Episode 4 - Lakeside Parlor, Taylor 214, Electromatic, Childhood Strat & Marketplace Updates!

Join me for EPI 4 where I chat about whats on my bench this week, customer story's, marketplace fun and more!

Transcript

SPEAKER_00 0:21

My friend, welcome to episode four of All Guitars Buzz, the weekly guitar-centric podcast that dives into a variety of topics, including guitar repair, building, what's on my bench, guitar news worth mentioning, customer stories, buying, selling, trading, along with existential philosophical ramblings. If this sounds like something you would be into, please stick around. I have an email now, so if you want to weigh in and comment on some of the things I'm talking about, or if you would like to add anything, or just want to get in contact with me in general, it's allguitarsbuzz at gmail.com. I'm playing a couple shows this month. Um, I'm playing a place called Nate's Garden Grill. And if you are native to San Diego, you probably are familiar with this place. But if you're in even neighboring cities, if you're in LA, uh, it's a cool spot to know about in San Diego. So Nate's Garden Grill is a city farm. It's a nursery, they have plants you can buy, there's animals there, livestock, and uh I even think they have like pottery classes. It's a very cool place, and they have a restaurant, and they make some of the most amazing food in San Diego. And I think they even source some of their greens and stuff from their garden, but it's an amazing restaurant. But what's even more amazing is they have live music there. I think uh at least four nights a week, or even I shouldn't say just nights, because I usually play brunch on Sunday. So they have music during the day too, and uh really good musicians, if I might add. Um but, anyways, you could eat some really good food, listen to music, drink mimosas, and then go on to the city farm and maybe buy a plant, pet some of the animals. So I've been doing that for like eight years now, on and off, but for the past three years, pretty consistently, once or twice a month. So I'm playing there uh April 17th, 6 to 8, and this is 2026, by the way. And then I'm also playing a charity event on May 2nd. It's called Motor for Minds, and Motor for Minds is an annual San Diego firefighter-led car show charity dedicated to raising funds and awareness for first responders and mental health. This is the fourth annual event, and it's on Saturday, May 22nd, 2026, at El Monte Park in Lakeside, and it features cars, live music, that's me, food, family events, uh the proceeds benefit, firefighter aid, providing mental health resources and training for firefighters. So it's a very cool event, second time I've played it, and this is with my band Kenny Hill and the Echoes, and we play Rockabilly Country type stuff. So if you're free around that time, come check it out. It's a wicked cool event. Um, we had an interesting week at my shop. Some of the things that rolled in for consignment, we have an SG with P90s, and I don't know the year, you know. I should have been prepared with like what year the SG is, but it's I heard a customer say, Oh, that's the older SG, right? So it's an older one and has P90s. Uh god gosh, does it have the vibrola? Baby. But, anyways, that's a really cool one, one worth mentioning, anyways. And another cool guitar that rolled in that we're still trying to figure out how much it's gonna go for, but it's uh 59 ES 330T D. And this guitar at first glance is really minty, but it doesn't have the original pick guard, it doesn't have the case, a couple other things. I'll talk about it again a little later here. Um, I've made pretty good progress uh in my shop, keeping busy with some stuff. I got uh more headway on my CNC. I have the Alt Mill 4x4, and it's been quite the process with trying to assemble it because it comes in just a bunch of boxes from Canada, basically. And so there's a really good instructional video on how to install it, and there's also good documentation um that gives further details uh on how to assemble it, and so I've been doing that, and I'm excited about my dive into the CNC world. I have been using the Shaper Origin for a long time now, it's basically like a smart router, really interesting machine. You basically uh you design stuff in like Illustrator, and then you load it into this, and it looks like a router with like an iPhone like on top, and it has a camera and and it can see. So what it does is you put the you load the design into it, and then you lay down this domino type tape and you scan it, and basically you're scanning the router's world, so now it knows where it's at in the world, and then you pick from the touch screen your design and you can place it. You hit place and it lays it down where you want to cut it out, and you have your material, whether