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| Came with the Favilla | Rate Topic |
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| Posted: Thu Jan 22nd, 2009 01:34 am |
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1st Post |
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teek Approved
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Looks worse maybe than in person, can you tell me if I can take some steel wool to this?  It's a small 20s soprano built very thin and light, all mahogany, had the violin style tuners (1 left) and a slightly belled back which is lovely. The neck has a nice taper to the headstock and is thinner than most newer ukes. It has the enigmatic Ukulele Mfg. Co. Honolulu label, supposedly NOT built in Hawaii but stateside. Has one thin crack above the sound hole, otherwise is ok. I think someone told me there is a way to remove bubbled varnish or reduce it, but I don't want to hurt the baby. I'd like to clean it up, put some friction tuners on it and string it to keep. I will string it before I do anything to see if it's worth the time sound wise. Any suggestions on a light low tension string for this that won't hurt the old glue? Thanks for any help or suggestions!   
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| Posted: Thu Jan 22nd, 2009 12:29 pm |
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2nd Post |
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ejsant Approved 
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Greetings, You can try denatured alcohol and a very, very light steel wool (oooo or lighter). I'd put a small amount of alcohol on the wool and rub lightly in a non-conspicuous spot to start. If that works out then I say go for it. What this basically accomplishes is cleaning the dirt from the varnish and redistributing that which is left. I've used this method to clean and smooth the varnish on many a piece of antique furniture over the years. If done correctly and with great patience the results are remarkable. I've used this on all types of fine woods including mahogany, walnut, rosewood, oak, hickory, maple, and others. The key is be patient and work slowly whilst not saturating the wool at any time. Good luck. All the best! Peace, Ed Last edited on Thu Jan 22nd, 2009 12:30 pm by ejsant ____________________ Peace, a brilliant aspiration!!! Traditional and Contemporary Irish Music P.O. Box 5086 Phillipsburg, NJ 08865 (201) 424-6141 http://www.EdSaultz.com http://www.ezfolk.com/audio/Ed_Saultz |
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| Posted: Thu Jan 22nd, 2009 03:24 pm |
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3rd Post |
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teek Approved
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Thanks Ed! I knew this trick from being an antiques dealer with old furniture, I just was afraid to try it. I did a spot on the neck, it looks like it will work, there is gorgeous wood under there and it looks sound. Lots of patience, yes. It has an ebony nut and I will need to put in a new saddle, so I'm going to try ebony. And the frets wiped down easily and are thin nickel silver. Thanks so much, I'm hoping it ends up a playable keeper! TK Last edited on Thu Jan 22nd, 2009 03:26 pm by teek |
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| Posted: Fri Jan 23rd, 2009 03:29 pm |
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4th Post |
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sano Approved 
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I see no reason why it won't be a keepable player, and a little treasure at that! I have several of these, and the sound from all range from excellent to astonishing. The best is a B &J Mele that weights in at 254 grams (!), and I was blessed to get one in pristine condition. The seller had thoughfully fitted it with Ko`alau Golds, which I'd never tried before. I've been putting Worths browns on my other vintage ukes with good results. It's a legitimate concern you have about string tension on old ukes, but I haven't noticed any problems with the Worths, or with the Ko`alau Golds on the Mele. I've restored about a half dozen of this type, most in far worse shape than yours (which looks great), and all have been worth the effort. I use hide glue on seams and cyanolite or epoxy on cracks. I'm staring at one uke now on the repair table that has a completely separated back (very handy for repairing the cracks in the soundboard!), and the back is split in pieces. Personally, I've never found a uke not worth restoring, but there must be some out there. The problem I have is getting too attached to them and not being able to put them up for sale. Some of my ukes have had musty odours from the soundhole. I use a fungicide spray and then throw in a paper towel scented with whatever you enjoy (I make a lemon or lavender scent from natural oils I buy for my sauna löyly). After a couple weeks, remove the paper towel, and you'll not only sound good and look good playing playing it, you'll smell really nice too! : ) One could experiment with aphrodisiac scents if so inclined. I think it could be fruitful  !Someday I'll figure out how to post pictures. I know I have to upload them onto a server but don't know how to do that and can't find enough time in the day. I invest all my patience into my restoring and practising. Oh, btw, I've got a couple oldies with rippled tops and backs. I haven't figured a way to "flattten" the wood and will probably have to live with them as they are. Any thoughts on that?
