full restoration ?
 

I'm interested in the definition of the term 'full restoration'. I'm guessing that it implies that an instrument that has been fully restored should structurally and visually be the same as the original maker intended ? Or would that be a re-build?
I have seen several of Ken's basses that look to be in pretty good condition already but have gone off for restoration ! I suppose for re-sell reasons this is probably a good idea.

humm?
 

You can't tell the condition by pictures alone. So so many things are involved in a restoration. It can include all the Blocks removed, cleaned and re-glued, every Rib straightened and re-repaired. Blocks replaced if they don't go back in, bass bar, neck graft and.. top pressing, top and back repairs as well as varnish re-touching.

Restorations can include less as well. Old basses sometimes have worm damage. This is like 'micro Swiss cheese' holes in the bass. This needs to be repaired and filled as best as possible as well. I currently have at least two basses with worm damage repair and they sound great!

Replacing Scrolls is a no-no in almost all cases. New backs and Tops are replacement repairs, not restorations. If it's new it's repaired, NOT restored.

A good restoration should look like it hasn't been altered. Alterations should be done tastefully if modifying the bass. Many many old basses have been modified to meet current playing standards and were improved in the process. Just as many I am sure were butchered!

Ah, why do you ask? Do you have a project bass ready to go 'under the knife'?

Yes and no !! I have that old french bass that I posted a while back , but am not ready to take it on as it's not a bass that I'd like to learn from my mistakes on .
I have done several repairs over the last few months but am careful not do anything unless it's within my capability. There are simply no luthiers that I'd entrust a special bass to in my part of the world and sending an instrument around the globe and back is quite a schlepp ( unless its a super valuable one), so at the moment I'm talking , reading etc etc to learn as much as possible about the craft .....:cool:

You know, seeing the impressive amount of poorly set up instruments, or ones in generally sad shape that you've been posting... and since you seem to have some interest in the subject... haven't thought of becoming the first trustworthy luthier in your part of the world? ;)

What do you reckon has to be done?

Well , I've decided to start learning by building actually building a bass,I guess that is the way to really start understanding the craft.
There is not a fortune of information on the net regarding actual restoration techniques etc (at least I have not managed to find much) , but there are some great books out there!
It may just be hunch but it seems that luthiers like to keep their techniques pretty much to themselves , understandable I guess:).....

I've worked for and with luthiers, lived with luthiers, represented luthiers, some of my best friends (living and gone) are luthiers, my sister and her husband are luthiers . . .

My observation is that luthiery attracts an above-average proportion of hermetically-oriented people. For every regular fella or gal who likes interacting with people pretty well -- think Ken Smith -- there are a bunch of folks who are much more inclined toward a solitary existence. It's not so much that they are purposefully guarded about their Deep Luthiery Secrets but that they're somewhat guarded in their interactions with people generally.

On top of that, much of what matters most in luthiery is experiential. When I worked as a bad luthier I learned a detailed method for milling frets. If I set it out on a page I guaranty you would still not consistently produce fret-ends which were factory-spec for a while. As Ronnie Bolduc, my maestro from those days used to say, "The first two hundred are the toughest."

I think you're spot on there, Sam. Usually, I love hanging around luthiers as well, and once you've made them start talking, I don't find them to be particularly mindful of what craft secrets they may share with you. But Adrian, it seems, don't have that many to hang around with... I think you're right, though, Adrian, that building an instrument is probably better than diving head first into restoring old gems. IF a luthier may not be willing to share everything with you, it is probably mostly with the fear of this in mind. :)
And, actually, I believe one of our finest bass makers of today—Peter Elias—is an autodidact.