it be a pick guard or piece of wood, you have it down. And by the way, I show this in a few of my YouTube videos. Um and, anyways, uh you can cut stuff out with it, and it's CNC accurate. So um on the screen it shows the your design, and you just push the router towards the design, as it kind of feels like a video game. And if you drift off a few 30 seconds or whatever, it auto-corrects, so it's C and it you could cut out like puzzle pieces and they'll fit. And it has offsets and it has a lot, a lot of things that CNCs have, and it's been a cool tool, and I've been using it for a long time now, uh, at least over five years, probably closer to six. Um, and so that you know it's really got me geared up and ready for the switch now to a CNC. So I'm gonna be able to cut out guitar bodies and next, which I'm super stoked on. So next just just kind of uh there's a learning curve to some of these um CNC programs, and I want to make sure the one that I do is uh 3D because you gotta be careful. A lot of these programs that come with the CNCs, uh, they are not full 3D. They can't do um like when you're talking about the back of a guitar neck, uh, it can't do that curve in some of the transitions. So that's the difference. So um that's very interesting. And then we have uh news on the servicemen strat epoxy guitar story. So basically, I um so now there is epoxy in the back cavity where the block is and the springs and the claw and all that are, and there's some overspill, and so I set up two rails on the back of the body, and I lit dropped my router, and I put the bit uh on the part of the body that has no epoxy. Now, interestingly enough, this guitar uh you you could listen to episode I think one or two where I I talk about the beginnings of this project, but it was done by hand, probably in the Philippines, and um it's not flat, like it wasn't done with a router, from what I can tell. And so even though I'm gonna use a router to take the epoxy that's become proud in that cavity, I'm gonna try to flatten it and and make it even to the surface, flat to the surface, um, there's gonna be some low spots, and that's because the back isn't completely flat, if that makes sense. So that's I basically just just described what happened. So um yeah, but that went well though. So I routed the it the excess epoxy off, and it's more or less flat. There are some low spots, but I'm gonna make uh a back plate that's routed into the body. Um, so that's gonna be cool. Um yeah, just a little bit each week on that project, not trying to rush it, but I am excited about it. And I had a lot of uh cool guitars on my bench this week, including a tailor, 214. You know, here in San Diego, we see a lot of tailors. Uh, and so even guys in my shop used to work at this other shop in the 70s called American Dream. And in that shop was a lot of builders that went on uh to do great things, including um my co-worker. And so you uh Bob Taylor, of course, went on uh to create Taylor guitars, and um there's Deering, he he was a part of the American Dream Shop, I do believe. There's another guy named Sam Radding. Uh he does Go guitars, you know, so it has a rich San Diego history. In fact, um Taylor even came out with a series now called American Dream. So when you go and you try to look up, you know, American Dream San Diego, just that Taylor guitar comes up. Um but anybody that was getting custom guitars done in the 70s uh knows um the owner of MyShop from that. You know, that holds a lot of clout with a lot of people. Um and so as a result of Taylor guitars being San Diego based, they were in El Cajón for a long time, um we see a lot of Taylor guitars. And so this is just another one that rolls in and it needs a bridge re glue 214. And um what was interesting about this is the bridge was lifting a lot from the back. Like usually if you could get a post-it note like in inside it, like barely, you know, like it's time. And um you this time it it was like up, like maybe a quarter of an inch or something. Like it it was up, right? And so, but what this does mean is the bridge is probably warped now, right? You know, so anyways, it will it actually wasn't easy coming off, and some are, some aren't. This one really wasn't. So I did use heat and it took some persuading on my behalf, but I got it off, which was good news, and uh came off pretty cleanly, actually, really cleanly. There was no patching or you know, sometimes the fibers uh detach and you gotta glue them with a flat block. Uh nothing like that this time. Um, but what was interesting and what I like that Taylor does is they have these like nylon locating pins on some of their bridges, and that's really useful. So you don't really need to put um uh appropriately sized drill bits on the two E's to line up the bridge when