unskilled way, all in the name of some totally misguided notion of authenticity. Something that's often occurred to me, watching your work, and especially your splined neck repairs, is that I find the final step, where you cover up what you've done so beautifully, to be a real shame. Your work in cases like this is a thing of beauty in itself, and anybody who can't see that really has a problem.
I don't work on guitars, but I do some work on antique furniture, and I can assure you that black light will show evidence of previous work, regardless of fluorescent additives. The problem is not the repair craftsman. It is instead the tendency of the buyer of a vintage wooden product to "will" it to be what they want, and if they are the victim of a less than ethical seller, that's between the two of them. The imprimatur of authentidcity does not fall on any third-party craftsman, in any sane world. Going further down that soul-searching rabbit hole only suffocates the creative talents of any true craftsman.
The finish cracking at the binding 16:54......I have seen that before and also had it happen during refrets of old lacquer finished guitars. It’s from beating the fret end when installing the new frets. When you get out to the ends, tap lightly or the hammer blow can shatter the lacquer usually at the lacquer line at the bottom of the binding.
All I heard was 58 Les Paul Special from Goodwill and then my brain threw a error msg. and I had to hard reboot a few times to come back online. Jeezzz!!!
I truly appreciate your comments about restoring an instrument to the point of hiding whatever damage may have occurred. Yes it looks better, but it is still not the instrument that it was when it left the factory (for better or worse) and therefore counterfeit. I am also in complete agreement with your comments about work done with hands of a sentient being. Yes I have several CNC rigs that I enjoy producing objects with. But I also just completed a beginning Blacksmithing class. The objects that I was able to produce (with much instruction and help from the Master Smith) from basic metal shapes and even a railroad spike where as satisfying as anything my CNC gear has allowed me to make. Most every shape and mark were produced with my hand and a hammer.
That was a vast improvement over the the damage, I don't see how that repair would do anything but enhance the the worth of that guitar. Fine craftsmanship!!!
I loved those guitars as a teenager. I was a Gibson lover because a mate had a 335. Don't play electric, only acoustic, but I love watching sheer skill like this no matter what the guitar. I like the concept that the guitar looks like an old instrument that has been looked after. Acoustics, especially do not like to lie unused.
Did not expect to be lectured about the importance of keeping human manufacturing alive and how it's worth more than machine made equivalents... however I fully agree
Your discussion about repair and restoration reminds me of baumgartner restorations. They have a set of rules they follow to differentiate between repair and original work. They use fluorescing paints for their repairs.
It reminded me of that as well. The conservation paints fluoresce because of the UV inhibitors added to them to protect the paint from fading. It was not to show where the painting was retouched, although that is a benefit to the owner and any future conservator.
Brother I don’t think you give yourself enough credit lol. The stuff I’ve seen you do and repairs I’ve seen you do is insane!! Your really damn good man!! Really!
I worked for Peavey back in the 90's and Jim Decola, who's now Gibson's Master Luthier would take an Exacto blade and slice in "fake grain" for lack of a better word, to camouflage transitions like the borders of the plug on the back of the neck, then rub dark pore filler into the cuts. Since the cuts were in both the existing wood as well as the patch, your eye would be fooled a little into thinking there was one piece of wood, which is very helpful with transparent finishes.
You are a fuckin beauty, man. I love all your videos because of the narrative. "I simply refuse. The work of human hands is worth more. Every time. Don't let them tell you otherwise". That gave me chills. You couldn't be more right. I almost hope one of my guitars breaks someday so I can see if yo7'll fix it.
Since it's getting New SS Frets, I would have used a Radius Block, fine sanded the fretboard and Ebony Stained the fretboard. The body was protected but I would have protected the headstock also, although she did a great job with her skills not to damage it. Speaking of headstock, I would have color sanded it using 7000 grit and bluff it to get rid of the spots and stains, but not too much. Just enough to make it pop. Nice work and great job.
