Pio1980
AK Member
Never mind Eric, would Lester play a defective instrument he made?
Does a Recap Destroy Value?
- Thread starter srunge55
- Start date
The reasons people buy gear vary widely, from collectability to value, to sound quality to looks, etc. I buy gear based on all these criteria, in varying percentages depending on the piece. But, I'm not interested in buying something that I can't use or something that can't be fixed so that it can be used. So, functionality is key in the long run.
That being said, I have determined (IMO) that there is definitely a way to restore gear that would logically cause it to retain the most value.
I'll use a recent restore of a McIntosh C-22 as an example. I picked it up for a fair price locally for a piece that wasn't fully functional, but had excellent cosmetics. Obviously it needed work, i.e. a restoration, but how to go about it to retain maximum value while enjoying the best sound? So, here's what I did...
1) Research - looked through AK and the greater internet for opinions on how the work should be done and what components to use. Given that this was a C-22 and not a Maggie 8802, I knew I needed to use high quality parts.
2) Study - I spent a lot of time looking at the service manual, especially the schematic, and also looking at the architecture of the piece, trying to tie the two together in my mind. It was helpful that I had done a number of MX-110 restorations, which are a lot more complicated than this piece, but have some similar features.
3) Work slowly - try and be as meticulous as possible. Goes without saying, right? However, every design is different, and the last thing I wanted to do was break things like connectors, or soldering points while trying to desolder old tired parts. A certain amount of that is unavoidable, but slow gentle work minimizes the collateral damage. When things aren't going your way or proceeding as planned, take a break.
4) Document document document.... - I tend to try and start threads on my restorations for a couple of reasons.
First, I know there's more that I don't know than what I do know. AK is a treasure trove of collected experience and unparalleled wisdom. OK some times you have to filter a little, but after 15 years on this forum, you get a good feel for who knows what they're doing and who's blowing smoke.
Secondly, doing a documented restore on AK creates a record of your work, and if you do a good job, garners some nice comments and compliments on your work. This can be invaluable in selling a piece down the road. If all I need to do is link an AK thread to a CL listing, and the thread will show everything I've done to the piece, what is there left to ask (or to prove)?
5) For the more valuable pieces like the C-22, I carefully retained every last component removed from the piece, and tried to do so in a manner that didn't destroy it. I collected them all in a bag and am keeping it together with the C-22, so that in the future if some potential buyer is hung up on originality, I can just hand them the bag and tell them that everything is there for the piece to be returned to it's OEM "glory", whatever that means. Find someone else to do the work though.
Just for example's sake, here's the C-22 thread as posted. Apologies for the rambling pontification, but every once in awhile, I get in the mood...
That being said, I have determined (IMO) that there is definitely a way to restore gear that would logically cause it to retain the most value.
I'll use a recent restore of a McIntosh C-22 as an example. I picked it up for a fair price locally for a piece that wasn't fully functional, but had excellent cosmetics. Obviously it needed work, i.e. a restoration, but how to go about it to retain maximum value while enjoying the best sound? So, here's what I did...
1) Research - looked through AK and the greater internet for opinions on how the work should be done and what components to use. Given that this was a C-22 and not a Maggie 8802, I knew I needed to use high quality parts.
2) Study - I spent a lot of time looking at the service manual, especially the schematic, and also looking at the architecture of the piece, trying to tie the two together in my mind. It was helpful that I had done a number of MX-110 restorations, which are a lot more complicated than this piece, but have some similar features.
3) Work slowly - try and be as meticulous as possible. Goes without saying, right? However, every design is different, and the last thing I wanted to do was break things like connectors, or soldering points while trying to desolder old tired parts. A certain amount of that is unavoidable, but slow gentle work minimizes the collateral damage. When things aren't going your way or proceeding as planned, take a break.
4) Document document document.... - I tend to try and start threads on my restorations for a couple of reasons.
First, I know there's more that I don't know than what I do know. AK is a treasure trove of collected experience and unparalleled wisdom. OK some times you have to filter a little, but after 15 years on this forum, you get a good feel for who knows what they're doing and who's blowing smoke.
