Vintage Guitar
Posted in Posters on 07/21/2010 06:10 pm by admin
Most of us don’t “go looking for problems,” but if you are
considering buying a vintage acoustic guitar, it is best to
recognize any problems or potential problems BEFORE the purchase. In my article, “Acoustic Guitars–Why Buy Vintage?” I noted some good reasons to buy
vintage guitars (guitars that were made between the mid-1920′s and
about 1970). Now let’s consider how to buy such guitars WISELY.
In the previously mentioned article, I noted that there are two kinds of vintage
instrument buyers: the collector and the player. The collector of
vintage guitars, like the collector of anything, is looking for
examples from specific time periods–examples that are as pristine
as possible with original everything: original finish, bindings,
inlay, tuners, fretboard, frets, bridge, bridgepins, etc.–all with
the original case if possible. The player of vintage guitars is not
so concerned with whether everything is original, but seeks vintage
guitars because of the SOUND. Through the aging of the wood and the
vibrations over many years of playing, the sound of a vintage
acoustic guitar opens up into something quite wonderful. There are
some players who are also collectors. They are concerned with
issues of both playability and collectability. This article is
written from the viewpoint of the player, not the collector. The
problems discussed will not be about problems with cosmetic
appearance, or about whether or not parts are original, but rather,
things that may affect the structure and stability, and therefore
the playability of the instrument.
This brings us to our first consideration. If you’re sizing up an
old guitar with the intention of possibly buying it, one of the
first things you might notice is that there are fine cracks in the
finish, running in all different directions. Are these finish
cracks problematic to the playability or sound of the guitar? The
answer is no. This is called “checking,” something quite common to
vintage guitars. Checking is the result of the temperature and
humidity changes the instrument has been through. This affects the
appearance only and even collectors put up with these cracks. I am
actually quite fond of them myself. These little cracks say, “Look!
Vintage!” And here is some good advice for anyone who owns a
vintage guitar: Never refinish a guitar that still has the original
finish, even if it heavily checked and all scratched and dinged up,
to boot. Stripping and refinishing a guitar not only lessens its
value, but also its uniqueness. The only conditions under which an
old guitar should be refinished would be if the instrument has been
damaged very severely or if it has already been refinished poorly.
Cracks that are actually in the wood are another matter entirely.
Any separation in the wood of the top, back, or sides of the
instrument should be taken seriously as they might cause the
instrument to be unstable. Such separations might not be visible
under normal conditions. In a dark room, put a flashlight inside
the guitar and inspect the entire outside of the instrument.
This would be a good time to mention that buying an instrument
online is not a good idea unless you are prepared for the worse
case scenario. The previously mentioned cracks, as well as braces
that are broken or coming apart, are all things that may not be
mentioned in the description by the seller. It is not necessarily
that seller is deceitful. Sellers often have no idea that there are
problems with the instruments they are selling.
One of the most common features of a vintage acoustic guitar is a
“bellying” of the top. Over the years, the tension of the strings
will pull on top and cause it to raise, forming a slight bulge on
which the bridge is the highest point. If the action of the guitar
is satisfactory, there may be nothing to worry about. However, if
the bridge has been shaved, or if the saddle has been drastically
shortened to get the action where it needs to be there may be
problems with playing and with intonation. When it comes out of the
factory, the bridge on a steel-string acoustic guitar is usually
about 1/4 to 5/16 of an inch high, with the saddle protruding about
an eighth of an inch above the saddle. If the action can be made
satisfactory without deviating too far from these specs, everything
should be fine. If not, a neck reset may be required–a very
expensive procedure. Also, you’ll want to make sure the bridge is
not separated from the top. See if you can slide a thin, but stiff
piece of paper under the bridge at any place. If you can, the
bridge is probably in the process of lifting and may need to be
re-glued.
If there is no reinforcing truss rod in the neck, bowing of the
neck is common. This can sometimes be alleviated by having the
fretboard leveled and re-fretted. Or, you may have to have the neck
steamed and clamped to re-straighten–and the problem will probably
reappear unless you have a truss rod installed.
So, these are some of the things to look for when considering
purchasing a vintage acoustic guitar. These problems should not
necessarily discourage you from buying the instrument–you just
want to make sure you can recognize the problems and potential
problems and factor them into your decision. I’ve purchased some
vintage instruments that have had to drastically overhauled, yet
the end results have been quite pleasing. All in all, vintage
acoustic guitars provide a rewarding experience to the guitar
player.
Copyright © 2007 Lee Griffith. All rights reserved.
ABOUT THE AUTHOR: Lee Griffith is an avid acoustic guitar player and a vintage instrument enthusiast. He invites you to receive a FREE REPORT on a revolutionary acoustic guitar lesson kit, along with his weekly newsletter via email. just click on http://optin.flatpickpost.com
Check out Lee’s blog, “The Flatpick Post” at http://flatpickpost.com
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