Those are mine. Neato and slightly terrifying watching this! No need to worry about disclosure on the custom… it’ll die with me. As for the 61? I don’t know because I haven’t played it. Missing it’s head an all :) Thanks again Ted!
Dude, I can’t wait for you to get it. I bet it’s gonna be sweet! Ted has scrubbed away all the scum and bad vibe that came with it.
Mary Ford played one of those customs. Her's was sold on Pawn stars. Maybe this caused the divorce? 🤑🤣
No i'm Spartacus!
@@rakentrail I saw that episode. Sold it for $70,000. If I had a expensive vintage guitar there’d be no way I’d sell at a pawn shop.
I'd say that you've got the best repairs that money can buy.
Thanks for shouting out, Joel. He's very special. I truly enjoy your videos. All the best! ✌🏻💫
You and Joel are both awesome.
You are, ridiculously, articulate in how you explain your views on repairs of vintage instruments. Thank you for your videos. And your banter.
Basically the opposite of Dave's World of Hackjobs in terms of outlook, skill, creativity.
@@Meddled I just recently unsubbed from Dave. He was a funny grump a few years back, now he's just angry and spiteful. I don't know his reasons and I can't pass judgment, but he's become unwatchable and his advice is backhanded and unhelpful
@@Meddled could never stand that guy....then I inadvertently bought a les Paul Studio he had rattle can refinished into a gold top... it was terrible. I stripped down to bare wood.
@@EdwardT9 Dave make Brad Angove's finishing work look brilliant in comparison to his own hacked touchups and finishing.
What a relief! I was starting to worry about you, Ted! It was 8pm on Sunday and no video. I nearly phoned the authorities. ;)
Same!!!
Ditto!
The only burst I ever played was around 8 lbs. It's my understand most bursts are light?
Right?
@@guycalleddave
Jimmy Pages #1 is supposed to be around 7 and 1/2 lbs.. and that is on the light side.. Les Paul himself was noted as preferring a heavier Les Paul 10-12 lbs ...
Excellent! I’ve been waiting to see the 61 Red get fixed ever since opening the box and case when it came and my stomach dropped. Yep I was the one who got that in the mail broken here in Texas, and then sold it to your client who owns them both now. The guitar came to me with full tension on the strings and minimal padding and packaging unfortunately… and this was the result. Anyway, Ted, You are doing amazing work and this will now be loved and played! In fact, I’m the lucky one as your client and I converse often and do an SG and guitar nerd out regularly. I’m super excited to see him get these beauties back in his hands and makes some sweet tones! Thanks so much for your craftsmanship and care!
Ahh shucks man. Best part is a new SG nerd friend for sure 🤘
Hey you guys is there a link where we might hear some of the sweet tones you’re making?
Thanks for filling in on the stories behind these guitars. Cheers!
This isn’t a guitar repair, it’s a combination of engineering and a work of art. Breathtaking stuff.
Ted, thank you for the discussion of the scope of work and repair vs restoration. As I commented on Matthew Scotts restoration those are players instruments not museum pieces, repair them so they can be played another 60+ years.
You are a truly humble craftsman. There’s very few people I trust with my guitars. Such a pity I’m on the other side of the pond.
plenty of good'ns in the UK, if you're anywhere near Cornwall, check Julyan Wallis. further up talk to Crimson and they'll find you someone.
@@gramursowanfaborden5820 I live in the north of Scotland (Inverness) so it’s either a long drive somewhere or expensive (and a bit risky) shipping. Thanks for your reply and help.
Better veiwing material than anything on modern day TV, I walked away feeling more knowledgeable and fulfilled than what's on cable TV.. Thanks for everything you do and provide for us instrument lovers seeking more substance in this crazy world we are living in.. I personally could watch for hours on end... A true artist in his craft is timeless..
I know that making these videos while you are trying to
work is a pain but I sure do appreciate it. Watching an
artist is a true joy. Thanks.
