Gibson only produced so a lot of Everly Brothers guitars and this one is an odd duck with its mahogany back and sides (most are maple or walnut). Its serial dates it to 1968 and it is essentially an alternate vision of Gibson’s highly-collectible J-185 model with its 24 3/4″ quick scale, 16″ jumbo physique (compared to the 17″ of a J-200), and flashy trim. The neck on this is rock-and-roll swift and slim (C-shaped) with a 1 1/2″ nut width. Barred chords and cowboy shapes are straightforward-peasy, right here, and you could certainly think about this as a heavy-handed strummer’s dreamboat — or a great choice for an old-fashioned lady country singer
I worked on this for a buyer who’s preparing on consigning it (now), and it was a tough job due to the presence of a botched neck reset completed in the past (1973 to be exact, per an interior stamp on the backstrip). The rest of the old repairs (some hairline cracks, a replacement bridge, and a headstock crack repair) have been accomplished really nicely and have passed the test of time. My work integrated resetting the neck once more (which involved shoring-up a “pinched” neck joint), a fret level/dress, bridge pinhole fill/redrill, modification of the saddle slot, a new saddle, regluing the treble-side broken pickguard, and common setup.
Following work it plays on-the-dot at 3/32″ EA and 1/16″ DGBE at the 12th fret, has a healthily-tall saddle, and is structurally stable. It also, of course, looks grand!
This guitar has a strong spruce prime, strong mahogany back, sides, and neck and an ebony bridge and fretboard. It really is got binding on the top, back, and board edges and herringbone inlay at the leading edge.
You can see the old headstock crack repair right under the E-string tuners. The job was properly-done and it remains steady.
It appears like the fretboard might have had a leveling in the past as the best of the most significant star has its point “nipped” out due to a shallow board. The nut, after once more, is 1 1/two” and the neck has a rapidly, slim, C-shaped profile. The frets are possibly replacements and are jumbo-sized with lots of meat left after my level/dress job. The neck is straight and the truss works well.
There are a lot of small cracks in the fretboard binding.
When I reset the neck, I knocked the angle back a bunch and had to wedge the board up a bit at the extension. This location is not the most beautiful aesthetically simply because of mucky repair-function accomplished in the past, but it really is “all great.”
The “pinched” neck block region is due either to damage sustained when the guitar originally was dropped (I’m guessing) or to a person not completely-regluing the neck block to the top. It really is stabilized, now, and very good to go.
It really is nice to have these original guards!
The trim is pretty good on this guitar, too, particularly with the herringbone purfling.
The owner thinks this is a non-original bridge. That’s completely feasible but the original style of bridge largely utilized on these was a giant “reverse belly” bridge with an adjustable saddle. If that had been the case on this guitar I’d anticipate to see the footprint and I never consider the guitar’s had a refinish at all (judging by the crud under the pickguards).
So, either the original bridge was a smaller kind, a normal Martin-style “belly” bridge, or it was this a single althought this has clearly been shaved down. The original bridge plate (which is extremely thin 1/32″ or so rosewood) was also capped with a really thin 1/32″ or so maple plate in the previous.
When I did my perform I filled the “swooped” pin holes (in an arc) and then drilled a new set of holes on a line to get a lot more of a 45-degree back-angle on the saddle. I also enlarged and deepened the saddle slot so I could place a good, tall, drop-in saddle in place and have it remain nice and snug. It’s worked-out swell.
The treble-side pickguard was off when this came in and was broken in a handful of pieces. I reglued it back on and suggested to the owner that even even though the celluloid has some “outgassing” (crumbling) issues, that it would be cooler to re-use the original. I think you can not beat the look of the actual issue even with some flaws.
The original tuners have been long gone and it looks like an individual added “steps” for these 70s Rotos to be installed. It appears excellent, even though.
Please don’t blame me for some of the mucky edges about the neck region — it was a bit murky in spots when it got here.
I forgot to mention that there’s an old 70s Barcus Berry installed! It is the extended “bar” kind and I reglued it under the saddle location. The output is excellent and it sounds like a much less-articulate K&K. These are some of my favored old transducers and they are far much better than an old undersaddle pup.
“1973 – Restored by Valdez – West Hollywood.”
An original Gibson tough case comes with it — in excellent shape!
Let’s speak condition issues. I pointed out that the neck had a prior reset before mine — and it also has a previous reglue of a split in the reduce portion of the heel. No worries — it’s great.
There are also a couple of small hairlines (glued-up in the previous) on the side, here.
You saw the headstock break from the front before — here it is from the back.
There are also some clumsily-reglued modest hairlines on the back of the guitar. Here’s a single.
Here’s one more. I’ve added tiny cleats to each of these exactly where I could get them in spots not cluttered with glue beading on the inside…
This 1 is good and I can’t even spot it on the inside.
The ugliest is this two 1/2″ one particular that wasn’t glued-up “flat.” It’s been glued-up and is steady but shows a tiny “edge.” It is way in the reduce bout so I couldn’t truly reach that far in to scrape off the excess glue and cleat it. No worries, although — it doesn’t move and has been this way, presumably, considering that ’73.