clamping. Um, you know, they've got their own locating pins. Something else that was interesting is it had the expression system, and uh that the under the saddle was was connected up by the knobs on the upper bout there, and you had to pull uh it cut came with like one of those uh like eighth inch like headphone style jacks, and you had to pull it off the circuit board, which is circuit board, if you weren't careful, you could really break that. So that that was tricky because of course you have to take the under the saddle out of the bridge when you're taking the bridge off. So that was something I I had to do, but everything went well, and it turned out great. That was a good bridge rewrite, another one down. I had a Gretsch electromatic on my bench for a setup, and um I see a lot of Gretches because people kind of know me as the Gretsch guy, which is interesting because you know I'm always learning. I think other folks that are really into history know a lot more about the various models. Uh, me, you know, I've played a 6120 pretty much my whole career. Only recently have I started playing more solid body uh guitars, and so you know, I I just know how to set them up and I I know what they need. Um, and I'm used to working on them, but you know, but to be fair, their model numbers are kind of whack. There's like, you know, they're especially with electromatic. So when people say, oh, this very variant or you know, that signature, you know, um sometimes I'll see Gretches I've never seen before. Now this electromatic, I couldn't tell if it was just uh it wasn't a rat rod, but I wasn't I it had a lot of upgrades. It was either that or uh it was kind of a higher end electromatic, even though it looked like an older one. Like all the knobs had been replaced with Gretsch, like metal knobs, you know, and the switch tip was replaced with a, you know, like a metal switch tip, and just the little details. The only thing, you know, where besides it saying electromatic is you know, the Bigsby said licensed, which by the way, those Bigsby suck. The licensed, there's a lot of flex in them, they're made out of poor metal, they're terrible. If you want a big upgrade on your electromatic, put a real deal Bigsby on. Seriously. Now, there's a lot of little tweaks to Gretch's. Um, I could just go on and on, you know, and as the cliche goes, it's mostly in the nut, right? Well, yeah, it's mostly in the nut. But also, you know, the string saws into the two-nomatic bridge like a freaking saw. And when you work the arm of the Bigsby, you can kind of see the bridge rock back and forth. So there's lots of stuff uh happening. Of course, people put roller bridges on Gretches, but if you finger pick like I do, the high E will pop right out of those all parts uh roller bridges, and a lot of the roller bridges actually, even the Melita bridge, uh, you could pop the high E out. There's not much of a break angle. So there's workarounds and there's things that you could do, and you know, to pin or not pin the bridge and you know, or double stick it. There's so much to talk about when you talk about Gretsch uh setup, and maybe one day I'll do a video on that. But at least for this one, when it came in, I always write what uh all the specs of how it is when it came in and when it's gonna leave. So ironically, I just say that, and on the piece of paper in front of me, I I don't have what it left with, but I could probably tell you what it left with, um, because it's always more or less the same, depending on what the guitar can do. But it came in and it was about 80 to 70 thousandths, so eighty on the bass, seventy on the treble, and uh the nut was high, the neck was straight, and we went from tens to elevens. So there's the rub. That's why the setup, because if you think 80 to 70 thousandths, that's not bad, especially for a Gretsch type guitar. I mean, that's actually that's pretty good. Um, and so I also when I was uh tightening the tuners, which I always do, I noticed one of those washers was cracked. The little plastic washers in between the tuner button. Um, and so replaced that. Um and uh I glued the nut and I lubed the Bigsby and I did all the standard stuff, including, you know, really stretching those strings. Um so yeah, that that was the Gretsch Electromatic. I had a Kiesel come into the shop and come into my bench. Now, Kiesel is another San Diego company, and they are associated historically with Carvin. So uh Kiesel was though the main driving force, and I believe um, you know, this is just going off just my common knowledge, so it might not be so accurate, and you can look it up for yourself. But Carvin is, I think it's like a made-up name, and it's a combination of the two guys, the two founders. And so um, but Keisel um was all always the main own owner of of the