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  I have figured out most of what I need to know about neck resets with the exception of what kind of neck joint I am dealing with,    I have had an Epiphone  accoustic for 30 years or so,  the action was high enough to warrant a reset, I pulled the appropriate fret drilled and steamed away only to eventually discover the neck had no mortise,  ( lord knows where the steam was going ) the heel  was  flush with the outside of the box and had two dowels reinforcing the joint. ( as I later found out from the Japanese era of Epiphone

 I now have a repair for a young student,  a cordoba C5- CE classical with a severe neck bend. I think a reset would help here but you can't reset a spanish heel right?   only the grain on the neck block inside the box is vertical not end grain, thus not a spanish heel ( am I right ?) . what kind of neck joint do we have here?   is there a database somewhere that has this data,  is this  a case where there is no substiture for experience.

bear in mind it is obvious when the neck is bolted,  a taylor is clear, a martin is going to have a tapered dovetail etc etc.

 Hoping someone can shed some light on this

Peter

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Boy, I did not see all your guys other comments.

I'll leave my post ONLY for the Epi & Stella stories. (:

Bought my Epi 12 string in 1973, with its 4X4 plywood laminated headblock and four 3 1/2" screws holding the neck on, for somewhere in the $150 range, so you're not the only sucker out there. My first guitar was a Harmony flat top from the late 50's with cables for strings and 1/2" action at the twelfth and I "played it till my fingers bled" so the Epi was a major step up. It became kindling when it's action hit 1/2" at the twelfth. Stay warm.

I hear you Eric. I bought one as a backup for my D-28. Talk about polar opposites!!!!  I'd go into detail about everything that was wrong with the Epi, but there's what?,,,, a 15,000 word limit for responses. BTW: it met an appropriate demise when a drunk patron put his knee through the top when it was in a stage stand (hence my anality about keeping it the case when not being played). Believe it or not; I thanked  the guy (: ' Tis true.

Just to clarify for accuracy: the one I learned on was a "Stella by Harmony". The ORIGINAL Stellas were of good quality in their heyday...or so Leadbelly convinced me on his recordings with his Stella 12 string.

Take care man,

Paul (:

I've seen one of those "Leadbelly" Stella 12 strings, Paul. It left me under the impression that it was more  an issue of "that's what Leadbelly could afford to play" than "Leadbelly sure had a nice guitar". I too was subject to a "fine" ( Five and Dime purchased), early '70 harmony. I didn't get the, high classed "Stella" model.  I've often wondered just how many good guitar players never developed because of Harmony's entry ( and exit ) level guitars.

Those old Harmony guitars are great fun IF they are actually set up to be playable. I've got a couple that I have reset the necks on, and they just sing with that wonderful ladder-braced voice. But, before the resets, they were just finger-breakers that were no fun whatsoever.

Ned,

+1 on Leadbelly playing what he could afford. An interesting study might be a book about "how" the old bluesmen came by their guitars.  I bet it would be more intriguing than some of their songs(:

The guy I began taking lessons with, my best school friend, gave up guitar BECAUSE of the crappy guitar. I know of at least 4 others that did the same thing.

Here's the silver lining: whenever I'm working on a GSO from hell for a kid, I remember the Stella. I helps me focus on one of the primary reasons that I do what I do: to make the instrument comfortable to play so it won't drive the kid AWAY from playing.

@Mark: I applaud you(: You've inspired me to buy the next Stella trade-in we get in and see what can be done.  We should also mention to our younger viewers that not only was the action beyond high, the guitars came with strings in the .015-.065 gauge range!! (;

Have a great weekend guys (:

That's the spirit! The good news is that these are incredibly easy to steam apart, the glue really loosens up a treat. If I ever had to teach someone else how to do a reset, I would certainly use a Chicago made Harmony, Stella, or whatever other name guitar for it - they are really simple and very good for practice! (The bad news is that a dyed fingerboard can be really tough to keep in one piece...)

Hi Paul. I have a Harmony Stella H930 from the early '50s and I love it. I own better, two Gibsons, a Fender, a couple of original 30's Stellas, and others but it is the instrument I have to hand every day. The action is low, I've replaced the bridge and tail piece so the intonation is better. It is loud and makes a great sound. A one off or am I tone deaf? I dont know, but I wouldn't trade it for quids.

Sorry Steve...I just saw this.

Sounds like you got a "one in a thousand".  Sometimes the stars align and amazing things happen in factories. But then again, your work on the instrument is most likely the reason it sounds and plays well(:

Cheers.

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