This is my Guitar!! I can't say enough good things about how the Guitar plays and sounds but more importantly Ted graciously took the time to repair the Guitar and completely understood why it was so important to me. Dad would have loved this, thank you so much Ted.
Hey Ted, I used to be the shop production manager for PBC Guitar Technology in Pa. We built the Ibanez USA RG Series guitars and bass with our “Tension Free neck “ patented by one of our owners David Bunker. If you ever run across one of either of those and have any questions, let me know! Or if you run into a Ken Smith bass, I also worked there. Thanks so much for your expertise and effort on the videos.
@@ayeapprove Well, it was the early 90's and Ibanez/Hoshino was in S.E. Pa. and we were in Coopersburg, Pa. Jim ( last name long forgotten) contacted us to discuss the joint building. we had just got a CNC and at the time, quite busy with our own models. We embarked on the venture with me as Prod. Eng. and Custom shop. I remember Satriani and the damn purple on quilt..and he wanted the pots located differently, LOL. I left not too long after that for other adventures, but I still have in my shop now the blueprints for the "Ghost Rider" that I was making the templates for at the time. I do not know if that ever went into production. PBC was Pearse ( John Pearse, also local) Dave Bunker AKA The whacky professor and my best mentor. Has the patent on headless, before you know who, the "touch guitar" , the "tension free neck" and many others. Google him. He passed a few yrs ago back home in Wa. state, and the C was Paul Chernay of Chernay Printing , he was one of the only printers that could print musical notation then. Hand drawn by Japanese artists, for Mel Bay books and similar. He was the financial backer. I felt the waves of ship sinking early on, we had too much stale inventory, too little advert and sales $, we got too big too fast and Paul C was gonna pull the plug. He did not long after I left. Bunker went back to Wa. I don't know what John did other than strings and such. I went on to building Dano copies in my shop before moving to the Great Smokies and promptly losing my shop in a fire. Now I am in in Ky. and just last year cloned a Ken Smith Bass for a fellow with a sad story that works for the big music store place in Indiana ;) . if you need more to know, I might recall some, but it has been a long time, and I still get a bit emotional about those years.
@@Spheramid Thanks for sharing that info. I'm just a casual observer and Ibanez fan from '77, due to Paul Stanley and of course, the Iceman. I always enjoy reading history, backstory and recollections from people that worked for or with Ibanez in the U.S. :) Take care friend!
I used to work at a guitar store in Nazareth. I remember Francis coming in all the time and telling me about the tension free necks. I finally came across one that I had to set up and I had no clue how to adjust the thing! Luckily Francis happened to stop in a day or two later and schooled me on the finer points of the design. Very interesting concept, but probably a little too far from the norm for your average guitar player to accept it. Old habits die hard, especially in guitars
Honestly, I think he should edit together several of his "after" playing clips and the next time he's sick, or just swamped to get a video out, post it and say "sorry, new 'real' video next week." I think we'd watch just to support.
@@Expedient_Mensch True. Bad part is the Chinese are making crap and not awesome things like the Japanese did then. My “good Les Paul” is a 77 Yamaha SL-380.
@@richsackett3423 Yes true, the Japanese motto was like "make it better, the best we can", the Chinese motto is "make it look like the real thing, but for as cheap as possible" and that is why China will never rule the world.
I have to give all the credit to Mr. Ted. Over lockdown I learned to repair and build guitars. And almost all of my skills are from watching his channel. I’ve built several electrics, modified ALL of my electrics successfully, and repaired a cracked acoustic by inlaying wood into the sound board and back. My two finest were an electric that I built as a gift for a Christian heavy metal band, and a cheap electric twelve 12 that was given to me by a guy who didn’t have time. I fully restored/upgrade it and gave it back to him (he didn’t intend for me to give it back but was overjoyed that I finished his abandoned project.). His thoughts were that I made it into a unique great playing guitar that one couldn’t even buy for ten times the list price of a couple hundred USD. And I told him that Mr. Ted is where I learned.
You may be an exceptional case... but I think it's rare a youtube watcher will ever rise to level of luthiery quality building. Good job on your diligence, I admire it
The store I worked at in the 60's-80's sold some of the earliest Ibanez imports. We bought them through JM Sahlein Distributors of San Francisco who distributed musical instruments and accessories. (Jack Steinberg was our representative. RIP) They later lost the Ibanez arrangement but took on Yamaha. The early guitars were electrics and were very crudely made. The basses has necks like baseball bats but they sounded decent. I believe that our cost in the instruments was around $30.00 in 1964.
Your finishing of the cleats is just one more shining example of elegance of your work. Most luthiers wouldn't have taken the time to dress the edges you took the time to make them aesteticly pleasing as well as functional. Well done sir
What i love the most about this channel is not just the repair action. That's cool by itslef. It's the context you get. Short, right and just nicely narrated.
I had a Penco SJ copy that had the same type of adjustable bridge. I did the same thing that you did. It just didn't make sense to not have the entire bridge saddle in contact with the top.
Lots of such Gibson J200 copies made in Japan back in those days, under different known brand names, or sometimes made-up ones. They were very well made and sounded as good as an all laminate guitar could sound. I used to have one marked "Gerley" on the headstock, which I gave to my brother when I bought myself a Guild JF55. Still looks good, no splits on the wood or the purfling, no damage on the finish, evidently very durable. This one here must have taken some serious beating apart from being exposed to heat. Laminate wood does not crack that easily. But you certainly did the best that could be done on it.
Good work keeping the original look of that guitar! From what I remember of the original Ibanez guitars, I think that the bridge had been shaved down. Originally, the saddle assembly hung from the screws on the ends and there was no contact of the screws to the top. I would have been tempted to forgo the metal bridge assembly and cut either a new bone or rosewood saddle to fit the saddle slot.
Rickenbacker has been the only to vigorously defend their patents. Fender and Gibson have tried a few times thru the years but never consistently. I feel like alot of times the copies don't hurt the business if their product is as good as it claims. If the copy is better, maybe it's time to reevaluate. Plus sometimes we may really like a guitar but can't afford it so we get a copy until we can Not really a bad thing. Absolutely love the channel!
Love old Ibanez... and your channel! I found a beautiful old Ibanez tobacco-burst steelstring in a pawn shop in Australia many years ago for < A$200 and it cleaned up like Alladins lamp! Near perfect action, intonation, playing from rusty cruddiness. In fact a string broke on detuning it.
I look forward to your videos every week. Even my wife is familiar with everything Ted Woodford because whenever I see a you've uploaded I take 30 minutes and put you on the TV. Nobody interrupts Ted time! I've been casually late to things because I can't stop a video once I've started. Congrats on 100k subs by the way! Cheers.
Surely the saddle is supported by the shoulder/head of the screws, not the bottom tip. And presumably the length of the screw is about as deep as the saddle slot so as to not have to poke into the top.
That is my understanding too. I have a 1975 Ibanez Concord (same J200 type but with mahogany back and sides) which is set up like that. Fortunately mine is in a lot better shape than the maple one here.
This brand in Bensalem PA before Hoshino bought it was called Elger for Ellen and Gertrude Rosenblaum who were importing guitars from Japan. They are now called Acoustic Roots and Medley Music in Ardmore Pa. I have toured the Bensalem place in the past. Anyway thank you for another great video! I learn so much watching.
Sir, I am not a musician but, I found and have been watching your channel since Nov. 22'. I enjoy and appreciate the mechanics and skill of your work. Thank-you!! Happy Holidays!!
I must say: back in 2007 I bought a 70's Ibanez Les Paul Copy for around 50 bucks (In Brazilian Currency at the time was 150 reais) And that guitar was just great. Sounded like a proper Les Paul, played very well and the set up was a breeze. Very well made guitar despite being a Bolt on Neck. It was the second best Les Paul Style guitar I ever owned just after a Real Gibson Studio standard from the 80's that I used to own. I regret deeply of Selling that Ibanez.
If the scale was the same and HB Pickups in the same position then any guitar will sound like a Les Paul, got nothing to do with Bolt on Necks or body shape....It's all about the PU's and where they are! (It's called engineering)
I have a 70s Alvarez J200 copy. It is that exact guitar in every way except for the name in the headstock. Love it, would not trade it for anything. It has been a reliable mainstay for me for over 20 year!
Regarding the 'Ibanez' name used by Hoshino, there was a relatively famous guitar maker in Spain the early 1900's called Salvador Ibáñez. Hoshino Gakki first started making acoustic guitars, and would have studied these earlier examples. They started producing replicas, with the label "Ibanez Salvadore" (apparently without any agreement), and eventually just adopted the brand 'Ibanez'. There was many attempts at using established names to get name recognition in western markets. I once fixed up a copy of the Gibson 'Les Paul Recording' model, with a brandname "Franpton"
I have read another account that said they actually acquired the Spanish guitar company. And that Gibson's claims against Ibanez were settled out of court.
I had a '77 Ibanez 'lawsuit' Les Paul Custom. Copy of the Gibson '57 "Black Beauty" with gold hardware and three paf-style humbuckers. It was a very good guitar that was beautiful, well-constructed, and sounded and played great. For many years it was my main electric axe and I performed and recorded with it. The one that got away.
Regarding the classical guitar purfling back stripe on the Ibanez Gibson copy, the 1960s/1970s Japanese copiers were a bit confused about classical vs western guitar decoration. My first steel string guitar bought in the early 1970s was a plywood Antoria which was a Japanese copy of a Japanese Yamaha which for some reason had a classical guitar rosette.
"Magnets simply aren't strong enough." I don't know if you're willing to pay for them, or if you're willing to deal with the danger, but you can get, for example 2" diameter by 1" thick N52 magnets that would create over 90lbs of force between them from ½" apart (like what I imagine the thickness of a couple layers of cork and a guitar back would be). And those are definitely not the biggest you could get by any means.
Just started doing git fiddle work and setup. Your vids are really cool and helpful. Especially that tuning machine and guitar string trick to bring the layers back together. Wow what a beast!
I had an early 70's Ibanez 335 copy that was absolutely amazing. Should have never traded that one off. I was a kid, it was a hollow body. You understand. Great episode man! Love your videos!
I have 4 so-called pre-lawsuit Ibanez Concord guitars. In the best one, I also put an improvised belly doctor that works well; it sounds great, but I have to get rid of some rattling in the sound because of low action. Maybe the strings are too close to the bridge, or maybe the frets closest to the body have to be lowered. They are great guitars for experimental use, Nashville, or other tunings for instance.
In Britain we were supplied with guitars from Japan under the name "Antoria" and I once owned a used Les Paul Custom with that name ! Apparently this was the same factory that produced Ibanez guitars but for some weird reason they used the name Antoria for a short while in the 70's for Guitars intended for the British market. I was very impressed with it when I was a teenager and was incredibly surprised at how little I paid for it, I sold it a few years later for about 4 times what it cost me but I wish I could have kept it ! I only found out many years later that the quality of these guitars was considered to be exceptional and good ones now fetch a really good price, roughly 10 times what I sold it for !
I have an open book lawsuit era leftie Antoria Les Paul Custom I bought in 1996 for £90. It's a great guitar and plays super nice but it's a heavy one. Although I don't play it as much as I used to I won't part with it as it was my first ever electric guitar. Well worth getting one if they come up at the right money.
I own that very same guitar which I am working on so your edition this week is welcome - the condidtion of mine is very good except it has been dropped and there is some material missing from the lower righthand side of the top which someone had tried to repair with "plastic wood", The poly coating is very tick on the top which hampers repair. I plugged and re-cut the bridge for a conventional saddle which improved the sound- It actually sounds quite good and looks impressive as seeing as I got it at a low price it is something to practice my skills on. Next the frets
Always, thanks for your insightful sessions! I've got a "lawsuit" era Ibanez (1976-ish) which Guild also sued over, although I didn't know it at the time. It's also a remarkable headstock copy, well, except for the honest name. Slight "belly" after 40+ years. Still plays really sweet. :)
Brilliant work yet again. In honour of the era that this guitar was made, you should have installed a brass shim under the bridge and told the owner it had more sustain! 🙂
The bridge screws lower the bridge as you “loosen” them, and raise the bridge as they are tightened, no? I own an Ibanez GIO electric, and a Yari Alvarez acoustic, as well as a couple older fender acoustics, one I found in a trash can in front of someone’s house. It has a piece of duct tape covering a huge hole on the sound board, but plays and sounds pretty decent for being in the trash lol. Thanks for the videos, I’ve learned a lot about guitars over the years.
They are good. Cheap and cheerful and in your face. I like em. Some of the finest acoustics are lminated now. Some even make a virtue or being lminated..
I have to wonder if that adjustable bridge worked just fine. I’m thinking the difference is that it adjusted the bridge height in reverse of what the Gibson style bridge does.
That really did have a good solid sound once it was all back together. I have an 81 Ibanez acoustic, all solid wood hand made in Japan. Beautiful instrument.
in the early 70s, my first good bass was a new Ibanez P-Bass copy with the head stock script that Ted had on an instrument in another one of his vids....great bass. Wish I had kept it, but traded it in on a Rickenbaker 4001
Hi Ted. Love your channel and have learned so much from watching you. Question - Why didn't you apply heat to the crack on the back to get the glue to release first? Thanks
I have a lawsuit era les paul. Needs a bit of work if I ever get the urge. Tuning machines mostly. Back in it's day someone installed a double humbucker in the rear position which has a nice appropriate sound. Front original. Switch squeaks. Fun guitar. Bought from a singer around 1984 for 100 bucks.
I have a similar era Ibanez jumbo but it has a traditional bridge and a mahogany body. I bought it in 1972 or 73. I think it cost about $250 CAD. It has been my main guitar since then. Everyone who tried it loved it. Unfortunately, in the past 5 years the top has bellied and the action is getting sketchy. I put a bridge doctor in it and it isn’t getting worse but it isn’t getting better. Needs a neck reset but as Mr. Woodford says, is it really worth spending the money on an old cheap guitar. Ah well.
I love your work Ted... Easilly the best (and most relaxing) guitar repair channel on this platform. But I get frustrated when you switch from millimeters to imperial... Especially when discussing string heights. At first I was surprised and pleased that you were using metric, but then reverted to 'old-school' imperial. Why? And Ibanez would have used metric measurements anyway. That mild gripe aside, great work as always. She sings better with that bridge improvement lovely bright and full acoustic voicing. BTW - Love the cleat tensioning device. I'll have to knock a few of them up.
Very nice for an over sized bloated guitar! My favorite is my Taylor CE214 then My Uncle Tom's Martin D28, 1973. My wife's guitar is the latest for her Temple gig. So hers is another Taylor like mine but is Koa guitar complete like a CE-24k, I think? Anyway, I have a Breedlov a J250. Which has great tone and pretty good looking, well balanced tone and volume. Really looks great with green abs did this to that guitar was luck that we pulled off a great shopping day for me! Yeah he Yeah he!
I have this guitar and it is quite amazingly well done because the flame maple veneer on the out side of the plywood back actually matches with the flame maple veneer on the inner side - so it is quite easy to mistake it for solid
I saw John Fogerty play a whole concert on an Ibaneez / Les Paul Custom Black Beaty. Same diamond on headstock which Gibson made them change . No name on the Gibson headstock. It sounded great through his Kustom amps. He only used the Gibson for his encore, two songs, Fortunate Son and Proud Mary - tuned to D. My point being- the Ibanez was SSSOOO good and we could buy them for $175 in 1973. So we did. Japanese made great guitars and still do.
I have about six acoustics and I own a Cortez and it honestly is probably the best guitar that I own it sounds really really good and it plays even better of course I have taken it to a repairman who took the time to work on it. I wish I could have taken to Ted though. I watch his videos constantly the man is a genius
This is my Guitar!! I can't say enough good things about how the Guitar plays and sounds but more importantly Ted graciously took the time to repair the Guitar and completely understood why it was so important to me. Dad would have loved this, thank you so much Ted.
Nigelv - you understand the "Inbox the telegram channel" message is a scam, OK? I had one too, but Ted has confirmed it's fake.
@@kitmoore9969 Feel free to report those as spam - I just did so.
@@imagiro1 Good idea, thanks: done.
I have a lawsuit martin copy. Mine is by cortez. Made in japan. It has a really neat 3 piece rosewood back with abalone inlays.
@@imagiro1 me too just to be safe.
Hey Ted, I used to be the shop production manager for PBC Guitar Technology in Pa. We built the Ibanez USA RG Series guitars and bass with our “Tension Free neck “ patented by one of our owners David Bunker.
If you ever run across one of either of those and have any questions, let me know! Or if you run into a Ken Smith bass, I also worked there.
Thanks so much for your expertise and effort on the videos.
That's a nice part of ibanez history that I'd like to hear in more detail!
My first proper electric was an RG440. Loved it.
@@ayeapprove Well, it was the early 90's and Ibanez/Hoshino was in S.E. Pa. and we were in Coopersburg, Pa. Jim ( last name long forgotten) contacted us to discuss the joint building. we had just got a CNC and at the time, quite busy with our own models. We embarked on the venture with me as Prod. Eng. and Custom shop. I remember Satriani and the damn purple on quilt..and he wanted the pots located differently, LOL.
I left not too long after that for other adventures, but I still have in my shop now the blueprints for the "Ghost Rider" that I was making the templates for at the time. I do not know if that ever went into production.
PBC was Pearse ( John Pearse, also local) Dave Bunker AKA The whacky professor and my best mentor. Has the patent on headless, before you know who, the "touch guitar" , the "tension free neck" and many others. Google him. He passed a few yrs ago back home in Wa. state, and the C was Paul Chernay of Chernay Printing , he was one of the only printers that could print musical notation then. Hand drawn by Japanese artists, for Mel Bay books and similar. He was the financial backer.
I felt the waves of ship sinking early on, we had too much stale inventory, too little advert and sales $, we got too big too fast and Paul C was gonna pull the plug. He did not long after I left. Bunker went back to Wa. I don't know what John did other than strings and such. I went on to building Dano copies in my shop before moving to the Great Smokies and promptly losing my shop in a fire.
Now I am in in Ky. and just last year cloned a Ken Smith Bass for a fellow with a sad story that works for the big music store place in Indiana ;) .
if you need more to know, I might recall some, but it has been a long time, and I still get a bit emotional about those years.
@@Spheramid Thanks for sharing that info. I'm just a casual observer and Ibanez fan from '77, due to Paul Stanley and of course, the Iceman. I always enjoy reading history, backstory and recollections from people that worked for or with Ibanez in the U.S. :) Take care friend!
I used to work at a guitar store in Nazareth. I remember Francis coming in all the time and telling me about the tension free necks. I finally came across one that I had to set up and I had no clue how to adjust the thing! Luckily Francis happened to stop in a day or two later and schooled me on the finer points of the design. Very interesting concept, but probably a little too far from the norm for your average guitar player to accept it. Old habits die hard, especially in guitars
Why do I love that little guitar tuner clamp so much?
Another fine repair with a lovely bit of history. This is such a great channel!!
Hello from Belgium ! Quel plaisir de vous regarder travailler et de vous écouter. Merci beaucoup :-)
I think the humble Ted is a better guitarist than he gives himself credit for ....anyone else think so ?
Honestly, I think he should edit together several of his "after" playing clips and the next time he's sick, or just swamped to get a video out, post it and say "sorry, new 'real' video next week." I think we'd watch just to support.
Agree.
Better than me.
Sounds like he's listened to Django Reinhardt in the intro
I bet Ted has a nice collection of old guitars to make a video of him playing them all!
Damn you really undersold this guitar at the end, it plays so nicely! I can hear the soul of the guitar
It's definitely been around the block a time or two. It plays amazing and sounds great. I'm planning on getting 50 plus more years out of it :)
if that said gibson on the headstock, everybody would be saying how sweet it sounded. it sounded really nice, great work too.
Maybe you would. Anyone who played a real J200 .. sheesh 🤕
Instead we are marveling at how much the Japanese openly ripped Gibson off.
@@richsackett3423 ...and these days it's the Chinese openly ripping off anybody and everybody's patents.
@@Expedient_Mensch True. Bad part is the Chinese are making crap and not awesome things like the Japanese did then. My “good Les Paul” is a 77 Yamaha SL-380.
@@richsackett3423 Yes true, the Japanese motto was like "make it better, the best we can", the Chinese motto is "make it look like the real thing, but for as cheap as possible" and that is why China will never rule the world.
I have to give all the credit to Mr. Ted. Over lockdown I learned to repair and build guitars. And almost all of my skills are from watching his channel. I’ve built several electrics, modified ALL of my electrics successfully, and repaired a cracked acoustic by inlaying wood into the sound board and back. My two finest were an electric that I built as a gift for a Christian heavy metal band, and a cheap electric twelve 12 that was given to me by a guy who didn’t have time. I fully restored/upgrade it and gave it back to him (he didn’t intend for me to give it back but was overjoyed that I finished his abandoned project.). His thoughts were that I made it into a unique great playing guitar that one couldn’t even buy for ten times the list price of a couple hundred USD. And I told him that Mr. Ted is where I learned.
You may be an exceptional case... but I think it's rare a youtube watcher will ever rise to level of luthiery quality building. Good job on your diligence, I admire it
I built two electric mandolins from watching TH-camr folks. And a lot of StewMac supplies. The first one I recently sold for 16 hundred bucks.
I hope you at least bought a couple tee-shirts from Ted to show support for your free education
I love Ted's indepth analysis of the different eras and techniques of guitar building - keep on going !
The store I worked at in the 60's-80's sold some of the earliest Ibanez imports. We bought them through JM Sahlein Distributors of San Francisco who distributed musical instruments and accessories. (Jack Steinberg was our representative. RIP) They later lost the Ibanez arrangement but took on Yamaha. The early guitars were electrics and were very crudely made. The basses has necks like baseball bats but they sounded decent. I believe that our cost in the instruments was around $30.00 in 1964.
Your finishing of the cleats is just one more shining example of elegance of your work. Most luthiers wouldn't have taken the time to dress the edges you took the time to make them aesteticly pleasing as well as functional. Well done sir
What i love the most about this channel is not just the repair action. That's cool by itslef. It's the context you get. Short, right and just nicely narrated.
100K congrats!🙌🙌
Exquisite installment but too too short!! Congrats on reaching the first 100k subscribers
100K 🙌 congratulations!
Yes!! my favorite weekly installment....
I had a Penco SJ copy that had the same type of adjustable bridge. I did the same thing that you did. It just didn't make sense to not have the entire bridge saddle in contact with the top.
Ahhh this will make a fine addition to my Saturday. Thank you sir!
Wow! I kind of like that loud hollerin' sound!
Lots of such Gibson J200 copies made in Japan back in those days, under different known brand names, or sometimes made-up ones. They were very well made and sounded as good as an all laminate guitar could sound. I used to have one marked "Gerley" on the headstock, which I gave to my brother when I bought myself a Guild JF55. Still looks good, no splits on the wood or the purfling, no damage on the finish, evidently very durable. This one here must have taken some serious beating apart from being exposed to heat. Laminate wood does not crack that easily. But you certainly did the best that could be done on it.
Good work keeping the original look of that guitar!
From what I remember of the original Ibanez guitars, I think that the bridge had been shaved down.
Originally, the saddle assembly hung from the screws on the ends and there was no contact of the screws to the top. I would have been tempted to forgo the metal bridge assembly and cut either a new bone or rosewood saddle to fit the saddle slot.
I like the sound!
The cleat setting tool using a block of wood and an open tuning key is brilliant.
Thanks Ted! Your skills are the best!
Rickenbacker has been the only to vigorously defend their patents. Fender and Gibson have tried a few times thru the years but never consistently. I feel like alot of times the copies don't hurt the business if their product is as good as it claims. If the copy is better, maybe it's time to reevaluate. Plus sometimes we may really like a guitar but can't afford it so we get a copy until we can
Not really a bad thing. Absolutely love the channel!