____________________ sano |
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| Posted: Sat Jan 24th, 2009 09:45 am |
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5th Post |
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teek Approved
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Hi Guys, Well, here's what she looks like now. It looks to my uneducated eye that it might be koa. It has a tiger graining on one half, that is matched on the flip side front and back, both solid, both matched. The back has a distinct curve that is very subtle and elegant, she's thin and light and only has one fine crack, very few dings, one scratch on the back but I won't be looking at that, and it feels wonderful in the hands. I was really tickled and feeling vindicated and smug because I got some heat for spending $40. plus $10 in gas to get this and the Favilla (which will probably be a cigar box some day), then noticed as I was finishing up that the neck has a twist! Shoot! I couldn't see it well when it was so dark. I had seen that I needed a new saddle and was going to order matching ebony, and nice black and nickel friction tuners. I already had some Ko'olau Golds ordered too, how's that for coincidence? I had never tried them before but they are supposed to be light. So now what? There's no mustiness or anything, I was going to ask what was a good oil and was going to just oil it lightly and wax it.  Bottom photo shows the twist, sort of, just a little higher on the treble side. Also the grooves in the saddle. The bridge looks a bit funky in the pic, it's not, it's undercut and has like tang projections on the ends. Pretty slick. Even if I have to just hang it on the wall, I'm still tickled with it.  
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| Posted: Sat Jan 24th, 2009 10:04 am |
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6th Post |
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ejsant Approved
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Looks very nice, congratulations. I have to say I also like what appears to be an oak fern stand this lovely uke rests upon. As for the oil I've always been partial to a good lemon oil. All the best! Peace, Ed
____________________ Peace, a brilliant aspiration!!! Traditional and Contemporary Irish Music P.O. Box 5086 Phillipsburg, NJ 08865 (201) 424-6141 http://www.EdSaultz.com http://www.ezfolk.com/audio/Ed_Saultz |
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| Posted: Sat Jan 24th, 2009 01:17 pm |
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7th Post |
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sano Approved
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I wouldn't give up on this one yet. It's just demanding more attention from you. Vise, miosture, heat. I think you can straighten that if you've got more time and patience. Look at the beautiful wood you've uncovered. Hang in there with it and maybe it will love you back !
____________________ sano |
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| Posted: Sat Jan 24th, 2009 03:38 pm |
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8th Post |
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Dave Alexander Approved 
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Holy smokes. Somebody stop me before I strip all the old ukes I can find. That looks great.
____________________ "My ukulele playing IS entertaining. Just not always to others." -- Dave Alexander |
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| Posted: Sat Jan 24th, 2009 08:55 pm |
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9th Post |
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teek Approved
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Thanks all! I figured some kind of combination of steam and clamp, but I don't really have the tools or know what I'm doing on musical instruments. I did once flatten the bowed side of the top of a 100 year old quarter sawn oak pedestal table with moisture and heat and weight, without raising the grain. I was hoping just replacing the saddle would get me good to go until I saw that the neck was off. So I'll just keep asking questions or with luck try to find a kind luthier locally who might put it in a brace for me. I will probably string it just to really see how off it is. The frets need some tweaking too. The quarter sawn tiger oak table is a Gustav Stickley lamp table replica made by Warren Hile back when he was a small company in Sierra Madre, CA. I have other pieces made by Hile. I had to sell all my real Stickleys when I downsized, they were all rockers.