I’m not a guitar builder but a custom woodworker and I use your videos often for ideas in making out custom knife handles and products so thank you for the time you put into these sir.
That was absolutely amazing! Craftsmanship will always take place over machines. I do mostly body/Finish work and that SG was a fabulous repair.
I could've happily watched another hour of of this but I'm already late for work. Amazing repair skills there Ted.
This is truly amazing, I enjoy playing and just looking at guitars. I once stood for half and hour mumbling to myself at a music store when they had a bunch of Gibson guitars in a small room. We don’t have big stores where I live so I just stood there talking to myself about how cool and amazing they were and for a person like you who not only brings dead guitars back to life but also documents the process teaching many of my generation of future guitar player and luthiers I thank you for your amazing videos.
My compliments to the repair man!!! I was thinking, wow, my man is matching the old finish beautifully. Then you said "It's looks better on camera...." I have to be impressed, daunting task, but you pulled it off. Shame about the SN but it was probably lost when they stuck the rosewood on the back of the head stock. Again, well done sir.
I’m a standard machinist. All of my work is made by hand with calculation and experience.
CNC can do some perfect work, but it requires enough time to setup and code, by that time I’m often already done.
Hand work will never be replaced by computer
Those old Les Paul/SG's w/ the pearl inlays were beautiful instruments, and in the right hands, beautiful sounding instruments.
Les Paul did not ask Gibson to take his name off of the guitar, his endorsement/signature model contract ended in 1963 & because he was going through a divorce he did not re-sign a contract until he negotiated a new one in 1968 late 1967 & it was THEN he requested they bring back the traditional single cut Les Paul. Not that it really matters much but I personally feel it’s very important to note that from 1964 through 1967 Gibson did not make ANY Les Paul models at all. Paul’s name came off the “new” double cut “Solid Guitar” and it went from being a Les Paul from 1961-1963 to being a Gibson SG from 1964 to present. Isn’t it mind boggling that from late 1957-1960 the sales of the traditional single-cut Les Paul slumped so bad they gave up that design all tougher for nearly a decade? You would not think that would be the case when they introduced the now coveted mythical PAF’s in 1957 & the now revered, cherished and also coveted Cherry Sunburst in 1958, you’d think they would have been jumping out of the stores but nope. Sales steadily decreased from late 57 through the end of 1960 when they discontinued it. Insanity.
The term player grade makes me cringe, this whole puristic idea, that an instrument must be undamaged, to be valuable, is absolutely horrible. Besides, all guitars should be player grade. I hate the idea, that someone put in time, energy and experience to make a great sounding instrument, for some lawyer or dentist collector, to buy it, hang it on a wall, and never play it. People are always outraged that players, like Bonamassa, gig with vintage instruments, well that IS in fact their intended use.
Couldn't agree more. I can see the value in preserving some vintage guitars in museums because of their historical significance, but shaming people for actually playing the ones they own is nonsense. Those guitars wouldn't be of any value today had no one played them in the first place
i think the opposite way to the "player's grade" mentality. instruments are tools and all tools should be used and loved, it's only AFTER they have been used and worn and had a life of their own that they should be preserved in that genuine state, that is an honest representation of that thing. to preserve a pristine model as a museum piece defeats the purpose of a museum piece: an artefact of a time that accurately represents a slice of reality from that time.
Pop has a "player" grade '63 J45. It's had a seriously hard life and it shows. BUT, it's never had any repairs done to the body or headstock. He's got it up for sale because he doesn't want to use it around the campfires, which is where he plays the most now, and it has way to much music left in it to sit in the case. Much like Vintage Cars, I absolutely hate "Collectors" that never use them for the purpose they were made for.
So, is it a tool for making music, or a fetish/art object? That's a difference worth thousands of dollars, and I appreciate the finely tuned ethics of a repair tech who understands it.
But they relic them....makes no sense to me.
