Frankin S10 Restoration
Moderator: Shoshanah Marohn
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Frankin S10 Restoration
First, I would like to say thank you to everyone on this forum for all of your contributions to this craft. I have built several non-pedal steels (lap and console) over the last few years and much of what has gone into their design has come from this forum. So here it is... Thank you all.
Now I am moving into the world of Pedals and already I feel like I have found my musical home.
I have just acquired a Franklin S10 that needs restoration. It was filthy, had 4 strings left on it, was completely gummed up and it is missing all but one knee lever. After studying what is left I totally understand the mechanics and there is nothing here that I could not make the parts for if I had some reference. I have the RKL as a reference for the shaft mounted levers. I was hoping that if someone has one of these that they could send me some detailed pictures of the parts I am missing. Given my reverence for hand-built instruments I would like to bring this back to its former glory keeping it as close to what Mr. Franklin did originally.
I also have a philosophical question that I think might start a lively discussion. When doing a restoration how far can you go (in PSG circles) to bring an instrument back before you lose the intrinsic value of what it was? In the guitar repair world, it would be okay to repair a crack and try to blend the repair into the finish as it exists but it would not be okay to refinish the instrument. I ask because the laminate is lifting, has a chunk chipped out of the front and has been screwed down in a few places. Also, the paint (it was an aluminum crinkle) is worn through and peeling. Should I endeavor to put the original laminate back down and repair the damage to the point of stopping it from getting worse and leave the paint as is? Call them battle scars. Or is it okay to refinish it with new and make it look brand new?
I would guess getting this repaired / restored would not be economically feasible, but I want the challenge. So far I have gotten what I have playable and staying in tune.
Now I am moving into the world of Pedals and already I feel like I have found my musical home.
I have just acquired a Franklin S10 that needs restoration. It was filthy, had 4 strings left on it, was completely gummed up and it is missing all but one knee lever. After studying what is left I totally understand the mechanics and there is nothing here that I could not make the parts for if I had some reference. I have the RKL as a reference for the shaft mounted levers. I was hoping that if someone has one of these that they could send me some detailed pictures of the parts I am missing. Given my reverence for hand-built instruments I would like to bring this back to its former glory keeping it as close to what Mr. Franklin did originally.
I also have a philosophical question that I think might start a lively discussion. When doing a restoration how far can you go (in PSG circles) to bring an instrument back before you lose the intrinsic value of what it was? In the guitar repair world, it would be okay to repair a crack and try to blend the repair into the finish as it exists but it would not be okay to refinish the instrument. I ask because the laminate is lifting, has a chunk chipped out of the front and has been screwed down in a few places. Also, the paint (it was an aluminum crinkle) is worn through and peeling. Should I endeavor to put the original laminate back down and repair the damage to the point of stopping it from getting worse and leave the paint as is? Call them battle scars. Or is it okay to refinish it with new and make it look brand new?
I would guess getting this repaired / restored would not be economically feasible, but I want the challenge. So far I have gotten what I have playable and staying in tune.
- Jack Stoner
- Posts: 22087
- Joined: 3 Dec 1999 1:01 am
- Location: Kansas City, MO
Given what you describe its been totally trashed. Whatever you do it will not recover the full Franklin value.
I owned a (new) 1982 D-10 Franklin (sold it in 2020). The mica he used was "Nevamar" brand.
Aluminum parts were all polished, no painting of any parts. Parts were made, mostly as needed, so very little spares are around.
The threads for the 1/8" aluminum pull rod nylon tuner ends are 6-40.
Good luck with your project guitar.
e-mail me and I'll send you a copy of my original, as built, rodding chart. Good chance that has been messed with too.
Here is an undercarriage picture of my D-10. The same knee lever design was used on all Franklin's.
I owned a (new) 1982 D-10 Franklin (sold it in 2020). The mica he used was "Nevamar" brand.
Aluminum parts were all polished, no painting of any parts. Parts were made, mostly as needed, so very little spares are around.
The threads for the 1/8" aluminum pull rod nylon tuner ends are 6-40.
Good luck with your project guitar.
e-mail me and I'll send you a copy of my original, as built, rodding chart. Good chance that has been messed with too.
Here is an undercarriage picture of my D-10. The same knee lever design was used on all Franklin's.
GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat, SIT Strings (all for sale as package)
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit
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- Cartwright Thompson
- Posts: 2647
- Joined: 31 Dec 1998 1:01 am
I was wondering who got that one, congrats!
Last edited by Cartwright Thompson on 17 Aug 2022 2:43 am, edited 1 time in total.
- Marty Broussard
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- Jack Stoner
- Posts: 22087
- Joined: 3 Dec 1999 1:01 am
- Location: Kansas City, MO
I don't have the guitar, anymore, and don't remember.Marty Broussard wrote:Jack, what diameter are the cross shafts?
Thks
GFI Ultra Keyless S-10 with pad (Black of course) TB202 amp, Hilton VP, Steelers Choice sidekick seat, SIT Strings (all for sale as package)
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit
Cakewalk by Bandlab and Studio One V4.6 pro DAWs, MOTU Ultralite MK5 recording interface unit
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- Marty Broussard
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