you know of Carvin. So back in the day, Carvin did uh, you know, anything from mixers, a lot of amps and guitars. They even sold microphones and other miscellaneous stuff, you know, a big instrument company in San Diego, but they disbanded. Actually, you know what's weird is you can still buy carven amps online, I do believe. So I think that was one of the main issues between the two um uh business partners is one wanted to focus on amps and one wanted to focus on guitars. And you know, the old carvans uh are great, but the newer stuff I believe was made overseas. And back in the day I used to work at a rehearsal studio, and it was uh I'd say the premier rehearsal studio in San Diego still is, and it had like 16 rooms, and you know, we had Ampeg and Marshall, but most we had for base a lot of carving for base, and uh, you know, but the practice a practice space is like the ultimate test of abuse, right? People are cranking it and stuff, but I also uh in high school our amps were carving, at least the base amp, uh again, a lot of base-centric stuff there with carving, and uh it'd be it would always be in the shop, getting worked on. The same at my studio. So the amps, at least the overseas ones, all always had kind of issues. I think they were great, they sounded good, they just weren't really meant to stand up, you know, to the rigors of the road. And so um anyway, that brings me back to Kiesel. Kiesel is just guitars now, but you know, when you hear the word Kiesel, think Carvin, because that's essentially uh he was just picking up where uh he had left off from Carvin. And so uh Kiesel guitars are beautiful, they're mostly meant for, you know, like shredders and metal and experimental stuff. That's just the you know, mostly the vibe uh I I see with it. Certainly you could play any kind of music on any kind of guitar. Um but this one uh was in for a setup he went from like drop C, he just wanted to go standard with tens. And I s I set it I set it up and it seemed seemed okay. And uh he brought it back about uh an hour later and said that the bridge, which it wasn't a Floyd, but it could go up or down, the cavity was uh you know, had space for the bridge to go back. And he said when he put the bar in that it was grinding against something. Now so during the process of the setup, you do adjust where um uh basically the block in the back of the bridge is gonna move from one spot to another in the cavity, depending on uh how much you adjust the tension on the springs and where the claw is, etc. So um it was okay when you pull down on it. It's when you go the opposite way, when you pull up on it, uh, which I didn't do. Um it was rubbing. And so anyways, so I say, okay, let's unscrew the back. So we unscrewed the back and the block was rubbing, and you could see where the paint had been removed inside the cavity. And so um, yeah, I got a fish tail gouge out and I removed some some of that material, but it still wasn't enough, and ultimately it had to be routed out quite a bit. And I was lucky that when I put the back plate back on it, you you couldn't see the material that was moved, it was all good, and he was happy that it just moved freely. But um, yeah, that uh you know that guitar should be able to take uh tens in standard tuning without it rubbing like that, but that's why you bring it to the shop to get that stuff sorted out, and um, you know, I pride myself on if there's any kind of issue, just bring it back and uh we'll take care of you, you know. And um, that's the relationship that we build with customers. So that was the Keizel. And I had a high school friend um bring me his childhood strat. Now, this is crazy because um both the customer and his brother are musicians, great musicians, and they were some of the first punks that I ever saw in middle school. And I'm pretty sure that um when I was like 13 or you know, young, that I probably saw him play this guitar, and all these years later, like 20 years later, I'm repairing it and setting it up. So was pretty freaking cool. Customer is the nicest guy. So it's his childhood strat made in Mexico, early 2000s, so not black label. I think it was the silver one, and um it just kind of needed one of everything. The pickups were loose, they had no screws to attach them to the pick guard. He wanted a different. Pick guard, he wanted a black one. It was a black guitar, so he wanted a black pickup, but leave the white pickup rings, the white switch tip, the white knobs. So I thought it was a cool look, you know. Pretty good. Pretty good look. So um we went ahead and put on the black guard, and uh, you know, I attached secured the pickups while you're in there. This is stuff that I think about, might as well spray out the pots and spray out the switch, make sure everything is grounded correctly, there's