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| Posted: Sun Jan 25th, 2009 05:26 am |
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10th Post |
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sano Approved
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I wish I lived nearby. I'd offer to do it for you. But since you're already experienced with wood and restoration yourself, I think you could do it. Or at least you won't make a worse wall hanger by trying. I'm lucky to have a solid maple carpenter bench made by my dear old dad (sadly gone now) with just the sort of large built in vises that would do the trick. If you could get the uke neck in such a vise with wood blocks so as to to not damage the frets or wooden nut and just leave it there for a month or so, you could probably manage it without steam or heat; just a slightly dampened rag or even in a room with about 50% humidity. I've done a fair bit of stuff over the years with wood and about 15 uke and banjouke restorations, but it sounds like you guys have got a lot of knowledge and experience and I don't think I can offer any more. So any thoughts about flattening a rippled top? I figure about all I can do is remove the shine to make it less noticeable and otherwise just enjoy the sound and the ripples! You know, I love my old ukes. They're mostly fussier and more demanding of the player (than new ones), but they've all got some magic. I'll probably sound like a loony relating this, but I fixed up a lovely Keech banjouke just before Christmas. I swear, the first night I really got into playing it, (I was alone, the family was away, so no one else can vouch for this) I faintly smelled pipe tobacco smoke in the room. I don't smoke, and this uke has no tobacco odour, but I smelled it as I played. I imagine it was just something coming out after sitting for who knows how many decades, forgotten and dirty in the corner of an attic. Maybe I am a bit loony, but there's a blurry line between lunacy and creativity. Maybe I should start a new post about this, or maybe I'd better keep such thoughts to myself (?) But I've often wondered about old instruments, all the skilled hands that have played them, all the emotions they have elicited, and all the brilliance they have inspired in players and composers, and the skilled luthiers or determined amateurs who have repaired and polished them over the years.... I somehow can't believe that they're just inert objects, just glued up bits of wood after all that.... But maybe I'd better go to bed now...
____________________ sano |
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| Posted: Sun Jan 25th, 2009 01:25 pm |
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11th Post |
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ejsant Approved
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Hey sano, That's not lunacy, it's called sensitivity and open mindedness as I see it. I believe that sometimes the energy of those gone before finds its way out through current players. The following story is absolutely true: One afternoon about a year and a half ago I was singing at an Adult Long Term Care facility. A wheelchair bound woman was escorted out by her son about halfway through my performance. This happens quite a bit as attention spans are oft times short at these facilities. As I walked down the corridor on my way out the son stopped me and apologized for their leaving early. He indicated his mother wasn't feeling very well and was disappointed that she had to leave early. He asked me if I could sing for her a song she had hoped to hear during my performance. Of course I agreed if indeed I knew the song she wished to hear. On his mother's behalf he asked me to sing "Danny Boy". Now I sing this song unaccompanied at times but not very well as it is indeed a difficult song to sing and of course isn't looked upon favorably in traditional circles. I sang it none-the-less. It was as though someone else were singing as I never before belted it out as I did at the foot of this lovely woman's bed that afternoon. About a month later I was back to the same facility and as I was setting up one of the staff handed me an envelope. The note inside imparted the following message: Thank you sir for taking your time to stop and sing for my mother. She passed about two hours after you sang. Moments before she passed she called me close to her and whispered in my ear she loved me very much and that it was so nice to hear "Danny Boy" one last time. Needless to say "Danny Boy" has taken on a whole new meaning for me from that point. I am convinced forces well beyond my comprehension were at work that afternoon as I still do not believe it was me alone singing at this woman's bed. I don't doubt for a minute sano that your banjouke spent time in the hands of a pipe smoking player during its history. All the best! Peace, Ed
____________________ Peace, a brilliant aspiration!!! Traditional and Contemporary Irish Music P.O. Box 5086 Phillipsburg, NJ 08865 (201) 424-6141 http://www.EdSaultz.com http://www.ezfolk.com/audio/Ed_Saultz |
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| Posted: Sun Jan 25th, 2009 04:00 pm |
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12th Post |
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sano Approved
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Wow, that's a touching story Ed. Really, thanks for sharing it. I didn't get a chance to play music for my mom or dad as they both passed away before I really got into it. I imagine they can hear it now. Lately, a new friend has come into our lives. Audrey's her name and she's in her mid-80s now. She was a 50+ year-long friend to my mom, and she drops in every few weeks now for tea. She still travels about (more than me) and drives, and her mind is sharper than mine (my only friend who can actually quote Shakespeare to fit an occasion). Being from England (Sutton -- my mom was from Lincolnshire), she enjoys my George Formby tunes, and she's one of the few people besides my wife that I don't feel shy playing Formby to (I'm not very accomplished at it). I think my mom's happy that Audrey comes over. I found your site Ed. Beautiful music! I just bought a guitar case off a fellow near me, Bryan, who's in a celtic band (maybe he's in this forum!). Their site is http://ceolcara.com . He said a bunch of folks get together to jam sometimes and invited me. I'm nowhere near his standard or yours, and I'm not very confident but I'll sit in and try to follow along a bit sometime. I just love meeting people through the music. This really is the life man! Hey guys, sorry I got us off topic here! We were talking about that bent neck. Teek, clamp it into a workmate bench or whatever and I'm sure you'll get it straight!
