Guide / GUITAR LAB
Acoustic guitar repair: from fault assessment to setup. Morris WL-35
When does an acoustic need more than a setup? We explain how to organise the scope of repairs, using the example of a Morris WL-35 from our workshop.
See more photos of this project ↗
Scope of repairs first, parts second
With an older acoustic, it's worth separating three areas: structural condition, playability and appearance. A lifting bridge calls for a different approach than worn frets, and a finish chip is not the same as a crack in the wood. A single list of symptoms can therefore lead to several independent jobs.
We begin the conversation about a repair with what bothers the player: difficult playability, uneven notes, a visible gap or signs of earlier repairs. Next, we establish which parts need repairing, which can be kept and what cosmetic result to aim for. This avoids replacing parts simply because they are old.
Gluing a bridge requires preparation
In a bridge repair, what matters is the condition of the contact surface with the top. Before gluing, the fit of the parts must be assessed and the clamping method prepared. Applying more clamping force is no substitute for a proper fit. The approach also depends on the condition of the wood and any traces of previous work.
The fingerboard, frets and nut serve different purposes
Levelling the fingerboard means working on the wood beneath the frets. Fret levelling concerns their metal crowns. These procedures should not be treated as interchangeable: a refret gives access to the fingerboard, but in itself does not mean the fingerboard has to be levelled.
In a quote, it's worth separating structural repairs, fretwork and the final setup. That way it's clear what each stage covers and why simply changing the strings won't solve all of the instrument's problems.
Morris WL-35 at Guitar Lab
On this Morris we reglued the bridge, levelled the fingerboard and refretted the guitar. The repairs also covered the fingerboard joint near the nut, the binding, two areas of the body and cracks around the neck joint.
We removed an additional pickguard and the adhesive residue around the original guard. The service was completed with finish touch-ups, polishing and a new bone nut. This project shows why it's worth planning an acoustic repair as a whole: some of the work concerned the structure, some the playing surface, and the rest the finish.
The additional pickguard and surrounding finish
The work on this Morris included removing an additional pickguard and cleaning adhesive residue around the original guard. These were agreed finish-related tasks alongside the repairs to the guitar’s structure and fingerboard.
In general, an added guard can cover wear or earlier damage, so its removal is best agreed in advance. What lies underneath only becomes clear once it is off, and that may affect how much cosmetic work follows.
Local repairs rather than a full refinish
The binding, two areas of the body and the cracks near the neck joint were repaired locally, followed by finish touch-ups and polishing. The bridge, the fingerboard correction with refret and the new bone nut were separate items.
As a general principle, local repairs let an owner keep more of the existing finish, while refinishing is a different decision with its own consequences. Agreeing which approach applies before work starts keeps the result in line with expectations.
What to prepare before bringing your guitar in for service
Describe the symptoms and tell us about any known previous repairs. Also let us know whether you want to preserve the signs of use or improve the guitar's appearance. The scope of the restoration should follow from the condition of the specific instrument and your expectations, not from the assumption that every vintage guitar needs a full overhaul.
Further reading
If you'd like to learn more about bridge preparation and the differences between fretwork and fingerboard correction, take a look at the StewMac resources below.