Hurricane Katrina Silverbell
Bottom 23271 Rim / 23271 dowel
Project 1 numbers
Top 17283 rim / 17668 dowel
View it here
(Purchased form Lars Edregan, New Orleans LA.)
Lars is the banjoist at the Preservation Hall as well and other venues.
He lost these 2 in the flood and I will show you the devastation
Resonator back completely missing, only the sidewall remains
A good view of the laminations on this and the rim bottom for reference purposes
The sidewall is in strips of maple
Each one is numbered with a pencil
All glue joints are compromised
Inside veneer is rotted
Some inlay missing
Necks still in transit, this is an initial pic from Lars
May have backbow and other unseen damage, can't tell yet.
Total submersion causes many issues, when it comes to saltwater
The wood is ruined, the hardware can be stripped and replated
heavy oxidation on this one
What is left of the back is a good reference for showing the cross
laminated veneers in the construction
Again, more severe damage on this banjo
23271 Rim / 23271 dowel
LARS Project #2
BD has a Sequence of pearwood laminate, maple, pearwood, then it is ebony on top for the fingerboard
No fingerboard is present in this pic.
Both heel and lower fingerboard are glued and clamped
All neck laminates sealed, new heel cap installed, ready to start the staining and a coat of sealer
I always like the new stain and seal on before I go on, this allows stain to set well in fresh wood and keeps things like superglue from penetrating raw wood because when it does, it will never take stain in that area so this is merely a precaution as I go forth.
That will do for now, time to splice the missing upper fingerboard into place
I have the new Dark Vintage Maple dye on the peghead, I will steel wool the MOP to clear it before moving on
I'm recycling Roger Hales old Tubaphone deluxe fingerboard,.
I have flattened the used side until the fret slots are just lines, and will glue it into place with hidden pins to hold it centered
Ready for glue, you can see where it is pinned on the bottom, 2 more will be at the top
I'll wipe the excess in 10 min, allowing for squish to complete
Under the radiant heater, which pushes heat thru the projects very
well, better than lamps
It s 89 degrees with the laser temp checker at that level, perfect for a normal dry time
34 degrees outside the shop tonight.
I have the new section profiled and leveled and slotted, and have begun to install the new wire
For those of you that realize I did no inlay before fretting, I want to complete the neck to check it for integrity under string tension.
I can do this on another rim assembly I have in the shop so before it leaves Ill check it after I reset the dowel at the angle I wish.
I can easily slip in the inlay, fret wire or not after that test.
The dot you see is a locating pin, yet to be drilled out
Disassembling the rim
This is the section that sat submerged the longest
All the big hardware has been plastic wooled to remove oxidation, and the neck is fretted, bound and taking on a couple coats of clear before I test it on the other rim..
Curing under heat
That bit is what I enlarge tuner holes with.
Clamping off where it is already cured , and kniving in glue on the final section
Everything is going as planned, good tite seams
Bottomside complete, ready for bottom veneer
Moving around the top of the assembly,glueing squishing, clamping
Bottom veneer installed and profiled
I will use Shellac as a barrier coat to hold back any contaminants left in the rim
Shellac is far superior as a sealer compared to lacquer.
Thats Gold, not silver.
I like the gold better, like was used on the #4s and up
2 coats of gold, ready for outside stained lacquer.
Shellac is already applied and cured
I chose Medium brown, very reddish, it will be pretty.
Final coat of sealer applied, ready for clear coats.
That is Andrew's plectrum in the background, going together at the same time.
You can see I have begun to clean the flange, that is 000 steel wool first.
I'll do one spot for contrast
"Wicked" metal polish, some of the best in my opinion
That is without machine buffing
Mock up, ....that will buff on up pretty nice considering what its been through!
You can see the later model F holes are larger than on Andrews.
I will restamp the rim to reflect this ser#
Yellowed finish will be removed
Small splinter missing from overlay, Ill mend that and stick in a newer inlay of my choice.
Grafted in maple and ebony, inlay installed, ready to stain
headed back to Playerville
Fade at peghead and heel
The gold is just prettier than the silver.
Now for multiple clear coats
Shoes and screws brass brushed then polished on the buffer
I'm going with Renaissance, an excellent ITM head
Hooks brushed and polished
This is all original plating, showing the resiliency of Nickel plating
Matching numbers now
The "Old and the New"
Showing it with the flange area that has been cleaned
Flange removed from Deadwood
It appears a little Electrolysis went on here, maybe the electricity flowing in the floodwater.
All buffed and polished, the bent areas on the flange have been hammered out
Ready to String up
Neck hardware and tuners installed
Strung to pitch on an original Bacon 1/2" bridge and Tensionator tailpiece in GDAE tuning
The missing hook is where the armrest attaches, I have to make that.
Very nice clear tones up and down even at first setup, very encouraging.
Now to start on the resonator plate while I dial this on in
I have decided to recycle this old Gibson style resonator with a 2 piece solid maple back, for this project
I have began to Hot knife the seam where you see the separation beginning
I will use the original mounting ring as I continue to try and recycle all of the original pieces I can.
Glued and clamped
3/8 dowel makes great gobar style clamping on these radius'ed backs
Wax paper to make sure it does'nt become part of the work table.
Ready to profile
Lets get some gold in it
I'll add another coat, I wanted to see if my stamp would run out
OK on the enamel
Then I will bind it and start on the back
Bound, Fine sanded and ready to stain
Final profile scraping completed, stained, and taking on sealer
A little more fade to the edge and now some more clear
Clear coated and branded
I also wrote some hidden history up and under the flange lip, good for ID'ing if it gets stolen
"I survived Katrina" and my initals and date
And underside of the backate logo plate
Now to try it on a Calfskin
head, a premium vintage hide from the era.
Nice unbranded Rogers head, that needs the top layer of dirt removed
in my normall method
320 grit paper...
Moving the armrest back from the "Lefty" side, thats how Mike plays
he thinks he is Jimi Hendrix I think :)
then some wax paper to revitalize the top with a moisture barrier.
The wax paper works well al over a banjo actually, you wouldnt think abiut this normally but Ive used it a long time for quick "spruce'ing up"
Now that the head is actually "at tension" the Bacon bridge sounds very lively, but I will try others as well.
When these pieces all came in from Lars I didnt see there was any chance for a playable instrument much less two!
Thanks for watching
View the other project here
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