Secondly, doing a documented restore on AK creates a record of your work, and if you do a good job, garners some nice comments and compliments on your work. This can be invaluable in selling a piece down the road. If all I need to do is link an AK thread to a CL listing, and the thread will show everything I've done to the piece, what is there left to ask (or to prove)?
5) For the more valuable pieces like the C-22, I carefully retained every last component removed from the piece, and tried to do so in a manner that didn't destroy it. I collected them all in a bag and am keeping it together with the C-22, so that in the future if some potential buyer is hung up on originality, I can just hand them the bag and tell them that everything is there for the piece to be returned to it's OEM "glory", whatever that means. Find someone else to do the work though.
Just for example's sake, here's the C-22 thread as posted. Apologies for the rambling pontification, but every once in awhile, I get in the mood...
Junk Audio
Active Member
Bumblebee caps are mostly all cracked at this point whether you can see the crack or not.
Some people will try to use the fact that it’s not original against you in a purchase to get a better price. But if they start down that road, they’re just not your buyer and you need to get rid of them…
Some people will try to use the fact that it’s not original against you in a purchase to get a better price. But if they start down that road, they’re just not your buyer and you need to get rid of them…
Bill Ferris
Lunatic Member
Would you change out the original bumble bee caps in a 58 Les Paul? Just playing devils advocate here.
The Bumble Bee in the 58 Les Paul could still be in good shape, being a low to zero voltage/temperature stress environment, unlike what would be found in their use as coupling applications in a ~50~60 yr. old tube amp.
However over the yrs. of repairing musical amplification equipment, sometimes the guitar player might bring up to me that his valued vintage guitar does sound not right/very good when adjusting the guitar`s tone control..
Pop open control cover, check tone cap value, if drifted off value, or in the rare case in my experience actually splitting, replace cap with modern fresh quality, player then tests guitar in my shop playing through one of my many restored Fender tube amps to determine if that fixed his guitar tone control issues and decide to stay with the old cap or enjoy the new proper tone operation with a quality replacement one..
I`m glad all my musician repair customers were only interested the best and most reliable performance of their vintage guitars, and tube amps.
I guess in my area nobody that I`ve dealt with for 30yrs. were concerned with maximizing resale value by leaving all original time sensitive/consumable parts in an actively used electronic piece of equipment, nor hoping to foolishly think they could fund their 401k/IRA by keeping all the original caps in their gear for future max resale considerations/returns, and that`s good of them, because I would have refused to not be allowed to perform the work completely reliably !
And they didn`t ever want their old vintage parts back after I showed them before they or I dumped them in my shop trash can..
I had to smile during reading this thread, thinking about the strong possibility that a lot of these pieces of audio equipment had service performed on them sometime in their early life, by various repair shops when they were not vintage, and often worked on by a nearby TV repair shop who never had Hi-Fi PRFORMANCE quality repairs on their mind !
Just good enough and hope the device makes it through the shops warranty period, I knew them, and they thought I was nuts for caring !
I know quite a few failed/blown Japanese audio equipment up came across my various repair benches while employed in the seventies ~eighties !
Today`s Internet poisoned silly fools, IMHO/E !
Ciao
Junk Audio
Active Member
I have an Ampeg Jet10 6BQ5 guitar amplifier from 1957 that’s supposedly 1 of 5 ever built and dead stock. I don’t even think of turning it on, especially with all original caps. Thankfully I don’t play guitar, But I sure wish I could get in front of some big name musicians that collect amps. I think it’s gotta be of pretty hefty value…. The original tubes are each held in place by a lead jacket.
Bill Ferris
Lunatic Member
Investment reasons for properly making it a non living piece of electronic history ?
I say this from a disabled individual who used to play around for himself has a dining room full of electronically restored by me vintage tube guitar/ bass amplifiers/guitars in my collection, that have been appraised via a seasoned legit local appraiser in the current value @ New York/LA/Nashville average ~ 7 yrs. ago for, get this $ 250,000.00 !
Not a single tube guitar/bass amplifier that I would hesitate to be carefully powered up and played at anytime given notice !
A living museum, or what is the reason !
Just change the cap. Your Les Paul will love you for it.