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Discussion in 'Luthier's Corner' started by alk-3, Apr 29, 2013.
Incredible workmanship, just gorgeous...love getting to see the classic building methods too!
I like it, a lot!
I'm gonna send you guys over the moon when I try to artificially age this thing
I'm not sure if I'm more excited about having a chance at winning this, or getting to see the finished build.
Alright guys, coming down the home stretch here..
Next step is to mask off and pore fill.
I start with some run of the mill green painters tape.
I run it long off the board and carefully squeeze it down over each fret.
Then I use a sharp razor blade to trim the ends nice and flush to the end of the board and the nut.
Now I take this little hook and screw it into the strap button hole so I can hang the guitar up.
With the board masked, I go ahead and mix up a small amount of lacquer. This is thinned down quite a bit. I give the whole guitar a wash coat.
Then sand everything with 1000 grit paper.
After I sand everything I give it all one more quick coat and let it sit for a day or two. This allows the lacquer to dry and sink into the pores.
Now I can break out the old pail of pore filler. This is mixed with dyes and other additives to match the back of a late 50's burst. It started out as natural coloured filler, and I added the dye.
This stuff is basically powder suspended in an oil based liquid. If it sits for more than a couple of days, it settles out into two parts. In order to mix it up, I use a long Allen key in my drill:
And of course some gloves!
Now I need to mask off the front of the guitar.
I use this brown packing paper because its quite thick, and I have plenty of it.
more green tape, also covering part of the binding. Its not critical the binding gets masked because everything will be scraped when the paint goes on.
And now I go ahead and slather the whole back of the guitar and neck with pore filler. I lay it on good and thick and let it sit for a while
The pore filler sitting on the wash coat of lacquer will turn the lacquer red also, so timing is important here.
Once it has set for a while, I can remove all the excess with a soft scraper.
You can see how the red has tinted the lacquer.
Now I clean it all up with some burlap rubbing across the grain.
Next step is to install the tailpiece bushings and then into paint.
So one hit with the pore filler is enough to fill, the scraping pushes it into the pores.
It's looking incredible great! Can't wait to see the finished guitar. It's going to be one lucky winner, that's for sure.
Man I can definitely say that I'll be disappointed if I don't win this thing. It's been a great ride seeing it built step by step.
Love it, had to dig up 20 more bonez on this one, build thread alone has been magic
How long does the lacquer need to cure from the time the final clear coat has been shot until its ready to play? I made the mistake of putting a matching tube head on a cab I shot before the lacquer had completely hardened and it left some marks where the amp's feet was in contact with the top of the cab.
While I consider myself as having a snowball's chance in hell of actually winning this fine piece of art, I am pretty excited for the giveaway in a couple days. As anyone can tell from all the replies, anyone who gets it will cherish it, having seen the creation from raw materials. There are no "whatevers" or apathy in this thread. All who have replied are genuinely excited over the guitar. There are people who play very well and there are hacks like me in this thread, and we all appreciate what it takes to build a guitar well, as we've witnessed here.
Thank you Tom.
If I win I will give my 76 Les Paul to someone on the forum. Would just need to figure out how to randomly choose. Promise !
Can't wait for Friday, results may end up being the cause of a Friday night meltdown
Well said .
You're killin me......I'd laugh so damn hard man!
November 1st is my actual reall life birthday................I wonder if the stars are aligning........
They are, for you to have a nice birthday and for me to tell you ALLLLLLL about the new guitar I just won.
Okay guys, I’m going to take a few minutes here to explain some finish related stuff. I was asked earlier to explain the gold finish I did on this guitar:
Applying finish can be extremely tricky. One of the things that make it so difficult is the trial and error involved in trouble shooting a finish.
So as far as this gold finish goes, there are a couple of ways to achieve similar results. It depends on how you want the finish to look in the end.
I'm sure many of you have heard people talk about vintage Gibson goldtops shot so thin that you can see the grain through the finish. This is commonly thought to be the result of not enough bronze powder applied, but it really is not. The reason you can see the wood through the finish is because the base coats were not fully cured before the gold was applied.
Here is the basic principal; When a finish is applied, it is sprayed on in many coats, then allowed to dry for a month or so (typically). As it dries it is ‘off-gassing’ the solvents in the lacquer. As these solvents leave the finish the finish actually shrinks quite a bit. As it shrinks it reveals all the small dimples from the pores of the wood, and any other anomalies. This is normal, and after about a month of off-gassing the finish is shrunk back almost as much as it will ever shrink back, so it’s then safe to level sand the finish flat again, and then buff to a high gloss. With a goldtop finish it is a bit different.
If you lay the gold down before building up the clear the gold will shrink back into the pores and grain and because its reflective, all the imperfections (grain and pores) will show very clearly.
The way to get around this is to lay down quite a bit of clear BEFORE the gold.
After that clear off-gasses for a few weeks you can come back and level sand. This gives you a perfectly smooth surface to lay the gold on, which will not shrink back into the grain.
So, on those old goldtops where you can almost see the grain through the gold, its because the base coats have shrink back, taking the gold with it and highlighting even the slightest surface texture.
The textural appearance associated with this finish can be a real interesting feature, and I actually like to see the grain through the gold somewhat.. It reminds me of those real old workhorse goldtop guitars.
Furthermore, on many old goldtop there are a couple of layers of gold and clear. This can be seen when the top layer wears away with age, and reveals the layer under it. Gibson would frequently repaint overtop of the first attempt if any anomalies were detected in the first attempt. You can see these layers here:
I'll promise to be your best friend forever