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Guitar Restorations: 1935 Martin D18, Part 4--Dressing the Frets, Nut and Saddle Guitar restoration specialist Andy Jellison puts the finishing touches on a vintage acoustic Martin D18 guitar. From "Handmade Music" episode DHMM-307

(Continued from page 1)

With the dressing of the frets complete, Andy turns his attention to the guitar's nut and saddle. Originally Martin used ivory for both of these elements, but now Andy crafts replica pieces from bone. The process takes time because adjustments are slight. There’s a lot of testing and adjusting to make the fit just right. The final fit should be snug, but not cramped.

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Figure E

Martin D18 Setup: Replacing the Guitar Nut

• Andy uses a bone blank replace what was originally an ivory nut. Using specs on file he employs a series of sanders and files to shape the nut exactly the way it would have looked in 1935 (figure E).

• Finally Andy drops the nut into a cup of coffee. The stain it receives will knock some of the gloss off of the bone and make it appear historically correct.
  

  	Figure F
  	Figure G
  	Figure H
  	According to George Gruhn, part of the job of the repair technician is to remain "invisible."

This guitar is almost back in the saddle again, and the saddle is nearly back in the bridge. A tight fit and good form are keys to a quality saddle. Andy pulls off a primo job over a cup of coffee.

• Andy routes out a saddle slot into the bridge and begins crafting a saddle from bone. With a template providing the outline Andy primarily uses sandpaper to create the saddle.

• The height of the saddle is determined with a strait edge running down the fret board. The point where the straight edge contacts the saddle needs to be the high mark. Sandpaper again whittles down the bone to create a radius curve matching the fret board.

• Just like the nut, Andy drops the saddle in coffee to achieve an authentic look (figure F).

• Andy polishes the guitar with custom Gruhn guitar polish and a dry rag.

• Strings are added and the guitar is tuned up as Andy samples its newly restored sound (figures G and H). This guitar hasn't sounded this good in decades, but George Gruhn will be the ultimate judge of of how successful this restoration has been as well this guitar's new value.

You'll also learn George Gruhn's take on the role of the repair technician, and just what is meant by "instrument restoration" as interpreted by purists like Gruhn and his staff.

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RESOURCES :

Gruhn Guitars
Nashville, Tennessee
www.gruhn.com

GUESTS :

George Gruhn
Proprietor, Gruhn Guitars
Nashville, Tenn.
www.gruhn.com

Andy Jellison, Vintage Instrument Repair Specialist
Gruhn Guitars
Nashville, Tenn.
www.gruhn.com