Sir you are a true to life artist, magician, craftsmen, a real honest to God/Luthier! Thankx for sharing your talents with all of us amateurs. I just recently repaired my old 1983 Alvarez Regent named Splinter. It got its name from me shortly after I over tightened the truss rod. It sat for 18 or so years in my closet broken. I finally got it back it and repaired the splintered neck and broken off headstock. Thanks for your inspiration. I wouldn't have ever fixed it if it wasn't for watching one of your videos on broken headstocks. Thanks again Dana E💫
You Sir have a big set of balls! Seriously, I really admire your internal compass and honesty. Not much of either going around these days. I sure hope you get your number on these repairs. Man, that 62 is a honey.
"Not much (virtuous thing) going about these days" is such a boomer take.
It is what it is. Still is what it was. Great repair, Theodore !
Those repairs turned out amazing, looks great!
I could watch Gibson headstock repairs all day long, and I have. There is an endless supply. Thanks Gibson.
A complete transformation outstanding work always a pleasure to watch you work
Your work is truly art. It is always nice to see an old instrument restored to its former glory. Watching you carve, sand and finish is really satisfying. I can do adjustments on my guitars, but you can make them live again.
Always amazed by the work you do, the inventiveness, ingenuity, and care you take to implement a repair. Thanks.
You’re the most amazing master craftsman luthier I’ve ever seen. Truly amazing. Thank you for sharing.
Nothing feels better than thinking the video might be close to ending because you know how quickly time flies when you watch these only to see you're only halfway there. Thank you for the 1000x time Ted
It calming to watch and listen to a true artisan. A lot of folks have a talent but have not refined it to the level of being a master. Bravo, sir, bravo.
You are bloody brilliant I can watch you all day
Great education resource, always learn a lot. Non snobbish approach to repair is appreciated, logic wins every time!
That was a great episode!. I love the way that you can switch between measuring units at will.
Great stories - love to hear how the process evolved over generations of the same model.. The hands of ownership on the red SG and how it ended up in your are interesting. Not only do I enjoy your style of delivery but you are obviously as much a great student as you are an amazing teacher. I love the fact that you care about the integrity and the repair history of the instrument. Waiting for another episode is like waiting for a new book from my favorite author. Bravo as always!
this dude performs miracles everyday, i dont know how he does it but he always is able to make these guitars new and playable again.
"But it looks like it was taken care of." -Ted ..Words to live by my friend.
One of my first guitars was a Les Paul Jr. from 1961! I got it in the early '70's. The name on the headstock (Les Paul Jr.) was in the gold lettering. I was in my early 20s then, but I swear it was almost weightless.
The more and more of these videos of yours I watch with Gibsons the less and less I want one.
Please don’t take this the wrong way, but I usually fall asleep to your videos, your cadence and delivery are phenomenal, as well, your knowledge and skill. Thank you C442 FAHQ Racing
Just fantastic! thank you so much for your videos.
Looks just like Sister Rosetta Thorpes SG Gibson. Thanks for sharing your work with us.
I really appreciate how you critically examine and discuss all the different intricate details with explanations 🍻
Kind of used to watching you work miracles, but that headstock work was next level!
I'm glad that you make these videos. Your workmanship is amazing,
Every olympic white LP Custom SG I've seen from 1961-62-63 has the neck binding cracks. Gibson painted Olympic White over the side binding on the neck. The binding shrinks and the paint cracked. I have a 62-63 that is in really great condition. No checking, gold hardware is still gold, 3 PAFs, pots are dated 1961, and the neck binding is still nice except for the first fret shows checking at the binding.
Hand made craftsmanship is always more valuable because of the care. Very true! Very interesting video. Brilliant work on the headstock! Thanks Ted for sharing your skills! 🎶🎶🎶
Wow! This is an excellent video. Thank you for sharing your thoughts and processes with us and everything!!!!
One of your best videos, which is saying something. I really enjoyed your insight in this one.
