A basic set up or action adjustment would entail adjusting the truss rod, cutting the nut slots properly, adjusting the height of the bridge and intonation.
Adjusting Truss Rods on Mandolins
Truss Rod Adjustments- The tension rod which runs thru the center of the neck is adjustable on some mandolins but not all. It's function is to add or remove relief in the neck. Relief, the upward curve in an instruments neck, is created to insure the strings have ample room to vibrate without hitting the tops of the frets and causing a buzz. Imagine your string as a jump rope held on one end by the nut and on the other end by the bridge, plucking the string creates a vibration pattern somewhat like that of a jump rope. In general, on higher tension instruments with shorter scales, less relief is necessary but there are many factors involved. Tightening a truss rod forces the neck back and normally reduces relief. Loosening a truss rod allows the string tension to pull more relief into the neck thereby creating a slight upward bow. Caution is advised when attempting to adjust the truss rod on your instrument especially if it is rusted or difficult to turn, as improper adjustment can lead to a broken or stripped truss rod and a very expensive repair. Adjustments should be made in small increments and given time to settle. Changing the gauge of strings you use, which in turn changes the tension placed on the neck, will often times affect relief. Also, keep in mind that your instrument is continually being affected by it's environment. Dryer climates can cause wood to shrink just as humidity causes it to swell.
Checking the relief- To get a feel for how much relief there is in your instruments neck we will use the bass G string for a straight edge. With the instrument strung to full tension and tuned, fret the G string at the first fret and press the same G string on the fret that is above the heel, that is before the fingerboard starts over the body. Viewing the distance between that string and the top of the fret midway between the two fretted points will help you determine how much bow there is in the neck. If the string appears to be lying directly on the frets at the center point, the neck may be dead flat or have somewhat of a back bow. If the distance between the string and the fret is more than say a business card, it is likely that it has more relief than necessary.
Repairing Fingerboards & Necks
Fingerboard / Inlay Repairs- Brittle, dry fingerboards can develop cracks that need to be repaired. Sloppy fret work can also result in small missing chips of wood surrounding each fret. Really old, dry ebony boards are notorious for serious deterioration.
I offer rosewood and ebony fingerboard replacement should the original prove to be too far gone but always prefer to pursue repair first if possible.
Although I do not offer custom inlay designs, I will replace or inlay standard designs (ie dots, diamonds, squares etc.)
Peghead & Neck Repairs- Yes, I see quite a bit of these and it's always sad. But the damage is not always fatal. Many peghead breaks can be repaired. The method I use depends on the location and length of the break, some breaks can be easily glued and touched up, while others must be reinforced. I am always happy to inspect an instrument and advise you on the method I would consider appropriate.
Brittle binding may pull loose or deteriorate making replacement necessary.
Repairing Binding
Replace Binding- Binding is both decorative and protective. Many makers and manufactures will use binding made of plastic or other materials to accent the edges of the top, back, fingerboard and peghead.
The celluloid binding on some instruments can start to deteriorate and crumble with age, taking on the appearance of a crazed puzzle. If the instrument is in need of new binding I will usually yellow it to make it appear vintage and keep the original look of the instrument. Rebinding an instrument that is not going to be refinished is delicate and time consuming, as the new binding normally has to be scraped to insure a flush fit with the sides and top of the instrument- all the while avoiding damage to the existing finish.
Read more about binding repairs here.
Repairing Cracks & Damage
Cracks- The best time to repair a crack is right away! Cracks can spread and create even more damage over time. And, once a crack has had the chance to accumulate dirt, it rarely goes back together without a noticeable line. If you are in the habit of cleaning your instrument on a regular basis and notice a crack, avoid contaminating it with wax, polish or other cleaners.
When applicable, small patches of wood are used as "butterfly bandages" to secure the crack from the inside. It is vitally important for you to understand the role the effects humidity has on your instrument as repaired cracks can easily reopen if the instrument becomes dry. Read more about humidity and care.
Damage- Cracks that are too wide to simply be glued back together can be filled with a splint or very thin slice of wood that matches the area being repaired. It's important that the patch be made of the same wood, as different species of wood shrink and swell differently.
Likewise, if the damaged area is missing wood or the wood is too severely damaged to be repaired, a patch of wood can be used to fill the hole.
Broken Neck or Peghead- Yes, I see quite a bit of these unfortunately. But the damage is not always fatal. Many peghead breaks can be repaired.
The method I use depends on the location and length of the break.
Some breaks can render a very solid repair simply by gluing them back together, while others may dictate the need for reinforcement or replacement. I am always happy to inspect an instrument and advise you on the method I would consider appropriate but it is impossible to advise without first seeing the break.
Repairing Loose or Split Braces
Gibson A with loose top brace.
Braces / Structural supports- Loose braces can cause top deformity, sinking and other structural damage. Some players may even hear a rattle or vibration when playing or handling the instrument. Because many mandolins have only one brace it's important to realize the role it plays and it's importance to the structural integrity of the instrument.
Sunken Top Syndrome - It is a well known fact that many of the older Gibson mandolins had rather thin tops and as a result, some have begun to cave in.
I have seen them in all stages of collapse. One popular question is...how long does she have? And I'm afraid I can't easily answer that. Being that many of my customers have reported the fact that the sinking that is currently present has not changed in 10 or 20 years.
Assuming that the brace is in tact and securely in place we are left with the dilemma of how to repair them. I know of several who have attempted a variety of solutions but to date I am unaware of anyone who has repaired them without destroying the sound.
They have used soundpost in an attempt to "prop" the top up, extra braces, and I have even heard of a coating to thicken the top, but I can't fill you in on that one. All have proved to be tone killers.
Personally I can offer no solution to the problem, except to suggest you have a new top carved for it, something I do not offer.
Repairing Seam Separations
Body Seam Separation- A seam is where separate panels meet and are glued together. Back and side, top and side etc. When repairing loose seams it's important to remove as much of the old glue as possible to provide a clean gluing surface for the repair.
Seam Repair Pictures
I see quite a few older mandolins open up where the back joins the sides at the tailpiece (endblock). If you notice your instrument opening at a seam, it's advisable to remove string tension immediately to reduce the pull being applied to the seam. The sooner you have an open seam repaired the less likely the repair is to be detectable. Unfortunately some instruments dry out so severely that the back will actually shrink away from the sides, creating a real challenge to bring them all back together again. I often describe the dilemma as trying to put a small lid on a large trash can.
Prevention is the best medicine, make sure all of your instruments are properly humidified.
Finish Repair
Finish- The most successful touch-ups are done on lacquer and varnish finishes. Both are solvent based finishes and can be amalgamated, over sprayed and touched up. Areas that receive a great deal of wear can be lightly over sprayed or sealed to deter damage to the actual wood surface.
While I still offer touch up and repair to damaged areas I no longer offer complete instrument refinishing anymore.
Repairing Mandolins, Mandolas, Octave Mandolins ...
GIBSON® FLATIRON® KENTUCKY® REGAL® LYON& HEALY® BRUNO®
MARTIN® VEGA® KAY® FENDER® WASHBURN®
& Others
