Evaluating Guitars for Repair Estimates Using A Checklist
Almost daily we hear about the internet and the INFORMATION HIGHWAY which has been dynamited through the center of cyberspace right into our lives. Of- course, there are other avenues we can travel to obtain the data required to learn about repair and building techniques. The availability of manuals and how-to books are abundant, providing a valuable education. For the most part, we are living in the information age, with countless sources of areas of research. Whether it be basic or advanced techniques, we can learn from many articles written in just as many magazines as there are qualified professionals to write them. Today, a student can learn most procedures from the literature or specialized schools. With this as a guideline, I will direct my attention to the subtle things related to repair work, which to the best of my knowledge has not been covered. Such subtleties could make or break you as a repair technician and/or business owner.
Through time and experience, it is best for all involved, to thoroughly inspect a guitar at the time of arrival or as soon as possible. You will benefit financially as well as psychologically once you determine what your labor and material costs are. Preventing surprises makes the job a breeze and highlights your ability to detect all that may require additional attention. Without question, your customer will place faith in any future recommendations you propose to do or decline on. Yes, that's right, I said decline! Some jobs are simply not worth the cost of the labor to do the repair properly. On a more selective note , the job could end up becoming more trouble than you may want to tackle. At this point in my career, time lost on a "beater," represents time which should have been directed to a more productive , profitable and enjoyable job. I can honestly say that I made a promise to myself two years ago to turn down working on most plywood and cheapo-supreme guitars. Why? Because , it's like Murphy's Law, if anything can go wrong it probably will. In other words, fix one thing and sure enough something else will let loose. Now, I'll accept low cost instruments that I feel are worth it, or has something special going for it. Even at that, a "beater'' will sneak up on me. Such is the case with an axe I worked on a couple of weeks ago.
There will always be a warm spot in my heart for my first acoustic guitar purchased new for about forty bucks during the sixties. " If you can remember the sixties, you weren't there..." , well not so with this Stella Harmony with finger building high action. This axe went everywhere I went , learning my chops , and yearning for better. Many guitars later, the memory remains, certainly true for most of us. This is what threw off my judgment when giving a rough estimate on a Harmony Sovereign via a store account. This was the creme of the crop of all Harmony's, the kid in the candy store came out in me, reminiscing about the old Harmony catalog and the need to have that prize. Thinking about it now, I should have set my sights higher like wanting a Gretsch or simular.You know, just like a kid in a lesson shop, fantasizing about that shiny new Les Paul behind the counter. Needless to say, in reality, this axe was pretty tired ; blinded by love I accepted it for repair. Here is just one reason why I use a checklist for most estimates conducted.
The guitar came in with the strings loosened and the bridge swinging in the wind, completely off the soundboard. The bridge was poorly reset in the past by some now defunct local repair shop that slapped on a decal on the back of the headstock which read "serviced by so and so." Those "Made overseas" stickers bother me as did this repair. The reset went well with no problems and after a good cleaning, it was time for installing strings. Well, the first thing to let loose was the glue under the nut and it fell off while putting on the low e string. Please bear in mind I already gave a quote to my wholesale account for resetting only the bridge and from what I gathered we were working with a limited budget. OK, I cleaned up the nut and slot , glue and clamped till the adhesive set up. Not a problem, I quickly returned the strings up to pitch . It seemed to play a little better than my old axe and in the case it went. The next day while tuning the strings that stretched on the overnight, a new headache surfaced on the neck.. Having tension on the neck in who knows how long, the fingerboard pulled up at the first fret. Nice, huh? You bet, fixed that too, finally set it up and it played as good as it ever could. The morale of this story is: I didn't use a checklist prior to starting the repair!
Checklists should be based on your needs as well as your customers. In my case, it's not a formal list used on every guitar, but more like an outline for a "things to do today" task list. Basically it's an attempt to keep my work as consistent as possible under the busiest circumstances. For an example, while concentrating on the primary aliment to be repaired , a list will direct you to inspect every item systematically from the tuners down to the end block. Since I travel to most of my clients it is critical that the repair or setup is performed properly the first time without error. The basis of my "shop on wheels" is not to make a second trip for the same repair, truthfully, it almost doubles my overhead costs. Which means that I must be as thorough as I can be at all times, surely the same rings true to you and your reputation as well. For your information, I have enclosed pictures of my "MOBILE GUITAR REPAIR" van, in hopes that you can get an idea of how I work when on a service call and why I try to be as organized as possible. I even use a checklist for my tools I need to bring from my main workshop, or until I acquire a second set of tools! Your list should be derived from your needs and be utilized when receiving an instrument and also prior to returning it to it's owner. You might consider starting with a basic checklist including condition of the tuners; cracks in the nut or the saddle; normal wear and tear. Note fret damage or heavy playing areas; fret overhang; raised frets; inexpensive parts which should be upgraded; truss rod position; soundboard cracks; seam separations; finish blemishes; loose braces; electronics/pickup/control inspections and so forth as needed. Playing close attention to the condition of the instrument will also protect your interests and provides a clean starting reference point. You can then illustrate the areas of damage before you lay your hands on it. I can't tell you how many times the customer did not notice a scratch or chip in the finish until I pointed it out while performing the estimate right in front of them. Also, the estimate is not completely over until you intensely play the instrument looking for problem areas spanning from fret rattle to loose connections. Only then is it OK to tear down the guitar and start on the job at hand. Keeping notes on string gauges that were on the guitar when received along with the position of the truss rod /saddle height and intonation conditions can't hurt you only help you in the long run.
Bass Guitar Amp
