Lately & notably

Thommy wrote: "When the sun is bursting, the sunburst comes bursting out like hell!
Ich bin dir noch eine Rückmeldung zum Makeover-Makeover schuldig (hab ich nicht vergessen, aber ich bin beruflich die letzen 4 Monate extrem beschäftigt gewesen).
Seitdem ich die Gitarre abgeholt habe hat der Lack sich prächtig entwickelt bzw. „gesetzt“, das ist etwas was ich an deinen Lackierungen liebe. Sie sind einfach organisch und fühlen sich dadurch echt an. Das stained fretboard macht optisch einiges her.
Da die Gitarre ja schonmal gemakeovered war sollte man ja denken, dass klanglich sich nichts getan hätte - Fehlanzeige. Durch deinen Einsatz hat sich das Instrument nochmals deutlich verbessert und ist sehr nah an meine BM2 klanglich gerückt. Das ganze Instrument fühlt sich nochmals runder an als davor. Danke dir dafür! Und ganz ehrlich. Die Lackierung schickt wie die anderen von dir alle Murphylabs auf die Strafbank 🙂‍↔️"

This beauty suffered severe Murphy Lab issues: the paint on the back broke off in big flakes; so it instantly went from Helsinki, Finland to the Jaeger non-lab. It received a neck reset with genuine hot hideglue, a sublime almost black brazilian rosewood fretboard and the period-correct, real nitrocellulose finish, which I applied superthin as Gibson was capable of shooting back in the days. It's now painted about 70 percent thinner as the thick stuff it wore before. Sounds amazing. Decent, tasteful and subtle aging. No flakes.

This early historic reissue has received a Bavarian Makeover ONE and heavy aging. Notice the topvcarve, the period correct bronzepowder, the authentic weatherchecking and the real greening of the bronze. This is NOT a lab, guys. I've had many Murphy Labs in my workshop the past months (and other LPs which have been "makeovered", by let's say: not so skilled craftsmen. So: just take a look at these pictures and let them do the talkin'. You can't tell the difference between an original and this one.

Benjamin Peters rocks the SJ-200 I entirely overhauled by stripping that sticky Gibson paint and shooting it with my hard nitro, which resembles a 70 years matured finish. I'm sure: You guys don't underestimate a superthin nitrocellulose-lacquer which stretches like thin skin over the tonewood. You can't buy a Martin or Gibson today which is finished like this.

... this beautiful and convincingly sounding 335 had been overhauled by somebody else before and was desperately in need for some loving care. It was more a restoration than a makeover and very demanding. Thanks to you, Holger, giving me strength and motivation to ride on through to this beautiful end result. Cheers!

This ESCO Special, built by Franz Hirsch (the luthier who built the famous ROGER Guitars for Wenzel und Roger Rossmeissl) in the Golden 1920ies, until they were capable of doing it themselves), was in a horrible condition (as seen on the last three pics).

The neck had been glued in by using a thick wedge and several shims, which had spread the sides and destroyed the neckblock and other parts of the guitar severely.

I restored it to a beautiful condition, preserving it´s history, refretted and touched it up with all my experience, knowledge, love and intuition.

It plays, looks and sounds great.