____________________ sano |
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| Posted: Mon Jan 26th, 2009 12:00 am |
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13th Post |
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teek Approved
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Hey guys, I'm right with you on "inanimate" objects that were well loved holding on to previous energy, everything is made of sub atomic particles, and when I heard that when we are touching something we aren't actually (at an atomic level) touching it, I thought o kay, this is proof that there are more things in Heaven and Earth, Teek, than are dreamt of in your philosophy... I once picked up a very old ring (1000 year old Egyptian piece ...) that made my skin crawl. I took it home and handed to a friend who said oh, cool... ewww! So yes, objects hold energy, everything vibrates, that's how the physical world is put together, science has proved it. I'm not a new agey freak just because I live in CA. And the reverse, too. Somethings are warm and attractive, we pick them up and don't want to put them down, they speak to us. So why not be able to channel Danny Boy by picking up the old lady's love of the song and have it come though your voice, Ed; or Sano, pick up a new old uke and smell the pipe tobacco of the previous owner because he always smoked a pipe around the uke and it holds something of the owner's energy? We're all energy and at the level of quantum physics we're all one. On the little old uke's neck, I used to have a huge wooden furniture clamp, I believe I finally sold it, it would have been perfect, that's what makes me sad about not having a garage, not much room for tools anymore. I did test string it up, it looks like with a bit of saddle repair ( a dab of epoxy for now) I could string it and get some sound just too see what it has, besides about a 3/16 twist. It needs to be re-shellaced too, I don't want to leave it naked, I did leave some on but not enough, it was so filthy it needed to be cleaned. I know some would say OMG! you took the original finish off! Cardinal sin! But it would have been like playing on 10 grit gravel paper to not do it, and it had a ton of attic filth on it, and these don't go for much on the market and I figure "original" finish would have been closer to what it will look like when it's done. I appreciate the feedback and the stories, cool.
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| Posted: Mon Jan 26th, 2009 10:12 pm |
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14th Post |
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Dave Alexander Approved
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Actually teek, the frustrating part for all of us is that we have almost zero chance of ever finding such a beautiful instrument is such need of refinishing. I'd love to have one that was that bad off to begin with -- just so I can make it look that awesome. In my other hobby (old radios) there is a continuing debate among high gloss refinishers who make wooden cabinet radios shine too much after they refinish. Nobody ever really made the originals with "piano finish." The pictures I see show a lot of character -- especially on the front/top of the uke. That will look great when you'r done. Have fun.
____________________ "My ukulele playing IS entertaining. Just not always to others." -- Dave Alexander |
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| Posted: Tue Jan 27th, 2009 06:35 am |
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15th Post |
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sano Approved
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Teek, since we can imagine that ukes just might have feelings, you've really got no choice but to straighten out that neck. Buying a couple clamps will cost much less than bringing it to a luthier. Of course you'll have to clamp it to something straight and solid, like maybe the edge of the kitchen table. If you're married you can always tell your partner that it's only there temporarily, like for a month or two... Otherwise, maybe clamp it to your home gym if you've got one. That's what I'd do. I've got a couple guitars hanging off mine from the overhead lat bar. Makes a great work station. I've even used it for what it was made for occasionally!
____________________ sano |
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| Posted: Fri Jan 30th, 2009 10:17 pm |
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16th Post |
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teek Approved
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Sano, I have no kitchen table, the DR table is from 1927 and is oak, I almost beat my spouse (just kidding) for using two of the chairs (which have burl inlay on the backs) as posts to do pull ups with a Gymstick balanced across the tops of the backs... because we don't have a home gym! I'm thinking the edge of a big basement shelf unit shelf, fret side down, big C clamps, soft piece of lumber for the back of the neck, some tough thin padding between and light pressure, maybe a damp towel over the top of the contraption but not touching, and time. The only thing that worries me is earthquakes, we've had a few good jolts lately. Not sure the shelf edge is true, but at least you've got me thinking! Thanks! Any excuse to go get a few new tools is fine with me.
