more.. Gear • DIY • How-Tos • Repair • Upkeep • Guitars • Solidbody • Restoring an Original • LP-Style • Solidbody • November 2011 • Gibson

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If you’ve been reading thiscolumn recently, you’ll recallwe’re in the middle of restoring a’72 Gibson Les Paul Deluxe. Inmy September 2011 column, Itook you through the evaluationprocess we used to determineexactly what this restorationwould entail. In October’s column, I covered extractingthe flat and pitted frets, andexplained how I prepped andskimmed the rosewood fretboardto remove any micro high spots.
When you’re dealing withvintage guitars, some clientsdon’t want us to even take apolishing cloth to the instrument,because it changes themojo for them. So when itcame to micro-spot sandingthis LP’s fretboard, I made surethe owner was okay with theprocedure.
Once I’d checked the fretboardwith a straightedge andradius gauge, I confirmed theguitar was ready for its newfrets. After consulting withthe client and referencing theoriginal frets, we decided to gowith Wide/Medium fretwire(item #149 at stewmac.com).This is slightly taller than theold Gibson jumbo wire, andits .046' crown provides ampleheight for a precision levelingafter the frets are installed.

Preparation: For starters, Iused a Japanese Fret Slot CleaningSaw (#3616) to deepen any shallowslots in the fretboard, measuringthe depth as I went with aFret Slot Depth Gauge (#5435). Ithen used the Fret Slot CleaningTool (#4870) to remove old glueand debris so the new frets wouldseat correctly.
Tailoring: Over the years,I’ve occasionally chosen to bendeach individual fret by handbefore installing it, but typicallyI use the FretBender (#0345)—a time-saving tool that lets meaccurately radius 24 inches offretwire at a time. Once a stripof fretwire was radiused, I laid itacross the fretboard slot, gaugedthe length I’d need, and cutit with a Fret Cutter (#0619).This Les Paul has neck binding,so I used a Fret Tang Nipper(#1626) to undercut the fretends so they’d sit over the bindingproperly.

Installation: A DeadblowFretting Hammer (#1296) andbrass Fret Setter (#1666) aremy tools of choice for this task.As part of this process, I usedStewMac #10 Thin Super Glue(#7001) glue to secure each fretin its slot.

Dressing: After the frets wereinstalled, I used a Fret BevelingFile (#3759) to put a uniform,35-degree angle on all the fretends, and then took off anyburrs with a Fret End DressingFile (#1175). The next step wasto give the Deluxe’s new frets afull dress. When it comes to fretdressing, there are a variety oftools and procedures for leveling,crowning, and polishing fretwire.You’ll find lots of informationonline, including reputable demonstrationson YouTube. If you’reinterested in this subject, myadvice is to keep an open mindand really do some homework.

Bonus Trade Secrets: Beforewe wrap up this installment ofthe ’72 Deluxe project, I thoughtI’d share a couple of trade secretswe used during this phase. As Imentioned in the September column,the guitar’s original ABR-1Tune-o-matic bridge had collapsedand was unusable. Over the yearswe’ve experimented with differentjigs for correcting this problem,and we’ve now developed a systemthat’s consistent and easy to use.
We call this device ourABR-1 Correct-o-matic, andit consists of two polyethyleneplates mounted to a vise. Thebottom plate is radiused, whilethe outer wings of the flat topplate have .015' shims addedto create the desired pitch. Theidea is to clamp the bridgeand—in a very controlled way—bend it back into its originalposition by applying pressureto the vise. Once the bridge’sunderside is snug against theradiused polyethylene plate, thebridge is correctly arched andready to come out. This processliterally takes seconds.
My second trade secretcomes from a farm-and-horsesupply store. Such outlets sell atool called a revolving leather-holepunch. It’s designed topunch holes into leather strapsof horse saddles, but we areusing it to make mahoganyend-grain caps. This punch letsyou select multiple hole sizes—from 5/64' to 3/16'. Veryhandy. As you can see in thephotos, the tool works perfectlyfor capping unwanted screwholes in the Les Paul Deluxe.
Thank you for allowing meto share my world with you!
John Brown is theinventor of the Fretted/Lessbass. He owns and operatesBrown’s Guitar Factory,a guitar manufacturing,repair, and restoration facilitystaffed by a team of talentedluthiers. His guitar-tool and accessory designsare used by builders all over the world. Visitbrownsguitarfactory.com or email John atinfo@brownsguitarfactory.com.

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