no corrosion. That's just an extra check that you should do if you have the chance, if the opportunity presents itself, and it did. So I did all that. I think I even put a 16,000th shim in the neck. I I I know that's kind of a weird number, why not 15? Um, I save, I have these little altoid containers, the tins, and I put all kinds of different shim material in there. So sometimes pickups and other things will come in this molded clear plastic. And so I'll cut it out into strips and I'll gauge it out with my calipers. So I have a bunch of this hard plastic and all it's almost like mylar, but it's sixteen thousandths thick. So um that's kind of my first, you know, 10 sometimes that's like barely anything. So I at least go with like the 16 first, and then if that doesn't work, I'll go up to the you know, 20 and then 30, etc. Um, so that solved it and set the intonation, and he got it back, and he was going to the recording studio uh that day, the day he picked it up, and he tagged me on Instagram, and the the guitar was on the sofa there at the recording studio. Super cool moment to get to get that guitar up and rocking for him. And the last one I had on my bench. Now check this out it's a Gibson Les Paul. I think it's a classic. Can't beat a classic, right? It's an absolute classic. And the customer wanted no three-way switch. And so he said he hit it when he plays, he hits the switch. I can relate 100% from playing Gretsch's Most My Life, which also have they have two switches on the upper bow, which can be kind of precarious. Uh, I I know Setzer actually removed the faraway one, and he has the switch closer to him, probably to because he uses it a lot. Um but uh so he didn't want it because he hits it, and I noticed that about my less paul too. Um the switch is in the way. In fact, my my less paul is uh it doesn't have a switch and it just has one pickup and one knob. It's a 78 custom. So there you go. So I understood what he was saying, and something else I un understood is he wanted the um knob placement different. So the knob, the volume knob closest to you is the neck. Now that doesn't make sense because it's the knob closest to the bridge pickup. You think it would be the bridge, right? That's always been really confusing for me. Um so he wants the knob closest to your hand when you're closest to the bridge pickup to be the bridge, and then he wants the faraway one, which if you look at it, it's at a slant and it's kind of pointing towards the neck. He wants that one to be the neck, which makes sense. And I know you're thinking, well, there's no three-way switch. How do you bounce between pickups? Well, the answer is you don't. It kind of operates like a jazz bass. So the two volumes are a blend. Um, so he can create a custom blend with those knobs, or I have a sneaking suspicion, it looks like he plays rock and roll, uh, that he's probably just gonna turn the neck down and be on the bridge. You know, that's what I would do. So that was a good solution for him, and that's still in the works, that's not quite done, but I'll button it up when I'm at work uh tomorrow. And that leads me to some interesting customer stories. So uh we had a guy, um, he called in about wanting his action lowered on his classical guitar. And he was talking to one of the techs I I was just over, I was like eavesdropping as I was working, and he said he wanted to um the action was super high, and it was a nice classical, no truss rod. And uh he suggested moving uh removing an eighth inch off of the fingerboard to make the action lower. And the tech on the phone was trying to tell him, well, I don't understand that. Uh, you know, if anything, that would make the action higher essentially if you're removing, you know. And so um he hung up with the phone and said, Can you believe that guy? And I said, What what did he want? He wanted to remove uh fingerboard material, and that's gonna make the action somehow lower. And he said, Yeah. And so uh I didn't get it, you know. And then he came in and a different tech, and again, um he's dropping again, uh, comes up to him in person now, and I hear him say the exact same thing he told the other guy on the phone, but now in person. And uh my colleague said, I don't understand how that's gonna work. You're gonna want to reset the neck in or because the neck is at a bad angle, which is very standard for a lot of these classical guitars, especially because that's how the tone works. That gives you the best tone, is that high action and that kind of that cant of the neck, but it had a Spanish heel, so you so you can't easily, if at all, reset that neck. So um, but then there was some clarity. So it's one thing when customers try to tell you something on the phone. It's also one thing when customers try to tell you something at all, because you know, you're the one, you're the expert, supposedly, and they're taking it to you, but they don't want to hear what you have to say. They want to tell you what to do, which in the past has backfired because you'll do what the customer wants and they're not happy. And when it doesn't turn out right, and you tried to tell them, but you're the one that did the work. See, so it's a it's a slippery slope. But in the end, what he wanted was to take that eighth inch uh just in the cowboy cord area, and then this is the key part, he wanted to drop the nut slot, so you lower the nut, and so that's still gonna leave the action high on the upper board. He didn't seem to care about that though. So I didn't want to do it. Uh two of my uh colleagues didn't want to do it, but um my veteran colleague did want to do it. He said, Oh yeah, okay, yeah, we'll we'll do it. So uh so that's in the works. Um and this other story goes back to that 59 330 uh TD. So it got brought in, and the owner is selling it on behalf of somebody else, but the owner also brought in his friend, who is an aficionado when it comes, I'm quote unquote, when it comes to vintage guitars. And the owner doesn't seem to know much about it. He's a guitar player, real cool cat. Um, but his buddy is kind of like a know-it-all. And does he know it all, you know, is is the thing. Um and so he's an older gentleman. I'd put him at, I don't know, 65, maybe maybe both of them. Um there's nothing wrong with that, just trying to paint a picture. And so I'm looking at it, and uh the own the owner of the shop is looking at it, and we're trying to come up with a price because they're gonna sell it, we're gonna put it on consignment. And um, you know, the know it all guy has a list of things. He he took the pickups out, and when he said that, I instantly looked at the back of the P90 and it wasn't seated all the way. So I'm thinking, oh, okay. So he made a list of everything that was original and not not original. He said the pick guard is not original, and he said uh the case isn't original, which obviously, you know, yeah, it definitely wasn't a Gibson case. Um, TKL or something. And then uh the owner of the shop, uh, my colleague, pointed out the tuners, which wasn't on his list, and he said, Why do you say that? Why do you say the tuners are replaced? Now and uh my colleague said, Well, uh, you could see the ghosting of where the old ones were and and you definitely could. And he's oh oh you know, like that. And then I pointed out that uh you could see where the nibs were. So I said that it had been refredded, and he said, uh this guitar didn't have nibs, these models didn't come with nibs. And so I said, you know, at this point I'm very polite because I'm always learning, you know. And so uh but, you know, m my eyes, I just got them tested, 2020, man. So I said I pointed and I said, but look, you can see it. You you can see where those nubs were. And I'm I'm a tech, and when you do a re-fret, um, you know, most of the times the customers are cool with the nibs disappearing because it is hard to preserve them, very hard. And I've seen people even re-bind and redo the nibs. And um I myself, on my 78 custom, it was re-necked. Uh back in the day, you could buy, I'm talking 70s, could buy uh a neck and re-neck a Les Paul when you had a headstock break. So that's what was done to this one, but the binding was tall, and I had to create the nibs by scraping. So I underst I understand about nibs and I understand why they need to disappear. And I could see the frets weren't um standard, you know, 70s uh wide and low. They they looked like 6105s or something. So um, but interestingly enough, they were inlaid. So the frets, even though the nibs were gone, the frets kind of stopped short versus going all the way over the binding. So definitely have been refreted. And uh so he disagreed with me on the nubs. And I also pointed out that a volume knob uh looked different than the rest, and by different I mean one of them looked original and the other three looked crystal clear. And he said, the know it all guy said, well, knobs are knobs, and you know, so no, they're not. When you're talking about a 59, 330, everything matters. I could have told him uh when he said the pick guard was uh not original. I could have said, Oh, it's just a pick guard. You know what I mean? It's uh I think it's a general attitude with um I don't know, it's some people just trying to know everything, maybe it's ego and pride. I'm kind of I'm in the learning mode constantly, and I think that's an advantage when you're a repair person. But um, anyways, my point was not that it's easy to replace the knobs, but that it had one original and three replaced. And the tuners, as my colleague pointed out, were replaced. So were