The ShadowMusic Web Community

The bridge on a proper UK-made D6 was not adjustable for intonation; only for action height. It was very similar to the bridge on a Watkins Rapier: two threaded posts set into the body (a bit like on an SG or Les Paul) with the bar of the bridge resting on two adjustable thumb wheels which could travel up and down the posts.

The only intonation which was possible was to shape the top of the bar for string position (eg, in the way that many acoustic guitar bridge saddles are shaped with a recess for the B string).

To be honest, it looked cheap and well below the standard of other Burns bridges. No wonder it was all covered up.

Convex bow in the neck?

Easy.

Slacken the truss rod right off and use this set of strings:

13 /13 - 17/17 - 26w/26w - 36w/14p - 46w/18p - 56w/32w.

Tune it to concert pitch with the third course in unison and check the neck every 24 hours. It'll soon lose the convex bow. When it does, adust the truss rod up to tension (don't try to force it past the position where it naturally stops) and repeat for a few more days. Eventually, you'll be able to use lighter strings and to control the neck with the truss rod.

Thanks Jim- all good stuff there...
Think I'm all set then- googled the Burns truss, and I guess cos of the gear thing, it's clockwise to slacken, rather than anti (that'd be normal, right?)

Thought I'd try a couple of bass strings, as I have some used ones lying around- just tuned up enough so I can see the neck starting to flex. It's a nice hot day here too (okay, probably not by your standards ) so that should help.

RE: The Bridge- yeah...most of the time I can see the point of the hunt- that one elusive piece that will make your guitar all original, but in this case, I think I'll unless I see one for cheap!

mgeek wrote:Thanks Jim- all good stuff there...
Think I'm all set then- googled the Burns truss, and I guess cos of the gear thing, it's clockwise to slacken, rather than anti (that'd be normal, right?)

The original Marvin and D6 truss rods are tightened with a clockwise turn - not anti-clock.

The number stamped into the base of the neck was the code used for spraying record purposes and is NOT the serial number.

Check with Alan Exley at Project Guitar Parts (01527 459545), as he's continuing to broker my remaining stocks of Burns/Baldwin spares on eBay and now has quite a number of varying size neckplates going up for grabs.

The bridge used for the Burns and Baldwin Double Six differed slightly in design over the years, but each type employed a free-standing baseplate carrying an angled, single-bar bridge saddle. Despite its admittedly basic nature, the bridge didn't actually boast a cover - that luxury was reserved for the pin-type tailpiece block located behind.

Hi Paul-

thanks for the tipoff- I'll drop him a line. Alan's just done a fantastic job of rewinding some Hofner pickups for me, if anyone needs that done, by the way...

What's your opinion re: when Baldwin/Burns wound things down? I'd take your word on that, obviously. Has anyone ever seen a 68-70 stamped electronics assembly for example?

RE: the number- it's not stamped, it's written in pencil...207xx

Only reason I assumed it was the serial number is how 'likely' that sounds...seems to fit the bill for that era of serial numbers. What would it mean, if it wasn't the serial no?

RE: Bridges- I'm gonna go with an abm 2412. hole spacing seems to be right, and I can't be doing with the tuning issues!

Here's some pics- bridge is in the post! Obv. the neckplate would have been black originally, but the information on here is correct, and the serial number is the right range. It's good enough for me! Great sounding guitar, even with a temporary bridge that consists of a stop tailpiece balanced on a fret reprofiling file!