- D'angelico Serial Number Lookup
- D'angelico Serial Number Lookup
- D'angelico Serial Number
- D'angelico Serial Number Lookup
Vintage Guitars Info's
Other Vintage Guitar Makers:
Kay, D'Angelico, Stromberg, Hofner.
- D'Angelico Guitars of America is an American musical instrument manufacturer based in Manhattan, New York. The brand was initially founded by master-luthier John D'Angelico in 1932, in Manhattan's Little Italy. In 1999, Steve Pisani, John Ferolito Jr., and Brenden Cohen purchased the D'Angelico.
- If a serial number is not in the lists or is not recognized in the serial number decoder, it does not mean that the guitar is a fake. Conversely, it is of course no guarantee whether the guitar is authentic, as a serial number is easy to copy. Example of a Gibson serial number: A real serial number is stamped dark on the back of the headstock.
- D'Angelico had filled many orders from jazz guitar's most accomplished players. With this interaction, John was able to build into his instruments, the construction necessary to stay current with the arch-tops ever expanding role in the orchestral setting. John D'Angelico constructed some of the finest arch-top guitars ever made.
- D'Angelico Logo Mother of Pearl D'Angelico New York Logo Series Inlay (Front) Mother of Pearl Premier Shield Logo Serial Number (Back) Model Name, Serial Number Headpin Cupola Tuners Rotomatic Stairstep Strings D'Angelico Electrozinc 10's (10-46) Truss Rod Cover Aluminum Skyscraper Nut Width 1 11/16” Nut Material PPS.
Serial Numbers 1932 to 1964. D'Angelico serial numbers are not strictly chronological. Some overlaps in date ranges occur. Number range Year no number 1932-1934 1005 to 1097 1932-1934 1105 to 1235 1936 1234 to 1317 1937 1318 to 1385 1938 1388 to 1456 1939 1457 to 1508 1940 1509 to 1562 1941 1563 to 1621 1942 1622 to 1658 1943 1659 to 1681 1944.
Contact the Vintage Guitar Info Guy.1958 Kay Barney Kessel Pro- Picture Gallery, Other makers
There are lots of other cool makes of instruments out there. But theseare the 'big' ones that I have some information on. Note the Hofnersection has been greatly updated and moved to its own section, and removed from here.
Model Information for:
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Kay.
- Kay primarily manufactured 'department store' style, inexpensive guitars from the 1930's to the 1960's. But they also made some hi-end, qualityarchtop guitars. The most collectable Kays are any model with the 'Kelvinator'plastic headstock overlay with art deco patterns. Used from 1957 to 1960, this headstock was named after the brand of refrigerator that looked quite similar.This overlay was injection molded with clear acrylic plastic and thenback-painted either white or black, with gold highlights in the crestand gold dots outside of the crest. Starting in late 1960, Kay switched to a less expensive 'half' Kelvinator that used just the triangle Kay crest from the full Kelvinator, screwed to a simple black plastic headstockveneer. This 'half' Kelvinator dropped the black or white back-painted acyrlic 'lunchcountertop' surround with gold dots. This design only lasted till the end of 1961 when the Kelvinator headstock was completely dropped.
1957-1960 Kay full
'Kelvinator' Headstock
- Note that Kay also made guitar with other brand names on theheadstock. These are still Kay's, just they are made for department storetype companies. This includes Spiegel ('Old Kraftsmen'), Montgomery Ward('Sherwood Deluxe'), Sears and Roebuck ('Silvertone'), and Orpheum through the 1950's and 1960's. The most common name (other than 'Kay') isby far 'Old Kraftsmen'.
Kays are notorious for having bad neck sets and broken truss rod systems.Usually, this can be corrected by a good repair person for around$150 to $200.
- Barney Kessel Artist.
- Single cutaway archtop, 15 1/2' wide, veneer maple body, spruce top, bound F-holes, 1 or 2 single coil 'Gold K' pickups, block fingerboard inlays starting at the 1st fret, rosewood fingerboard, 'Barney Kessel' signature on the silver colored acrylic pickguard, 'Kelvinator' peghead, chrome Melita bridge, nickel Grover tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel's signaturewas removed from the pickguard.
- Barney Kessel Jazz Special.
- Completed with the Gibson L-5CES. Single cutaway archtop, 17' wide, veneer maple body, spruce top, bound F-holes, 1 or 2 singlecoil 'Gold K' pickups, split-block fingerboard inlays, ebony fingerboard, 'Barney Kessel' signature on the silver colored acrylic pickguard, 'Kelvinator' peghead, chrome Melita bridge, chrome Grover Imperial tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel's signaturewas removed from the pickguard.
- The Upbeat.
- Kay's less expensive alternative to the Barney Kessel Jazz Special. Singlecutaway archtop, 17' wide, veneer maple body, rosewood fingerboard with pearloid block inlays starting at the 3rd fret, rosewood bridge, closedback individual Kluson tuners with metal buttons, large scalloped pickguardsometimes with silver sparkle, sunburst, blond or black finish. Available with 1 or 2 'Gold K' single coil pickup from 1957 to 1959.In late 1959, 3 pickup 'ES-5' type model available. Made from 1957 to 1961.Full Kelvinator headstock from 1957 to 1960, half Kelvinator headstock in 1961.
- 15' wide, single cutaway, flat top semi-hollow maple body, blond top andsunburst back and sides, 1 or 2 blade pickups, block fingerboard inlaysstarting at the 3rd fret, rosewood fingerboard, trapeze tailpiece,rosewood bridge fixed to top. Available 1952 to 1960. Tortoise shell pickguard from 1952 to 1957, black pickguard from 1958 to 1960.
pre-1958 K-161
- Jazz II.
- 15 1/4' wide, double cutaway fully hollow 2' thick veneer maple body (likean ES-330), rosewood fingerboard with 'shark fin' inlays starting at the3rd fret, two 'Gold K' single coil pickups, bolt-on maple neck, Bigsbyvibrato and aluminum bridge, silver painted scalloped acrylic pickguard,half Kelvinator headstock, nickel Grover tuners, bound top, back and fingerboard, blond or sunburst finish. Available 1961 to ?.
- K-11 acoustic archtop.
- Completed with the Gibson L-7C, Single custaway acoustic archtop, 17' wide veneer maple body, spruce top, rosewood fingerboard, block or 'shark fin' fingerboard inlays starting at the 3rd fret, large scalloped pickguard, closed back individual Klusontuners with metal buttons, trapeze tailpiece, blond or sunburst finish. Available 1953 to 1959. Starting in 1958 came with a full Kelvinator headstock.
1961 Kay Jazz II with semi-Kelvinator
- K-27 Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body, spruce top withX-bracing, ebonyfingerboard, pearl block inlays starting at the 1st fret, small screwed-onpickguard, belly bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
- K-23 Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body, spruce top with X-bracing, rosewoodfingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, rectangle bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
- Kay Professional Cutaway Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body with cutaway, spruce top with X-bracing, rosewood fingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, belly bridge. Available 1955 to 1959.
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Harmony Guitars.
I do *not* collect Harmony guitars, and franklydon't know a lot about them. But I get constant questionson them. This is all I know, so please do not email mewith any Harmony questions.Harmony was THE department store guitar until theearly 1970s for cheap flat top and arch top guitars. Usually the stores would re-brand theguitar to their store guitar name (like Silvertone or Catalina, etc.)But I am constantly asked when they are made.Inside there are usually some ink-stamped numbers,as seen in the picture below. In this picture, thedark numbers (0129H929) represent the Harmony guitarmodel. In this case model Harmony ('H') H929. The light blue number(f-70) represents Fall 1970, which was when thisguitar was made. Harmony used this type of markingsfrom the 1950s to the 1970s.
Internal Harmony marking for model H929
made in the Fall of 1970 (F-70).
Hofner Archtop Guitars.
- See the new and updated Hofner section by clickinghere.
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1954 D'Angelico Excel
D'Angelico.
- Players and collectors consider D'Angelico Excel and New Yorker models tobe amoung the finest archtop guitars ever made. They are extremelycollectable. Note that John D'Angelico died in 1964, and his apprenticeD'Aquisto finished his last few models that were 'work in progress'.
Serial Numbers 1932 to 1964.
- D'Angelico serial numbers are not strictly chronological. Some overlapsin date ranges occur.
- Style B:
- 16 5/8' wide, parallel bracing (possibly a few with 'X' bracing afterWWII), unbound F-holes, peghead with broken-scroll pediment framing ornamental cupola (button), pointed angels on scroll. Available 1936 to 1948.
- Excel:
- Available in late 1934, the first Excels were 16 5/8' wide, had'straight' f-holes, and engraved fingerboard inlays. Then in late1937 the body changed to 17' wide and curved single bound f-holes.All models have multiple bound top and back, block inlays, peghead with broken scroll pediment framing ornamental cupola (button), rounded angles on scroll, and in 1943 stairstep tailpiece. It is thought that hestarted using 'X' bracing just after WWII. Available 1934 to 1964.
- New Yorker:
- 18' wide, X-braced top, triple bound F-holes, black bindinglines on body sides and side of fingerboard, split-block fingerboard inlays, gold plated parts, skyscraper peghead logo. Some examples withpeghead with broken scroll pediment framing ornamental cupola (button) androunded angles on scroll). Available 1936 to 1964.
- Excel Special:
- 17' wide, New Yorker trimmed Excel. Available 1943 to 1964.
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1953 Stromberg Master 400
Stromberg.
- Stromberg's workmanship is generally considered amoung the best, thoughnot quite as good as D'Angelico archtops. Stromberg's late model guitarsfrom the 1950's have great sound that makes them quite collectable. The early models with multiple top braces do not sound as good, but are collectable because of the Stromberg's reputation.
- G-1:
- tailpiece with 2 horizontal plates and 4 vertical tubes, triplebound top and back, bound pickguard, notched-diamond or 4-point fingerboardinlays, bound peghead, nickel plated parts.
- Deluxe and Deluxe Cutaway:
- 17 3/8' wide, tailpiece with 3 cutouts and Y-shaped center section,bound pickguard with stairstep treble side, bound F-holes, bound ebonyfingerboard with pointed end, 'Deluxe' on peghead, natural or sunburstfinish, gold plated parts.
- Master 300:
- 19' wide, bound stairstep pickguard, block inlay.
- Master 400:
- 19' wide, heavy tailpiece with 5 cutouts, bound pickguard withstairstep treble side, bound F-holes, pointed end ebony fingerboard withslashed-block inlays, celluloid peghead veneer with '400' engraved, goldplated parts, sunburst or natural finish. Cutaway models very rare.
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Welcome to DanGuitars FAQ archive, built by and for Dano lovers worldwide.
Have a question? Please reach out to us and we'll do our best to help.
Q: I need to contact the Danelectro company regarding a warranty issue.
A: 'You must love your new Danelectro guitar... or we will make it right!' - Danelectro®
For all warranty service inquiries, please visit Danelectro.com or reach out directly to michelle@danelectro.com.
A: 'You must love your new Danelectro guitar... or we will make it right!' - Danelectro®
For all warranty service inquiries, please visit Danelectro.com or reach out directly to michelle@danelectro.com.
Danelectro setup specifications for guitar, baritone, bass +
Q: I want to properly set up my Danelectro Guitar, Bass, and Baritone. Do you have any specs or measurements to assist in doing this?
A: Methods of Measurement:
All measurements with guitar in playing position, no exceptions, guitar cannot be laid flat on a table or workbench to make measurements. All strings must be tuned to pitch when measurements are made.
Action: Measured from top of 12th fret to bottom of string with 6' steel rule in 1/64' incrementsFor Bass and Baritone there are measurements for the low and high strings. The inner strings will graduate in height and follow the fingerboard radius.
Truss rod: Capo 1st fret and fret low E string at 15th fret. Measure space between the top of the 7th fret and bottom of string with feeler gauge.
Nut height: Measure space between top of first fret and bottom of each string with feeler gauge.
Pickup height: measure space from the top of the pickup to the bottom of the low and high E strings using the 6' steel rule in 1/64' increments.
GUITAR SPECS
Action: set to 2/32' at the 12th fret for all strings
Truss rod: 0.010'
Nut height: at 1st fret: 0.018'
Pickup Height:
Bridge: 3/64' top of pickup to bottom of string
Neck: 4/64' top of pickup to bottom of string
BARITONE SPECS
Action: set to 5/64' at 6th string (low string) not to exceed 6/64' 4/64' at 1st string (high string) not to exceed 5/64'
Truss rod: 0.010' - 0.012'
Nut height: at 1st fret: 0.020”
Pickup Height:
Bridge: 2/32' top of pickup to bottom of string
Neck: 4/32' top of pickup to bottom of string
BASS SPECS
Action: set to 8/64' at 4th string (low string) at the 12th fret 6/64' at 1st string (high string) at the 12th fret
Truss rod: 0.012' - 0.015'
Nut height: at 1st fret: 0.022'
Pickup Height:
Bridge: 2/32' top of pickup to bottom of string
Neck: 4/32' top of pickup to bottom of string
A: Methods of Measurement:
All measurements with guitar in playing position, no exceptions, guitar cannot be laid flat on a table or workbench to make measurements. All strings must be tuned to pitch when measurements are made.
Action: Measured from top of 12th fret to bottom of string with 6' steel rule in 1/64' incrementsFor Bass and Baritone there are measurements for the low and high strings. The inner strings will graduate in height and follow the fingerboard radius.
Truss rod: Capo 1st fret and fret low E string at 15th fret. Measure space between the top of the 7th fret and bottom of string with feeler gauge.
Nut height: Measure space between top of first fret and bottom of each string with feeler gauge.
Pickup height: measure space from the top of the pickup to the bottom of the low and high E strings using the 6' steel rule in 1/64' increments.
GUITAR SPECS
Action: set to 2/32' at the 12th fret for all strings
Truss rod: 0.010'
Nut height: at 1st fret: 0.018'
Pickup Height:
Bridge: 3/64' top of pickup to bottom of string
Neck: 4/64' top of pickup to bottom of string
BARITONE SPECS
Action: set to 5/64' at 6th string (low string) not to exceed 6/64' 4/64' at 1st string (high string) not to exceed 5/64'
Truss rod: 0.010' - 0.012'
Nut height: at 1st fret: 0.020”
Pickup Height:
Bridge: 2/32' top of pickup to bottom of string
Neck: 4/32' top of pickup to bottom of string
BASS SPECS
Action: set to 8/64' at 4th string (low string) at the 12th fret 6/64' at 1st string (high string) at the 12th fret
Truss rod: 0.012' - 0.015'
Nut height: at 1st fret: 0.022'
Pickup Height:
Bridge: 2/32' top of pickup to bottom of string
Neck: 4/32' top of pickup to bottom of string
Q: How do I remove the seal shaped pickguard on my DC?
A: The 'seal' pickguard has double sided tape holding it on. Take a metal spatula and slide it under the pickguard. Move the spatula around while you lift and pry off carefully. You can also heat up the pickguard a bit with a blowdryer to help loosen up the adhesive on the tape.
A: The 'seal' pickguard has double sided tape holding it on. Take a metal spatula and slide it under the pickguard. Move the spatula around while you lift and pry off carefully. You can also heat up the pickguard a bit with a blowdryer to help loosen up the adhesive on the tape.
Q: It seems the rosewood saddle bridge on Danelectro has become bent/distorted. Should I replace it with a new one?
A: Bending or curving of these bridges seems to be common. Unless you are having problems with string buzzing you might as well leave it on. Many players replace the rosewood bridge with the adjustable SB-5800 bridge as it will not bend, makes stringing easier and keeps the guitar in tune better and allows for intonation.
A: Bending or curving of these bridges seems to be common. Unless you are having problems with string buzzing you might as well leave it on. Many players replace the rosewood bridge with the adjustable SB-5800 bridge as it will not bend, makes stringing easier and keeps the guitar in tune better and allows for intonation.
Will the SB-5800 bridge work on a Danelectro baritone? +
Q: Will the SB-5800 bridge work on a baritone?
A: No. The SB-5800 bridge will not accomodate the larger gauge of baritone strings. Unfortunately, Danelectro baritone bridges are not currently available.
A: No. The SB-5800 bridge will not accomodate the larger gauge of baritone strings. Unfortunately, Danelectro baritone bridges are not currently available.
Comparing a 59-DC (first reissue) to a 2007 59 Dano (second reissue) +
Q: What are some of the differences between a 59-DC first reissue manufactured between 1998-2001 and a '59 Dano second reissue from 2007?
A: Here's what makes the 2007 '59 Dano different from the first reissue 59-DC. Unlike the first reissues that were made in Korea, the 2007 '59's were made in China. It is approximately one pound heavier at 6.6 versus 5.5 lbs; has somewhat hotter/louder pickups; different shape headstock; upgraded (Gotoh style) tuners; fully adjustable and intonable bridge; wider/thicker neck; upgraded toggle switch; input jack is now on the side rather than on the front; single volume and tone controls have replaced the concentric controls; matte pickups and hardware as opposed to shiny chrome; matte finish; aged looking side binding tape and seal pickguard for a vintage look.
A: Here's what makes the 2007 '59 Dano different from the first reissue 59-DC. Unlike the first reissues that were made in Korea, the 2007 '59's were made in China. It is approximately one pound heavier at 6.6 versus 5.5 lbs; has somewhat hotter/louder pickups; different shape headstock; upgraded (Gotoh style) tuners; fully adjustable and intonable bridge; wider/thicker neck; upgraded toggle switch; input jack is now on the side rather than on the front; single volume and tone controls have replaced the concentric controls; matte pickups and hardware as opposed to shiny chrome; matte finish; aged looking side binding tape and seal pickguard for a vintage look.
Q: I've noticed that some of the reissues are made in Korea and some in China. Is there a quality difference or preference?
A: All Danelectro resissue models are currently made in Korea. The 2007-2008 models were made in China. The 1998-2001 reissues, such as the DC-3 were also made in Korea. Some of the 1998 59-DC's and 56-U2's were made in Indonesia. Regardless of where any of these were made, they are for the most part all nice quality with decent factory set-ups using 10 gauge strings across the board on the guitars.
In my opinion, the quality control on these newer Danos is as good as the earlier reissues. They are however, very different guitars in many respects. Let's face it, you can't compare a vintage Dano made in Neptune, New Jersey with any Dano that's been made since!
A: All Danelectro resissue models are currently made in Korea. The 2007-2008 models were made in China. The 1998-2001 reissues, such as the DC-3 were also made in Korea. Some of the 1998 59-DC's and 56-U2's were made in Indonesia. Regardless of where any of these were made, they are for the most part all nice quality with decent factory set-ups using 10 gauge strings across the board on the guitars.
In my opinion, the quality control on these newer Danos is as good as the earlier reissues. They are however, very different guitars in many respects. Let's face it, you can't compare a vintage Dano made in Neptune, New Jersey with any Dano that's been made since!
D'angelico Serial Number Lookup
Q: I own a 59-DC and the side tape is lifting up especially around the cutaway areas. Is there anyway I can repair this without cutting the tape or replacing it?
A: On the vintage Danos the side binding tape was necessary to hide a seam in the body. On the newer models it's strictly decorative and keeps that vintage vibe going. On these newer Danos, inparticular the 59-DC first reissue, the problem with the side binding tape lifting or bubbling is usually caused by tape shrinkage due to changes in temperature and/or humidity. This is of course strictly an aesthetic issue. Nevertheless it's annoying so you'll want to remedy the situation.
Try taking a blow dryer and heating the tape, being careful not to overheat and melt it. While the tape is warming, begin pressing it down while at the same time rubbing it with your fingers. Keep up this pressing/rubbing motion until the tape cools a bit. Sometimes it helps to put a soft cloth between your fingers and the guitar while rubbing. If there was enough glue on the tape originally it may stay down, although this may only prove to be a temporary fix. Tape usually starts popping up again especially if the guitar gets cold.
If the blow dryer procedure doesn't have a lasting effect, try lifting up the tape and applying a very thin layer of super glue to the back of the tape using a toothpick or glue syringe. Do not spread the super glue right to the edge of the tape as it will get on the guitar when you press the tape down to affix it. (Note: Do not use expandable type glues as this may cause bumps under the tape). With the glue spread evenly on the tape, press down on the tape while simutaneously rubbing making sure you don't super glue your fingers to the body! Keep up this pressing/rubbing moting until the glue has bonded. Also, be careful not to allow any of the glue to leak out onto the body. You will never be able to remove dried super glue!
If the above repair does not produce satisfactory results you'll probably want to replace the tape.
A: On the vintage Danos the side binding tape was necessary to hide a seam in the body. On the newer models it's strictly decorative and keeps that vintage vibe going. On these newer Danos, inparticular the 59-DC first reissue, the problem with the side binding tape lifting or bubbling is usually caused by tape shrinkage due to changes in temperature and/or humidity. This is of course strictly an aesthetic issue. Nevertheless it's annoying so you'll want to remedy the situation.
Try taking a blow dryer and heating the tape, being careful not to overheat and melt it. While the tape is warming, begin pressing it down while at the same time rubbing it with your fingers. Keep up this pressing/rubbing motion until the tape cools a bit. Sometimes it helps to put a soft cloth between your fingers and the guitar while rubbing. If there was enough glue on the tape originally it may stay down, although this may only prove to be a temporary fix. Tape usually starts popping up again especially if the guitar gets cold.
If the blow dryer procedure doesn't have a lasting effect, try lifting up the tape and applying a very thin layer of super glue to the back of the tape using a toothpick or glue syringe. Do not spread the super glue right to the edge of the tape as it will get on the guitar when you press the tape down to affix it. (Note: Do not use expandable type glues as this may cause bumps under the tape). With the glue spread evenly on the tape, press down on the tape while simutaneously rubbing making sure you don't super glue your fingers to the body! Keep up this pressing/rubbing moting until the glue has bonded. Also, be careful not to allow any of the glue to leak out onto the body. You will never be able to remove dried super glue!
If the above repair does not produce satisfactory results you'll probably want to replace the tape.
Q: How do you adjust the truss rod on Danelectro?
A: On the newer Danelectro models (1998-present), the neck must be removed for truss rod adjustment. Turn truss rod adjustment only 1/4 turn over a 24 hour period to avoid damage to the neck.
A: On the newer Danelectro models (1998-present), the neck must be removed for truss rod adjustment. Turn truss rod adjustment only 1/4 turn over a 24 hour period to avoid damage to the neck.
Q: How do I know what year my Danelectro was manufactured?
A: There's no way to confirm an exact manufacturing date on any of the first Danelectro reissues. Curiously, there was no valid serial number system. The sticker that was applied on the back of the neck which appears to be a serial number, meant nothing. The first reissues were however made between 1998-2001. Some prototypes of these models were produced earlier in 1997. The DC-3, like the Mod 6 and the Hodad can not be considered re-issues as they have no predecessors. They were actually new models at the time of manufacturing.
More on serial numbers and dating vintage Danos here
A: There's no way to confirm an exact manufacturing date on any of the first Danelectro reissues. Curiously, there was no valid serial number system. The sticker that was applied on the back of the neck which appears to be a serial number, meant nothing. The first reissues were however made between 1998-2001. Some prototypes of these models were produced earlier in 1997. The DC-3, like the Mod 6 and the Hodad can not be considered re-issues as they have no predecessors. They were actually new models at the time of manufacturing.
More on serial numbers and dating vintage Danos here
Installation Tips for Adjustable/Intonating Bridge +
This intonatable bridge has individual saddles. Each saddle has two screws, one for height adjustment and one which locks the saddle in place and allows the saddle to be positioned for correct intonation. It also seems to help sustain and resonance if you screw the central fixing screw hard down so the back of the bridge sits on the top of the body.
Installation tips: The two flathead screws go under the top of the bridge and NOT through the bridge holes. Bottom (roundhead) screw goes through bridge hole. Screw in the two flathead top screws so that the underside of the bridge is a minimum of 1/16 inch distance away from the body of the guitar. Start bottom side adjustment of bridge so that you can slide a medium thickness pick between the bridge and the body. Fine tune your installation adjustments from here.
Tip for adjusting the bridge: The locking screw sits directly under the string so to stop the saddle shooting forward you need to slacken the string before you unlock it. It also seems to help sustain and resonance if you screw the central fixing screw hard down so the back of the bridge sits on the top of the body.
Note: The neck must be removed for truss rod adjustment. Turn truss rod adjustment only 1/4 turn over a 24 hour period to avoid damage to the neck.
Purchase Adjustable Bridge
Installation tips: The two flathead screws go under the top of the bridge and NOT through the bridge holes. Bottom (roundhead) screw goes through bridge hole. Screw in the two flathead top screws so that the underside of the bridge is a minimum of 1/16 inch distance away from the body of the guitar. Start bottom side adjustment of bridge so that you can slide a medium thickness pick between the bridge and the body. Fine tune your installation adjustments from here.
Tip for adjusting the bridge: The locking screw sits directly under the string so to stop the saddle shooting forward you need to slacken the string before you unlock it. It also seems to help sustain and resonance if you screw the central fixing screw hard down so the back of the bridge sits on the top of the body.
Note: The neck must be removed for truss rod adjustment. Turn truss rod adjustment only 1/4 turn over a 24 hour period to avoid damage to the neck.
Purchase Adjustable Bridge
Installation tips: The two flathead screws go under the top of the bridge and NOT through the bridge holes. Bottom (roundhead) screw goes through bridge hole. Screw in the two flathead top screws so that the underside of the bridge is a minimum of 1/16 inch distance away from the body of the guitar. Start bottom side adjustment of bridge so that you can slide a medium thickness pick between the bridge and the body. Fine tune your adjustments from here. The neck must be removed to access the truss rod. Turn truss rod adjustment only 1/4 turn over a 24 hour period to avoid damage to the neck.
D'angelico Serial Number Lookup
Q: I have a 1961 Silvertone. There is a thin wire that runs from the volume pot to a hole in the bridge block and up into the screw hole. What is this wire for, and is it in the right place?
A: That's a ground wire. The bridge screw needs to be touching it.
A: That's a ground wire. The bridge screw needs to be touching it.
Where can I find tubes for vintage Danelectro or Silvertone amps? +
Q: I have a vintage Danelectro/Silvertone amp in need of tubes. Is there a good source for replacement tubes?
A: A couple of good sources for tubes are Mojo Tone or CE Distribution.
A: A couple of good sources for tubes are Mojo Tone or CE Distribution.
D'angelico Serial Number
Tightening the tremolo bar on a the 2009 '67 Danelectro Hornet guitar or baritone +
Q: How do I tighten the tremolo bar on the '67 Hornet?
A: On a workbench or table with a a protective mat:
1. Loosen all the strings and detach the ball ends from the bridge.
2. Remove rear circular plate on back of guitar. Pay attention to the order parts are being removed, i.e wingnut, washer, clamp, spring.
3. Unscrew the wing nut and the bridge will drop off.
4. Tighten the tremolo bar. Now you'll be able to get at the nut.
5. Reassemble bridge and re-string. Make sure set screws are lined against the top two holes on the bridge before screwing in bridge again.
6. The spring can be tightened to any tension you prefer for the temolo.
A: On a workbench or table with a a protective mat:
1. Loosen all the strings and detach the ball ends from the bridge.
2. Remove rear circular plate on back of guitar. Pay attention to the order parts are being removed, i.e wingnut, washer, clamp, spring.
3. Unscrew the wing nut and the bridge will drop off.
4. Tighten the tremolo bar. Now you'll be able to get at the nut.
5. Reassemble bridge and re-string. Make sure set screws are lined against the top two holes on the bridge before screwing in bridge again.
6. The spring can be tightened to any tension you prefer for the temolo.
Q: I recently purchased a damaged 56 U2 reissue. The body has a separation between the top and back from the side. Is there a particular glue or epoxy you would recommend for a repair?
A: The glue used on a guitar is a very important factor as it must be very strong to hold together the mass of wood that is always under stress. I suppose there are a lot of opinions on this but one product that always seems to work well is Titebond Original Wood Glue. Don't use epoxy adhesives on wood as they don't stick well and you'll have a heck of a time removing the rock hard epoxy residue. Titebond Original Wood Glue is the answer for 99% of guitar repair jobs.
A: The glue used on a guitar is a very important factor as it must be very strong to hold together the mass of wood that is always under stress. I suppose there are a lot of opinions on this but one product that always seems to work well is Titebond Original Wood Glue. Don't use epoxy adhesives on wood as they don't stick well and you'll have a heck of a time removing the rock hard epoxy residue. Titebond Original Wood Glue is the answer for 99% of guitar repair jobs.
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