Change Fretboard Radius of a 1942 D-18

[George Clements]

Hi Everyone,

I play a lot of bluegrass on my 1942 D-18 but find the 16" radius not as comfortable as other guitars with say a 14" or 12" radius. 

Would it be possible to change the fretboard on an instrument of this vintage?  I'm not worried about losing "vintage" value, but rather want to make the guitar as left-hand friendly as possible.

Thanks!

-George

[Kerry Krishna]

George, how long have you been playing this guitar?

[George Clements]

I've been playing it for a year.

[Joshua Levin-Epstein]

It would be wiser to find a guitar that is already set up closer to what you want. It would be a shame and a real kick in the pants if you altered this instrument and found it still didn't do what you want. Try a custom shop Martin or have someone build you a guitar.

Gruhn has a Brazilian D-28 sold as is. That's a good candidate for personalization.

Pardon me for repeating myself, but you shouldn't booger old guitars. 

[Kerry Krishna]

 I have to agree with Joshua on this one George. Unless this axe has been incredibly modified/messed with and you only payed a few k for it, I would leave it as it is. And I know what you you mean by not minding loosing vintage value either. 

 The work you propose can be done too, but you will likely (possibly?) have a hard time finding a Luthier to strip out the frets, re-radius the board and refret. That really is all there is to doing it.  

[Peter Poyser]

Quote: "Would it be possible to change the fretboard on an instrument of this vintage?"

 

The best possible advice anyone could give you, is to leave it in Original Condition.

If you modify it to what you believe is your liking, the singular nature of your personal preference, and the fact that it had been radically altered, will largely alienate prospective interest in the Instrument, and completely nullify its true worth.

If you really dislike the Vintage Guitar as it is, (although I believe a Player can completely adjust themselves to an Instrument given proper time to), it is better to Trade it for one you really like, whilst able to fully realise its proper value in Fine Original Condition.

Money which then can be Soundly Invested in another Vintage Guitar to your Taste.

One with rather Greater Appeal.

 

Speaking of Appeal..

I once had a friend who told me he found the writings of St Paul Appealing.

But he said that he strongly disliked the writings of Norman Vincent Peal.

He said that whilst he found Paul Appealing, he found Peal Appalling.

 

 

If you think these  differences in word play are merely superficial semantics.

It truly is the case, that the overwhelming body of Guitar Lovers and Players, would find the differences in Fretboard Radius's equally superficial as an objection to this Instrument, and a Reason for Radically Altering It.

This truly is something a Playing Owner really ought to be able to Adjust Himself To, and in my Honest Opinion. In the Fullness of Time, could do, to their Great Inner Satisfaction.

With the Uttermost Possible Respect. I honestly believe that if you enact what you have suggested, which to answer your question, can of course be done.

In that Fullness of Time, you will never the less, inexorably and  inevitably, Ultimately  come to Regret It, in a Profoundly Deep Way.

 

 

Take.

Cello's for instance.

I mean Great Cello's, Unbelievably Expensive Ones.

Have Wolf Notes that Emerge from the Interaction of Front and Back Resonances.

Cheap Cello's don't have this problem to anything like the same extent. Mainly, really Great Ones, that the Very Greatest Performers would Wish to Play.

In order to do so, they have to Learn to Play Around these Wolf Note Resonance Problems, as only so much can be done by Specialists, to alleviate this difficulty, on the Very Finest of Instruments.

I'm convinced this is one reason when a String Breaks on a Cello, and the Player none the less proceeds to Perform Brilliantly on the Remaining Strings. WHY they can manage to do so with such consume ease, to the Rapturous Delight and Applause of their Audience.

The thing is, of course, they are used to finding ways around Problem Areas on Every Single Instrument they Ever Play.

Could you approach this Guitars Vintage Radius, in much the same manner and with a similar maturity?

If you could, it would Speak Volumes for You.

You'd be regarded as Sheer Class.

It's the Classy thing to do.

 

If you commission this change.

You are really buying a Lottery Ticket.

Stepping into the unknown, taking a Gamble.

And Trusting Your Imagination, is on the Money.

Better to buy a New Instrument precisely to your Liking.

Than Destroy a Perfectly Good One hoping it will be Better.

 

 

You have the Power to make the Decision.

But if you came here to Benefit from Sagacity and Wisdom.

Then Joshua and Kerry's Sage Advice, is the Best, Anyone can give You!

 

P

[Ned Knepp]

I'll chime in to say that I agree with what's been said so far. I've been playing for over 30 years and I've met relative few players that are even aware of the radius of a finger board much how large that radius is.  Of course, that doesn't mean that you are not sensitive to it but I think the vintage and apparent condition of this guitars REALLY indicates that it might be better if it was left unaltered.

What I really wanted to ask is if you have had this guitar professionally setup for your playing style. Most people that complain about a fingerboard on an acoustic don't have a well setup guitar.  Another point is what guitars are you comparing this one too. Are they all 14th fret guitars that have the same string width, the same scale length, relief/no relief, the same strings? How thick/narrow are the necks? Even the body size can affect how a guitar feels in my hands.  There are a lot of things that can contribute to someone having trouble with a guitar neck but in the end, not everyone will like the same guitar that someone else loves. Maybe you just have one that you doesn't feel right to you. In the case of this guitar, I add my voice to the idea of selling it as is and purchasing something that is more to your liking. You get what you need and you save a fine old guitar for someone else that will LOVE as it is.

One of the things I've learned is that there is always another great guitar out there and I think that this is even more true today than it was a couple of decades ago when I figured it out.

[Kerry Krishna]

 What do you think George? 

[George Clements]

Thanks everyone for the sage advice!  I really liked what Peter wrote: "This truly is something a Playing Owner really ought to be able to Adjust Himself To."  As I've only spent a year playing this guitar, I think it would be wise to give it more time and see how my playing style adapts to the instrument.

The reason I wasn't hesitant about the idea of changing the fretboard is because this guitar has already had major cosmetic work done to it, mainly my a well known Martin doctor, J.J. Thomson.  The side has a large football patch in it; the original lacquer is gone and a french polish was applied in the 70's; the tuners and the pick guard have been replaced.  The bridge, nut and saddle are all new.  All this work was done before I bought it.  The only "original" parts of the guitar are the box and the neck.  

It's a player guitar.  I'm not trying to make it a museum piece because at this point, it couldn't be.  But I do think I can adapt to its particular radius without having to have major work done.

So my decision is to keep it as is...for now.  Perhaps a good setup will fix any uncomfortable left hand issues. Thanks again for all the advice!

-George

[Mark Pollock]

I would check the setup first - I can't tell you how many guitars are out there with a nut and saddle that simply do not match the fretboard in the slightest. These can really make playing a miserable experience. If your saddle is flat (I see it ALL THE TIME), or overly round (which I haven't seen, but is theoretically possible, I suppose), then you will have a miserable playing guitar.