Almost all of you have seen a bass or guiar for sale that would be a perfect and desirable specimen, were it not for a badly and amateurishly-repaired neck or headstock crack such as the one above. The fretboard might be kinked as a result, or the neck twisted, but in any event, even if structurally sound, a poorly-advised repair can still be seen by the naked eye and immediately casts suspicion on the instrument's overall condition and playability.
Honestly, it pains me each time I see an Ebay auction for a Rickenbacker or other set-neck guitar with this malady. And I usuallu sit there, wondering, "why didn't the seller at least give a pro a chance to repair it?"
Pros themselves have their own favorite ways to tackle a problem such as this, depending upon what they've been taught, and also I suppose upon what has worked for them in the past, but being only human they, too, as a group, have their own varying degrees of success. Scary, huh?
There are two things to deal with here: getting the repair to act as if the neck has never split, and getting it to look the same.
The biggest problem with effecting this type of repair is getting the glue to penetrate fully into the full depth of the crack. This brings on the problem of glue selection. In a case such as this, we want the two areas bordering the break to be forced back together with an undetectable seam, yet we want to fill that seam with adhesive that is as dense and strong as the wood itself. Also, we want to use an adhesive that's impervious to moisture and temperature changes.
Although I use very little cyanoacrylate (super glue) on my customers' instruments, in this case, from experience I believe it to be the solution. The trick is to first get penetration of the crack without the wood sponging up the glue (so we would not use a so-called "water-thin" version--it would not leave enough in the crack, having spent itself into the wood's cells with little to spare for the gap), and "gel" glue--which I do NOT use for anything--would not penetrate.
My choice is a hobby glue called "Zap-A-Gap", in a neon green-labelled bottle. I purchase larger bottles for ease of dispensing.
This would be flowed into the crack, to excess. Be sure to position the bass so it won't run down the neck and make a mess of the rest of the instrument. Put newspapers on the floor to catch any spare drops.
Clamping is crucial to this sort of repair, and my choice would be a paralel-jawed clamp made out of wood, such as:
http://www.toolking.com/productinfo.aspx?productid=3936
These go be various names. I'm not sure how I'd position this clamp, but a bit of fiddling before I put the glue into the cracks would tell me where to put the clamp in order to bring the area together, without a gap.
I would not use "C" clamps. They slip and slide and invariably require cauls to position--which in any event may be necessary with the wooden clamp, too. They also mark wood unless cauls are used.
Apply glue, clamp tightly. Don't let any glue get between the clamp jaws and the neck proper. There should be some excess glue flowing out of the crack. This is desirable--it shows penetration.
Wipe off excess carefully. Let sit undisturbed overnight. Depending upon what you find when you unclamp. it might be necessary to sand and buff, or possibly refinish, the neck in the area of the previous split.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut