We've talked a lot about neck resets over the last few weeks so let's move down the other end of the neck. Headstock breaks.
Nobody likes to see it happen but sometimes your guitar takes a tumble and the impact can—all too easily—snap the headstock. In most cases, this is a (reasonably) straightforward repair and can be re-glued soundly.
Sometimes, though, the nature of the damage can force us down a more 'involved' path. If the break is 'short' (i.e. it doesn't provide a lot of glueing area to ensure a sound repair) it may be necessary to consider some reinforcement to ensure the repair holds.
One solution is what's called a 'backstrap overlay'.
This involves overlaying some fresh wood over the repaired break. The new wood glues onto the unbroken wood either side of the crack to add strength.
Let's take a look at one.
In the first photo directly above, I'm repairing the break. This might seem odd but I need to get everything back together properly before I apply any reinforcement. The repair is carried out as it would normally be since the actual re-gluing isn't the real problem—the problem is keeping it in one piece after string-tension is applied. I need to glue-up everything as normal and then reinforce things to ensure the repair is strong.
When the initial repair is done and the glue has dried, I can begin the real work on this one. I remove a few millimetres of wood from the rear of the headstock and, past the break, along the neck. It would make for a more discreet repair if I brought this all the way to the end of the headstock but, on a Gibson, I like to stop short of the serial number. If the guitar is ever sold on, a perspective buyer may be put off more by the lack of a serial number than a well-executed repair.
The photo above on the right shows the removed section. I'll inlay the new wood here so let's get on with that.
The wood to be overlaid on the headstock is thicknessed and cut to the rough dimensions. To accommodate the angle between headstock and neck, I bend the new wood. It's this bending that adds extra strength to this repair as the wood grain curves to the correct angle.
Repairing guitars often makes for some intricate clamping setups and overlays are prime culprits. A shaped caul is useful to get the wood in that curved bit glued in properly. The roughly shaped wood overlay is pretty obvious (and pretty ugly at this stage) in the photo on the right.
This is where things take shape (pun intended). The overlay is cut to shape and the tuner holes drilled.
At this point I can go through the usual finish prep. Grain-filling, sanding, etc. In cases like this I need to match the colour of the original finish on the newly overlaid wood. I also have to manage the transitions between new and old finish carefully to keep things looking as inconspicuous as possible. Sealer, colour, and a number of clear-coats later and I'm ready for the next step.
Have to wait for the finish to cure properly. Then sanding and buffing and polishing and reassembling and stringing-up and…
All is well with the world.