Gibson have also used this technique among others through the decades. The Epiphone logo inlay was originally done as can be seen in an oversizes cavity with black filler, originally the face was painted black and the pearl scraped clean to the black filler allowing a production line to do a faster job of scraping the finish around the letters. Many photos were researched as a guide to allow the correct shaping, including the bevelling of the front edges of the headstock which is unique to the instruments vintage. The added material and head was then shaped to blend in with the neck. The head profile and all detail pencilled in. Headstock “wings” were added to increase width as per the original and a face veneer glued on. The neck splice geometry was laid out and cut down to the fingerboard joint and a new piece of mahogany cut to fit.Īfter careful fitting, they were married together using epoxy resin for the strongest possible, non water based joint. Ive used this approach a few times prior and since – to graft a new head onto the neck over a long surface area splice joint.

I have repaired head breaks in many ways and am always open to trying a new approach.

Whilst the owner had been offered repairs that involved a complete neck replacement, he was more concerned with keeping as much of the original neck as possible. Whilst the neck was overcoated ion solid black right down to the heel, it still had original walnut brown lacquer underneath, and the fretboard was in original condition.

The headstock face was sanded through its original finish, revealing the light face veneer, and the head was generally over sanded and finished in a horrible black/burst paint. The head was “splined” with ebony pieces, and had many voids filled with epoxy and auto body filler. This guitar had a head that had been snapped off and re glued what looks like at least a few times. This 1965 Epiphone Casino Head rebuild was completed in November 2012.

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