I sure hope you do a follow up video to these beauties!
Man you are an artist!
I looked at this and thought its for the trash can! Boy was I wrong, great job done by a master craftsman. all the best.
Nothing wrong with seeing the repairs, not being fully hidden. As long as it’s a clean, strong well done repair. That works.
The three-pickup SG Custom is one of the most beautiful instruments ever crafted.
I happen to catch that interview between Joel & Ian last week. VERY eye opening talk !
He actually said there are a couple of violin repair peeps that use UV additives in they're glue, so it does show up in black light.
I got one for my 10th birthday,still have it and I still play it.Neck fell out,just fell out,when it was about 20yrs old!Had it repaired once and it failed a short time later but the second time worked,for whatever reason!
Always amazing work! I learn something from each video you put out and look forward to the next. I'm still amazed how ANYONE could give these videos a thumbs down.
Dam I love these videos . Amazing job! 🤘🏻
Time travelled back to this one.
Really enjoyed this episode, Ted. Superb job as always, and great to wake up to, Monday morning.
I know i’ve watched to many of these when i find myself humming your theme tune during the day!
I’m glad I discovered your channel. I also appreciate your comments on the guitars and the industry etc. Great content. Keep going.
Beautiful work as always.
For people in the US, Joel aka JW Restoration can do restorations & repairs at Ted's level.
Edit: lol nice. You mention Joel as I typed that lol
Does he film his stuff?
@@fufc1231 No, he only has some photos and short videos on Instagram.
Really fine work on both guitars. This proves that nothing is really too broken to repair.
More honest words have never been spoken. "Work of human hands is worth more". Well put Ted.
These are such beautiful guitars. Great work as always.
Always a pleasure to watch, listen and learn. from you. Thanks for sharing your craft.
I sat on the edge of my seat for the entire video!!!! Grate repair!!!
Great video, always fun to see the really extensive repairs even though they are nail biters for you! Can definitely tell how much thought you put into deciding how to proceed.
Excellent work.....as always.
Very good, Ted. Your repair expertise is second to none.
Outrageous! Only 25 minutes of master craftsmanship... Seriously, the time flew by. I think we could all do with more repair footage in these vids, if you have it...?
Another banger of a video. Love your content.
Superb as always. Almost worth having one of those headstock-break-repair-surgery procedures done from new, before it breaks. So satisfying an engineering solution, and so deftly executed by Ted. Awesome.
Excellent work. Awesome video. Thanks for the shout out!
Beautiful work on both guitars. The craftsmanship of a repair should show.
19:50 if you make a jig for a dremel drill station, drilling with a milling bit will give a cleaner cut regardless of the material you're drilling into. I've drilled clean cuts in cork with a similar setup. The issue comes from the drilling implement not being restricted. One flute catches and makes a mess of the hole.
As always, beautiful work. I just wanted to say that I completely agree with everything you said at the start of the video about the value of human skill and artisanship, and its unfortunate devaluation by collectors who make a fetish of objects that are quite often, especially these days, produced by machines in a completely mindless and unskilled way, all in the name of some totally misguided notion of authenticity.
Something that's often occurred to me, watching your work, and especially your splined neck repairs, is that I find the final step, where you cover up what you've done so beautifully, to be a real shame. Your work in cases like this is a thing of beauty in itself, and anybody who can't see that really has a problem.
More to learn :) great commentary as always
Looks a hell of a lot better than it did great work I like watching you do that magic stuff with a broken guitar 👍🏻🤘🏻
I don't work on guitars, but I do some work on antique furniture, and I can assure you that black light will show evidence of previous work, regardless of fluorescent additives. The problem is not the repair craftsman. It is instead the tendency of the buyer of a vintage wooden product to "will" it to be what they want, and if they are the victim of a less than ethical seller, that's between the two of them. The imprimatur of authentidcity does not fall on any third-party craftsman, in any sane world. Going further down that soul-searching rabbit hole only suffocates the creative talents of any true craftsman.