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| Posted: Sat Jan 31st, 2009 01:18 am |
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17th Post |
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sano Approved
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I'm just now taking the bend out of my Egmond archtop's old tired neck by clamping it to a solid piece of oak (and then because the fretboard's already loose, I'll peel it off, rout out the neck and epoxy in a steel rod. I'm not bothering with an adjustable truss rod. I'd take pictures but I still haven't figured out how to post them here. Anyway, it's nothing complicated. What I've done between the oak board and the fretboard is insert small blocks of wood between the 1st &2nd fret and between the 13th &14th frets, just above the heel. This helps in 2 ways: first I'm not crushing the frets into the fretboard and breaking the nut (ouch!) and secondly the space between the boards allows for a reverse bend. I've got 2 clamps half way between them. You'd be doing something similar but with maybe with one clamp down toward the heel and the other up toward the nut. The idea of the dampened rag sounds good if it's dry where you're doing this, just draped over the neck and clamps, but I'd imagine a basement at this time of year would be damp enough already, especially if it's unheated. That's another thing, you don't want it too cold. I'd suggest not putting the lower clamp too close to the heel or you might put strain there and break the joint, if there is one. I know older necks are often one piece, but you still don't want to put too much strain close to the heel. Last edited on Sat Jan 31st, 2009 01:31 am by sano ____________________ sano |
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| Posted: Sun Feb 1st, 2009 09:16 am |
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18th Post |
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teek Approved
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Thanks, I was puzzling on protecting the nut, some of the frets aren't quiiiite level, and was concerned about how close I could get to the heel. Also about not putting too much pressure at one time on the neck, and maybe causing a split or crack. I would hate that! I like your method and think I will try that, it sounds very well thought out, and I appreciate your explaining it. How are you protecting the back of the neck? I did get the Favilla cleaned up and strung, it has a sweet sound, it's too early to tell the full potential as the strings need to settle, but it feels quite nice to play and has a very low action! And it seems very happy... Think there is any problem besides added weight putting some Grover friction tuners on it? I found some gold with antique white buttons on eBay that would probably fit it nicely and not be heavy. I don't think I want to mess with violin style friction pegs.
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| Posted: Sun Feb 1st, 2009 03:33 pm |
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19th Post |
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sano Approved
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Teek, I'm just using a thin piece of wood at the clamps to protect the back of the neck. I'll be giving the Egmond a complete refinish afterwards. As for using the Grover friction tuners, the only problem I can see would be weight, Otherwise, I say Grovers are groovy! Gold would be my choice too. They tarnish in time, but that's what you'd want on an antique anyway, I'd imagine. You do mean traditional style uke tuners when you refer to "friction", right? You're not talking about geared guitar-style tuners, right? I prefer friction tuners over the geared guitar-style for sopranos, certainly. But there is one issue with friction tuners that maybe others might agree with me on, and it's more than aesthetic. I like it when you can place a uke flat on a table surface so that the back and heel rest flat. Some headstock angles/tuners don't allow this because they are too tall and so the uke rests on the tuners and down toward the end block instead. In this case, the heel is elevated. It just makes the uke look vulnerable. If, God forbid, someone put weight on the uke while it was resting on a tabletop, well you can imagine the potential for harm (not only to the uke but possibly the person who did it ; ). But I've got new ukes and old ukes that are like this, so I guess it hasn't been a great concern for many builders. Some might say that a tabletop is no place to keep a uke, but around my house it's unavoidable. I've got so many of em.
____________________ sano |
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| Posted: Sun Feb 8th, 2009 05:27 am |
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20th Post |
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teek Approved
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I currently have two living on the table and they need to go on the wall for now. I feel the same about any vulnerability. I tried one set of Grover tuners but they came with a piece missing so need to send them back, ordered another set of plain white and nickel, just low end Gotohs. I am also thinking of taking it to a local violin shop and putting the original carved wooden violin style pegs in it, if I can get the neck straight, and if the standard tuners don't work, those are big peg holes and I've seen these older pieces with newer tuners, but not sure how they fit them, there needs to be a bushing of some sort I'd think?
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