For me, the hardest part was getting all the glue out of the slot without damaging the guitar. Pro luthiers have the right tools to do this perfectly. Col Mustard , Dec 14, So, yes, the nut is quite similar on both models. I've used both Graphite and Tusq; both are good and easy to work with and install. I would strongly suggest you take it to a good luthier and have a bone nut made. Your action will be right on, the tone will be great and tuning stability will be spot on.
Too many variables with off the shelf guitar nuts I have used them, but they are always better when a pro tweaks them. Norton , Dec 14, Krosis , Dec 14, Tuning up takes the slack out of the tuner gears. Once the strings have stretched out, it will be rock solid. Hi , bone works for me but only if there's a problem with the existing nut , as for putting strings on , i just wind down keeping the winds as neat as possible and have never had any bother with tuning issues , and when someone brings in a guitar for some work and they have tied the bloody strings it drives me mental , no need for it LOL , cheers Alan.
Kris Ford , Biddlin and Col Mustard like this. But this stringing method actually helps keep guitars in tune better than anything else I've tried, so I swear by it. It sounds like we would all hesitate to swap out a nut unless someone had filed it way too deep, and with slots that were way too wide. One easy method of smoothing a nut slot for the wound strings anyway is after removing the string, run it back and forth in the nut slot a few times, bearing down lightly.
Use it like a perfectly sized nut file If you had some catching going on in that slot, like there was a burr or rough place, you could smooth it slightly by doing this. This model, along with the Hohner Amazon and particularly the Hohner Holborn, bear some similarity with Vox guitars of the same period; furniture manufacturer Stuart Darkins constructed bodies and necks for both brands, with Fenton Weill assembling them using their hardware and pickups.
These guitars do have some hardware peculiarities, and they are not the most adjustable of instruments, but they actually play very nicely, being solidly built out of some very nice woods. Check out the video on this page. It was broadly modelled on the Fender Stratocaster, and a sibling model to the dual-pickup Vox Ace. Both the Ace, and Super Ace along with several other models , were redesigned in with a new body shape, headstock style, and pickup layout - only increasing the resemblance to the aforementioned Fender.
It's a pretty nice playing guitar with some lovely sounds - check out the videos on this page, and in the Vintage Guitar and Bass supporting members area. It was made by JMI in England, for the British market, and unlike the majority of other models, didn't have an Italian-made equivalent. But the New Escort wasn't a slavish Fender copy, adding Vox's stylish teardrop headstock to the tele-style body, with a stop tailpiece and two Vox V2 single coil pickups.
And it's a pretty substantial, and nice playing guitar, with a very comfortable neck. Check out the images, specifications, and watch a video of it in action. There is also extra content in the vintageguitarandbass supporting members area.
Catalog scan. The Fender Lovin' Care catalog consisted of 48 pages of electric guitars, basses, amplifiers, steel guitars, acoustic guitars, banjos and keyboards.
Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl. Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. The Eko Ranger series of guitars was incredibly popular in the second half of the s and through the s, selling in very large numbers.
Not a bad guitar; a little quiet, but pretty playable. These were great value in , and because they sold so many, they are easy to find and excellent value today.
It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in , unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model This bass, although with a neck date of February , was most likely one of the unsold Vox guitars sold on by Dallas Arbiter.
Check out the bass, and the two video demos through s Ampeg and WEM amplifiers. The Shaftesbury 'Electric Guitars' catalog was just four pages long, and contained four guitar models: the six string Barney Kessel-style ; and three Rickenbacker-styled semi-acoustic models: the six-string , the twelve string and the bass. Shaftesbury was the house-brand of major UK distributor Rose-Morris , and seems to have been launched as a response to the company's loss of it's distribution deal with Rickenbacker.
The guitars were mid-priced, and built in initially Japan, and later Italy, by Eko. It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar. The sixteen-page Rose-Morris catalog featured electric guitars by Rose-Morris' own brand, Shaftesbury, and budget brand Top Twenty; aswell as acoustics by Eko, Aria, and for the first time Ovation.
A detailed look at an early s Fender Precision bass guitar in custom black finish, with rosewood fretboard. The Fender Precision had been shipping since at least very early - with just one re-design circa This example, then, shows a model already two decades old, but barely changed since the '57 revamp.
Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in ' a simple, single pickup instrument with a GREAT sound.
Check out the demo video through an old Ampeg B It's no wonder this is the bass that everybody wants! The Vox Stroller was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece.
Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge.
JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped. This is a lightweight bass, short 30" scale and very easy to play.
It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack.
Production numbers are unclear, but left-handed examples rarely come up for sale. Not to be confused with the Gibson ES Artist launched by Gibson in ; this ES Artist was an early model designed by the Gibson research and development team in Kalamazoo in , the instruments themselves constructed by Gibson artist Chuck Burge. It was planned for launch as a high end semi acoustic with style construction central maple block and innovative circuitry - but was pulled at the last minute, being deemed too expensive.
Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to LaVonne Music by Gibson in around Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne music. By the early sixties the carved top was replaced with a laminate, and although still a very fine guitar, the earlier carved top examples, with frondose headstock like the example shown here are far more highly prized amongst musicians and vintage guitar collectors.
The Gretsch Chet Atkins Tennessean, or model was Gretsch's best selling hollow body of the s. This wonderfully faded example from was originally Dark Cherry Red, but has turned a mid-orange brown. The original color, however, can be seen underneath the pickup surrounds. Nickel plated Gretsch Bigsby tailpiece. The Gretsch catalog, or catalog 32, featured 10 hollow body electric guitars, including the newly launched Gretsch Viking; four solid body electrics, including the Astro Jet - making it's only catalog appearance; just one bass, the single pickup PX; nine acoustics and 12 tube amplifiers.
Pride of place went to the Chet Atkins Country Gentleman that adorned both the front and back covers. Guitar Repair: fixing fret buzz and sharp fret ends. Loose frets are especially problematic in certain old guitars, but are generally very easy to fix. You'll be amazed at the difference you can make with just a few tools, a bit of knowledge, and a little time.
Fixing loose frets can eliminate fret buzz, remove sharp fret ends, and greatly improve the tone of any guitar. If your luthier bill will be greater than the value of your guitar, definitely time to have a go yourself! This eight page 'worlds fastest playing neck' catalog, printed in two-colors contained six solid body electrics, three solid body basses, two electric acoustic guitars, two electric acoustic basses and five acoustics. The President was a hollow body electric acoustic, available as a full body or thinline, and with blonde or brunette finish.
It was a great playing guitar that sold fairly well in the second half of the s, throughout the s, and into the very early s. The example shown here is a full-body depth guitar in blonde - and as a guitar, one of the last to feature the rounded Venetian cutaway. From late until , the President sported a sharp Florentine cut. Naturally, such an electric acoustic suggests jazz and blues, but many of the original British Hofner President players were part of the rock 'n roll, skiffle and beat scenes of the late 50s and early 60s.
As well as keyboards and pedal steels, this catalog contains seven guitars, three basses and ten amplifiers - from student guitars such as the Musicmaster and Duotone to professional models like the new Jaguar. The newly designed Les Paul Recording guitar was released in , in many ways as an updated version of the Les Paul Professional that had debuted two years earlier in The new guitar came with a new owners manual explaining the somewhat complicated controls, their operation, and giving other specifications, including recommended strings, action and control settings.
Functionally, these basses were very similar, although the Triumph did offer low and high impedance operation, without the need for a transformer cable. This owners manual details the basses specifications, suggests a string set, recommended action, and suggests a series of tonal settings for rock, country and solo bass playing.
In the middle of , Rosetti took over distribution of the Gibson line in the UK. There was an almost manic sense of trying to find a vibrato system that worked. There were at least half a dozen different trem systems Gibson used in the 60s. They went on to try several different types of tailpiece, but I think the only one that ever really worked well for Gibson generally was a Bigsby. After spending years running a vintage guitar store, Mat teamed up with the Gibson Custom Shop prior to his current role as head of Product Development.
The reason was to compete with Fender who had the Stratocaster; the Strat had a tremolo system and Gibson thought that it needed to have one. Arguably, they never did find one that worked even remotely as well as the one on a Strat. Originally, the key concepts of the SG were most likely presented by the Gibson sales team who tended to keep a close eye on the competition while receiving feedback from dealers and musicians.
He became a project manager and if any highly specialised custom orders came along, Larry would often end up with the job. I think they just compiled all their notes from the sales team, gave them to Larry, and he came up with the SG [design].
Sales were off the charts in the first couple of years, but it did decline steadily throughout the 60s. The same goes for SGs. Gibson was struggling to find its identity, especially with the rise of Fender on the West Coast. When you get to the mids, you start seeing more custom colour SGs, normally in Firebird colours like Pelham Blue. I mean, look at their endorsements and advertisements: it was all jazz players and archtop guys.
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