The finish cracking at the binding 16:54......I have seen that before and also had it happen during refrets of old lacquer finished guitars. It’s from beating the fret end when installing the new frets. When you get out to the ends, tap lightly or the hammer blow can shatter the lacquer usually at the lacquer line at the bottom of the binding.
All I heard was 58 Les Paul Special from Goodwill and then my brain threw a error msg. and I had to hard reboot a few times to come back online. Jeezzz!!!
I truly appreciate your comments about restoring an instrument to the point of hiding whatever damage may have occurred. Yes it looks better, but it is still not the instrument that it was when it left the factory (for better or worse) and therefore counterfeit.
I am also in complete agreement with your comments about work done with hands of a sentient being. Yes I have several CNC rigs that I enjoy producing objects with. But I also just completed a beginning Blacksmithing class. The objects that I was able to produce (with much instruction and help from the Master Smith) from basic metal shapes and even a railroad spike where as satisfying as anything my CNC gear has allowed me to make. Most every shape and mark were produced with my hand and a hammer.
Lucky the fingerboard hasn't started to leave the neck on the 61. Your remark on Human hands was spot on. You've just gained another sub.
bravo! mark of nomad boatbuilding sent me after I asked if he knew of dan erlewine. good call. good work.
That was a vast improvement over the the damage, I don't see how that repair would do anything but enhance the the worth of that guitar. Fine craftsmanship!!!
Nice shout out to Joel. Matthew Scott's Les Paul looks like real world Photoshopping. But you are still my favorite!! 😉👍
I loved those guitars as a teenager. I was a Gibson lover because a mate had a 335. Don't play electric, only acoustic, but I love watching sheer skill like this no matter what the guitar. I like the concept that the guitar looks like an old instrument that has been looked after. Acoustics, especially do not like to lie unused.
Amazing attention to detail. Thank you, sir.
Did not expect to be lectured about the importance of keeping human manufacturing alive and how it's worth more than machine made equivalents... however I fully agree
Your discussion about repair and restoration reminds me of baumgartner restorations. They have a set of rules they follow to differentiate between repair and original work. They use fluorescing paints for their repairs.
It reminded me of that as well. The conservation paints fluoresce because of the UV inhibitors added to them to protect the paint from fading. It was not to show where the painting was retouched, although that is a benefit to the owner and any future conservator.
Brother I don’t think you give yourself enough credit lol. The stuff I’ve seen you do and repairs I’ve seen you do is insane!! Your really damn good man!! Really!
Great video, some pretty epic work going on there to sort those two out. Well done!
Very satisfying watching your skills. Wonderful. Thankyou.
I worked for Peavey back in the 90's and Jim Decola, who's now Gibson's Master Luthier would take an Exacto blade and slice in "fake grain" for lack of a better word, to camouflage transitions like the borders of the plug on the back of the neck, then rub dark pore filler into the cuts. Since the cuts were in both the existing wood as well as the patch, your eye would be fooled a little into thinking there was one piece of wood, which is very helpful with transparent finishes.
A fantastic video. Thank you for sharing your knowledge and skills.
I find what you said, of the value on human effort, something really important and beatutiful. It resonated on me
You are a fuckin beauty, man. I love all your videos because of the narrative. "I simply refuse. The work of human hands is worth more. Every time. Don't let them tell you otherwise". That gave me chills. You couldn't be more right. I almost hope one of my guitars breaks someday so I can see if yo7'll fix it.
Since it's getting New SS Frets, I would have used a Radius Block, fine sanded the fretboard and Ebony Stained the fretboard. The body was protected but I would have protected the headstock also, although she did a great job with her skills not to damage it. Speaking of headstock, I would have color sanded it using 7000 grit and bluff it to get rid of the spots and stains, but not too much. Just enough to make it pop. Nice work and great job.