|Hello, and welcome to the third blog in our series showing how we repaired this 1960s Epiphone FT-45 Cortez. In part two, we defretted the guitar and removed the bridge and pickguard. This time, we’ll remove the finish, and discuss hide glue and guitar humidity.
Preparing The Surface
We’re going to refinish the the face of the headstock and the top/soundboard. So, the first step is to remove the old finish. Both top and headstock had, at some point, been finished with shellac. Shellac is a traditional finish for string instruments, but is fairly uncommon on steel-string acoustic guitars.
The nice thing about shellac is that it can be hand-rubbed and touched up easily if needed. However, it isn’t very hard-wearing and the finish that had been applied here was thick and uneven. We’re going to refinish the guitar with authentic nitrocellulose lacquer which will give us a durable, thin coat that will, hopefully, bring out the best in the instrument.
Our prepped top:
You can see the repaired areas under the pickguard weren’t even touched by the scraper or sanding block. The wood in this area is already thin and it seemed prudent to leave well alone. I filled the largest void to the left with small slivers of spruce just to add a little strength and some finish pooling in there (I’ll try to dig out a photo for next time).
Spruce has a tight grain which doesn’t need to be filled. The same is not true of the mahogany headstock:
This is it immediately after scraping. Mahogany has an open pore which needs to be filled if you want to get a flat finish (which we do). There are a number of good fillers on the market, but my choice for smaller areas like this is medium viscosity cyanoacrylate, AKA superglue. It is quick to work with, and leaves a perfect surface. Obviously, care needs to be taken! It probably deserves a special blog, so for now, I’ll talk about another glue I used on this project: hide glue.