Funnily, Ibanez had a budget line called Cimar... Their line included very durable and stable Rickenbacker bass and guitar copies.
@@seanpop2886 yea I've seen em, they've actually gotten pretty expensive too.
Be still my little heart! About 10 minutes in Ted measures the bridge depth in mm instead of 64ths. Now he is talking my language!
been living in US for decades ,still can't except that stupid inches over metric system
Next, "solder" instead of "sodder" and "ee - BAN - yeth " instead of "EYE - burr - nez" :))
Thank you for the program, I find it very informative!
Love old Ibanez... and your channel! I found a beautiful old Ibanez tobacco-burst steelstring in a pawn shop in Australia many years ago for < A$200 and it cleaned up like Alladins lamp! Near perfect action, intonation, playing from rusty cruddiness. In fact a string broke on detuning it.
I look forward to your videos every week. Even my wife is familiar with everything Ted Woodford because whenever I see a you've uploaded I take 30 minutes and put you on the TV. Nobody interrupts Ted time! I've been casually late to things because I can't stop a video once I've started.
Congrats on 100k subs by the way! Cheers.
Holy crap! Congratulations on 100k subs!
Surely the saddle is supported by the shoulder/head of the screws, not the bottom tip. And presumably the length of the screw is about as deep as the saddle slot so as to not have to poke into the top.
That is my understanding too. I have a 1975 Ibanez Concord (same J200 type but with mahogany back and sides) which is set up like that. Fortunately mine is in a lot better shape than the maple one here.
This brand in Bensalem PA before Hoshino bought it was called Elger for Ellen and Gertrude Rosenblaum who were importing guitars from Japan. They are now called Acoustic Roots and Medley Music in Ardmore Pa. I have toured the Bensalem place in the past. Anyway thank you for another great video! I learn so much watching.
Hey Brian, that was a VERY cool day we had touring Hoshino USA HQ. Thanks for letting me tag along.
Every video a real treat. Such a great channel. Thanks twoodfrd.
Sir, I am not a musician but, I found and have been watching your channel since Nov. 22'. I enjoy and appreciate the mechanics and skill of your work. Thank-you!! Happy Holidays!!
I'm connected to any of these, i am a retired Roof Truss Draftsman, I would love to talk to you, but how?
I must say: back in 2007 I bought a 70's Ibanez Les Paul Copy for around 50 bucks (In Brazilian Currency at the time was 150 reais) And that guitar was just great. Sounded like a proper Les Paul, played very well and the set up was a breeze. Very well made guitar despite being a Bolt on Neck. It was the second best Les Paul Style guitar I ever owned just after a Real Gibson Studio standard from the 80's that I used to own. I regret deeply of Selling that Ibanez.
If the scale was the same and HB Pickups in the same position then any guitar will sound like a Les Paul, got nothing to do with Bolt on Necks or body shape....It's all about the PU's and where they are! (It's called engineering)
Before and after playing would have been amazing but! What a cool sounding guitar, I love that clarity with the metal bridge.
Having the same guitar I replaced mine with a conventional saddle - and it is an improvement
I have a 70s Alvarez J200 copy. It is that exact guitar in every way except for the name in the headstock. Love it, would not trade it for anything. It has been a reliable mainstay for me for over 20 year!
Sounds surprisingly good! Nice job once again! 👍🏼
Beautiful sound.
Hey man. Happy 100k day it’s prolly been around there a while. Best gang ever. Please share all yer wisdom
That's a beautiful guitar...imo
Congratulations on the 100k Subscribers!
Regarding the 'Ibanez' name used by Hoshino, there was a relatively famous guitar maker in Spain the early 1900's called Salvador Ibáñez. Hoshino Gakki first started making acoustic guitars, and would have studied these earlier examples. They started producing replicas, with the label "Ibanez Salvadore" (apparently without any agreement), and eventually just adopted the brand 'Ibanez'.
There was many attempts at using established names to get name recognition in western markets. I once fixed up a copy of the Gibson 'Les Paul Recording' model, with a brandname "Franpton"
LOL! "Franpton" - really? :) that's just funny! 😂😂
@@SEVNTIGERS yeah right? When I fixed it got it working for the owner, I told him that Franpton comes alive. He didn't get it.
@@TaralgaBushAdventure - LOL!!
I have read another account that said they actually acquired the Spanish guitar company. And that Gibson's claims against Ibanez were settled out of court.
@@TaralgaBushAdventure Maybe he didn't get it, but baby, I love your way.
tee hee
1080p60 looks great! Thanks for the upgrade.
Thank you for another historical insight. The guitar actually sounds pretty awesome, at least via TH-cam.
Ted, your skills and knowledge … simply amazing.