the ferals on the top. And uh so, anyways, we're just kind of looking at this guitar, and and it's fun for me because when I first started out and I was looking at a guitar, I remember people that were more experienced than me looking at it and pointing out little things that I didn't notice. And I used to think, wow, they're really, you know, they really know their stuff. And I'll tell you, if if you're um working on getting better at spotting stuff, uh you will get bet better at it. And um it's always good uh just to learn and ask questions. And this is just my take, but I don't come across like I I know I know it all, even though I was felt like I was right about the nibs. And um, but then you know, so uh but the owner himself, he he he had a little piece of paper and he was actually writing down what I said too, which is funny. He was writing down what everybody said because we're trying to value the guitar. That was the point of of looking at it and talking about it. It it wasn't really about who knows more. Um, it was about we're trying to get the most for it and we're trying to value it uh of you know, come with a pr an accurate pricing for this I item. So um so uh anyways, they they left and you know we continued to research it and we're coming up with a price. And I showed it to um a friend of the shop. Actually, he used to work at the shop, and this guy is a killer country player, man. Killer. And he's got a lot of killer guitars and uh the nicest guy you'll ever meet. Anyways, I I showed him it and I told him the nib story, and he said, he said, oh yeah, he said it definitely had nibs. And I said, How how do you know? And he said, 'cause I was there. I love that. He he was, you know, uh, I don't know, a teenager in 59, or uh, or you know, I don't know what what age he he was. May maybe that puts him too old now. Maybe he was younger, but he knows. He was there and he knew that that it had nibs. So I was right. And if I'm not right, and if if you're following and you have information why, feel free to send me an email at r all at allguitarsbuzz at gmail.com. I'd love to hear why and uh learn more about it. So those are my funny customer stories, uh, some marketplace stuff. That Cordoba that I fixed up, I have some interest. I took some really great pictures. And uh yeah, I there's a like a tunnel that I went to where the lighting is just perfect. You have like that golden hour lighting like all day long. I took some killer pictures of it. I showed the repairs, and in the description, I put the hole on the top has been plugged. I said the top crack has been glued and cleated. There's a fresh 9-volt battery, all the electronics sprayed out, and it's got Salvarez hard tension on it. And then I even had a video in the listing of me playing it for 30 seconds, and uh today someone messaged me and said they're interested in checking it out tomorrow. I'm gonna get back to them right after this and say, sounds good. Um so yeah, my uh my hard work might be paying off. Um, someone else hit me up about some uh kind of I have like this stereo amp, this vintage stereo amp chassis, and I'm asking a hundred, and it's kind of a a rare one, and you can only find uh information about it in like the audio museum online, you know. And so uh some guy offered me 75 and I want a hundred, and I I didn't even answer because it's like if you want it, you'll pay a hundred for it. The transformers, you know, if I bother to look them up, uh, you know, they're at least 30 a transformer, and there's like two or three transformers. But if I look them up, that might be uh, you know, maybe it's been swapped out, maybe it's a a fender black panel air era uh transformer, maybe maybe it's worth a lot more. It has the original jewel light, which is white. Uh it's like a white jewel light, but it's reliced and aged in just the right way. And if anything, man, that jewel light's probably worth about 30 bucks. And then there's the chassis itself. And uh so yeah, come on, you know, come on. That video that I'm doing um on the X series Martin from my cousin Steven. Uh I'm still working on editing that thing. Let's take I just did the voiceover before I did this podcast. So um, so yeah, that should drop soon. I'm gonna try to drop it for before I drop this. So just consider it out. Check it up, check it out on my YouTube channel um at Hillington Guitars. No uh space in that. Guitars plural at Hillington Guitars, and you will see that. And yeah, if you want to come out and see me play, please do. And if you want to contact me for any reason, uh you know how. Thank you all for listening. This is a little uh shorter episode, more in the 40 minute mark, but I'm really enjoying doing these podcasts, and I hope to keep doing it for as long as I can. So until next time, see ya later.