I had a '77 Ibanez 'lawsuit' Les Paul Custom. Copy of the Gibson '57 "Black Beauty" with gold hardware and three paf-style humbuckers. It was a very good guitar that was beautiful, well-constructed, and sounded and played great. For many years it was my main electric axe and I performed and recorded with it. The one that got away.
Regarding the classical guitar purfling back stripe on the Ibanez Gibson copy, the 1960s/1970s Japanese copiers were a bit confused about classical vs western guitar decoration. My first steel string guitar bought in the early 1970s was a plywood Antoria which was a Japanese copy of a Japanese Yamaha which for some reason had a classical guitar rosette.
Wonderful work, logical and intelligent from a wall-hanger to a playable guitar, masterful
I had one of those bridges on an alverez that I refretted for a customer. I just made a shim under it and used the screws and nuts to hold it in place
great vid as always. loved the playing, sounds fantastic!
"Magnets simply aren't strong enough."
I don't know if you're willing to pay for them, or if you're willing to deal with the danger, but you can get, for example 2" diameter by 1" thick N52 magnets that would create over 90lbs of force between them from ½" apart (like what I imagine the thickness of a couple layers of cork and a guitar back would be). And those are definitely not the biggest you could get by any means.
Just started doing git fiddle work and setup. Your vids are really cool and helpful. Especially that tuning machine and guitar string trick to bring the layers back together. Wow what a beast!
I had an Ibanez Flying V in 78, great guitar, wish I still had it.
I have an Ibanez SR600 E bass here. Amazing bass. Out of the box it was a joy to play.
Definitely not a J200 headstock. Nice looking guitar. Happy to see it is loved, cared for and cherished.
With this adjustable bridge the saddle assembly hangs on the screw heads from the bridge surface.
Looks like Ted didn't read my comment that would have clarified his misunderstanding of how this silly adjustable saddle works.
That thing is an absolute Beater! I understand it’s sentimental value and the challenge of fixing it. Happy holidays! Thanks! 🌞🎅🏻🎉🎉🎉🎉
i guess most guitars are a beater for a prince 🤣 sorry your highness 🤣🤣🤣🤣
Just realized I’ve binge watched 5 videos past this one- came back here and looked through the transcript,and sure enough- “ pang of regret” was there
I have an Ibanez Deluxe 59'er Lawsuit era guitar I estimate being made around 1976...wicked guitar
I had an early 70's Ibanez 335 copy that was absolutely amazing. Should have never traded that one off. I was a kid, it was a hollow body.
You understand.
Great episode man!
Love your videos!
Yay! A new Twoodfrd video ... and a day early, to boot! Thanks,Ted!
I have 4 so-called pre-lawsuit Ibanez Concord guitars. In the best one, I also put an improvised belly doctor that works well; it sounds great, but I have to get rid of some rattling in the sound because of low action. Maybe the strings are too close to the bridge, or maybe the frets closest to the body have to be lowered. They are great guitars for experimental use, Nashville, or other tunings for instance.
Congratulations on 100K subs!
Congrats for the 100k!
In Britain we were supplied with guitars from Japan under the name "Antoria" and I once owned a used Les Paul Custom with that name !
Apparently this was the same factory that produced Ibanez guitars but for some weird reason they used the name Antoria for a short while in the 70's for Guitars intended for the British market. I was very impressed with it when I was a teenager and was incredibly surprised at how little I paid for it, I sold it a few years later for about 4 times what it cost me but I wish I could have kept it !
I only found out many years later that the quality of these guitars was considered to be exceptional and good ones now fetch a really good price, roughly 10 times what I sold it for !
I think Hank Marvin used an Antoria on some of the early Shadows records.
I have an open book lawsuit era leftie Antoria Les Paul Custom I bought in 1996 for £90. It's a great guitar and plays super nice but it's a heavy one. Although I don't play it as much as I used to I won't part with it as it was my first ever electric guitar. Well worth getting one if they come up at the right money.
Sounds fantastic.
Awesome. And it sounded great too.
I love the history behind instruments like that beautifully gituar
I own that very same guitar which I am working on so your edition this week is welcome - the condidtion of mine is very good except it has been dropped and there is some material missing from the lower righthand side of the top which someone had tried to repair with "plastic wood", The poly coating is very tick on the top which hampers repair. I plugged and re-cut the bridge for a conventional saddle which improved the sound- It actually sounds quite good and looks impressive as seeing as I got it at a low price it is something to practice my skills on. Next the frets
Listening to Mr. Woodford (Ted?) is therapeutic, soothing. He is good for the soul (and good for the guitars he touches of course).
It sounds very nice, and as long as it's structurally sound than that's a win. she plays that's the point
Always, thanks for your insightful sessions! I've got a "lawsuit" era Ibanez (1976-ish) which Guild also sued over, although I didn't know it at the time. It's also a remarkable headstock copy, well, except for the honest name. Slight "belly" after 40+ years. Still plays really sweet. :)
First I've heard of any suit brought by Guild. Do you have any details or sources you can share?
wow 101k subs! thats GREAT, your videos are worth watching!
Brilliant work yet again. In honour of the era that this guitar was made, you should have installed a brass shim under the bridge and told the owner it had more sustain! 🙂
The bridge screws lower the bridge as you “loosen” them, and raise the bridge as they are tightened, no?
I own an Ibanez GIO electric, and a Yari Alvarez acoustic, as well as a couple older fender acoustics, one I found in a trash can in front of someone’s house. It has a piece of duct tape covering a huge hole on the sound board, but plays and sounds pretty decent for being in the trash lol.
Thanks for the videos, I’ve learned a lot about guitars over the years.
They are good. Cheap and cheerful and in your face. I like em. Some of the finest acoustics are lminated now. Some even make a virtue or being lminated..
I like the sound very much, surely improved by your decision to plug the bridge saddle slot. Beautiful problem solving.
Your videos are great. Thanks!
Thanks for playing them for us Ted!
Great guitar sound for country.
I have to wonder if that adjustable bridge worked just fine. I’m thinking the difference is that it adjusted the bridge height in reverse of what the Gibson style bridge does.
I wonder if, with the bass strings switched, it was tuned and played as a re-entry style, like a banjo?
Sounds great!
That really did have a good solid sound once it was all back together. I have an 81 Ibanez acoustic, all solid wood hand made in Japan. Beautiful instrument.
Good video Ted, keep them coming.
in the early 70s, my first good bass was a new Ibanez P-Bass copy with the head stock script that Ted had on an instrument in another one of his vids....great bass. Wish I had kept it, but traded it in on a Rickenbaker 4001
I had a Roadstar II bass for my first one. It was cool.
Hi Ted. Love your channel and have learned so much from watching you. Question - Why didn't you apply heat to the crack on the back to get the glue to release first? Thanks
Perfect timing.
I have a lawsuit era les paul. Needs a bit of work if I ever get the urge. Tuning machines mostly. Back in it's day someone installed a double humbucker in the rear position which has a nice appropriate sound. Front original. Switch squeaks. Fun guitar. Bought from a singer around 1984 for 100 bucks.
I have a similar era Ibanez jumbo but it has a traditional bridge and a mahogany body. I bought it in 1972 or 73. I think it cost about $250 CAD. It has been my main guitar since then. Everyone who tried it loved it. Unfortunately, in the past 5 years the top has bellied and the action is getting sketchy. I put a bridge doctor in it and it isn’t getting worse but it isn’t getting better. Needs a neck reset but as Mr. Woodford says, is it really worth spending the money on an old cheap guitar. Ah well.
I love your work Ted... Easilly the best (and most relaxing) guitar repair channel on this platform. But I get frustrated when you switch from millimeters to imperial... Especially when discussing string heights. At first I was surprised and pleased that you were using metric, but then reverted to 'old-school' imperial. Why?
And Ibanez would have used metric measurements anyway. That mild gripe aside, great work as always. She sings better with that bridge improvement lovely bright and full acoustic voicing.
BTW - Love the cleat tensioning device. I'll have to knock a few of them up.
Very nice for an over sized bloated guitar! My favorite is my Taylor CE214 then My Uncle Tom's Martin D28, 1973. My wife's guitar is the latest for her Temple gig. So hers is another Taylor like mine but is Koa guitar complete like a CE-24k, I think? Anyway, I have a Breedlov a J250. Which has great tone and pretty good looking, well balanced tone and volume. Really looks great with green abs did this to that guitar was luck that we pulled off a great shopping day for me! Yeah he Yeah he!
The saviour of busted guitars knocks it out the park again. Thanks for your time and sharing Ted. 👍👍👍👍🥃Respect to you mate.
Surprised it's laminated. Great episode! Thanks!
i was surprised some gibsons are laminate
I have this guitar and it is quite amazingly well done because the flame maple veneer on the out side of the plywood back actually matches with the flame maple veneer on the inner side - so it is quite easy to mistake it for solid
Regardless of its heritage it's a lovely and well loved instrument and that's really what matters
I saw John Fogerty play a whole concert on an Ibaneez / Les Paul Custom Black Beaty. Same diamond on headstock which Gibson made them change . No name on the Gibson headstock. It sounded great through his Kustom amps. He only used the Gibson for his encore, two songs, Fortunate Son and Proud Mary - tuned to D. My point being- the Ibanez was SSSOOO good and we could buy them for $175 in 1973. So we did. Japanese made great guitars and still do.
Daion acoustics, Aria also very good quality, especially Daion! I've come across 3 all incredibly badass.
I have about six acoustics and I own a Cortez and it honestly is probably the best guitar that I own it sounds really really good and it plays even better of course I have taken it to a repairman who took the time to work on it. I wish I could have taken to Ted though. I watch his videos constantly the man is a genius
Fantastic!
✌️😎🎸🎶🎵🎶🎵🎶