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Now that's a hell of a title. I think that's it's fairly well-known that I've somewhat of a fascination with Japanese instruments made from 1976-1986 in the Matsumoku factory under the Aria Pro II banner. For the last ten years or so I've been making replacement preamp modules for their classic SB-1000 basses, and doing a few complete restorations for clients. The SB-1000 was an active single-pickup four-string bass made in two versions '76-'80 and '80-'86. It was made beyond this time in various forms, and is still made by the current incarnation of Aria Pro II, however the classic period for this bass was when they were made at Matsumoku. The 80s version introduced a slight geometry change, new headstock shape, finishes, switchable passive mode but fundamentally it was the same instrument. 70s SB-1000 (thumb rest not original) 80s SB-1000 During the 80s, APII also made a dual pickup flagship version of the SB-1000 called the SB-R150 with better appointments and flashier wood laminations. Something I'd imagined a while back was to take the basis of the SB-1000, add in appointments from the SB-R150 and move it up into 5-string territory. In recent years, Aria Pro II have also made a 5-string SB-1000 however I have zero hands-on experience of those.
As I have worked on my “relic obsession” (and make no mistake….it IS an obsession!) One of the biggest challenges that I had was figuring out the best way to get that ambered 'vintage' look. The goal I was shooting for was that of a ’62 Strat neck & the color of the headstock & back of the neck (I wanted to start with a rosewood neck first. I plan on tackling an all maple neck at a later time). The target neck has this cool brownish-goldish-amber finish (that’s quite a mouthful!). I wanted to make it look authentic; not only in color…but REAL vintage necks bring out the grain of the maple. The most common way to TRY to achieve this is for people to add amber to their clear lacquer. It looks o.k…but as I stated before I have a RELIC obsession & “o.k.” is just not good enough!! Also, the “amber-clear” technique actually MASKS the wood grain! Think of it as having plastic wrap over your Television screen….you can still see the picture, but it just isn't right! Well…. here is my technique on how to make it RIGHT: The first secret is that you have to stain the wood, not the finish. This is the ONLY way to really make a neck look like it came from 1962! Here’s what I did to create the “secret sauce”. I used ColorTone concentrated liquid stains from Stewart MacDonald. The colors you need are Yellow, Red & Tobacco Brown. The mix ratio of yellow, red, and brown water stain for "vintage maple" is more art than science. I eyeballed it & had good results BEFORE YOU START!!! YOU NEED TO USE SCRAP MAPLE! Don’t put this stuff on ‘till it’s how you want it to look on the scrap! You don't want to test it on paper, it will just soak it up & not give you accurate results. Now for the secret ingredients.... Start with full strength yellow in a bowl. Add warm water until the color isn’t too strong when wiped on your piece of scrap maple. Then add little drops of full strength brown and red to “amber” it. When you think it's right, test it on your scrap maple & put on the clear lacquer. Remember, it won't look right until it's sprayed with clear lacquer. If you REALLY want to bring out the grain, you can stain the wood and then sand most of it off again. The grain will hold the color & the rest of the maple will sand back to natural. For an even more DRAMATIC effect, try it with black or silver stain to really make the grain stand out. Then, when you wipe on your final coat of stain and don’t sand it off, the grain is like 3D & comes right out at you! This technique looks GREAT on a birdseye maple neck! You can wipe stain on with a clean rag or by spraying. I think it looks better & is far easier wiping it on. Once you got the color, clear & results you were looking for on the scrap, repeat the process on your neck! I have used "the REAL Vintage look" technique for refinishing a vintage neck AND for making a new one look old! You will be amazed at how much better this looks, especially if you compare side by side with a neck done with the “Amber-Clear” technique! Here are some tips: This technique raises the grain of the wood. Before you start staining make the wood damp to raise the grain. After it dries, sand off the rough spots with fine grit sandpaper.To avoid streaks wipe with the grain (lengthwise)For best results, let the stained wood dry at least 48 hours before applying clear.PRACTICE ON SCRAP!! I used an old maple baseball bat & got very good results (I guess that would make it a “Batocaster”)A Little ColorTone goes a VERY LONG WAY!!!WEAR Gloves! Otherwise you will "relic" your hands for a VERY long time. Please, trust me on this one!
I’m going to be testing out finishes for a semi hollow guitar I am building one of those being this charcoal burst finish. How would one go about achieving this color finish. My top is quilted maple same as the guitar in the picture. Thank you
Woods like Maple have some amazing looks when they include figuring. Even when raw, the look is amazing when the light hits it. The figure seems to move around and have real 3D depth to it. Simply oiling or clearcoating figured wood looks a million dollars. Amazing quilted back on an exhibition-grade Washburn acoustic Dyeing figured Maple adds another level of brilliance to the wood. Whilst this is a tradeoff - lessening the chatoyant 3D movement - the colours bring a whole new life to the figure. So how to top-end manufacturers and boutique guitar makers get their tops to resemble deep blue seas, rippling honey or bold high-contrast stripes instead of one simple dyed colour? To understand how this works, we first need to know a little about what "figuring" actually is in Maple and what is going on inside the wood in order to take advantage of it. Simply, figuring is caused by irregularities in the direction of wood fibres; the grain. For the most part, straight-grained wood possesses a consistent regular fibre structure. If you imagine a box of drinking straws, you're not too far off the mark. Figured wood on the other hand does not. The grain changes direction constantly instead of travelling in straight lines turning your regular grain into something resembling noodles, cooked spaghetti or your gran's chunky wool socks. AAA Figured Ramen Because of this, a cut surface of figured wood presents alternating areas of flat and end grain as the fibres rise and fall in and out of the face. Light absorbs at different levels on the sides and ends of wood fibres, resulting in spectacular patterns such as flame/curl, quilt, angel step and others. Similarly, the natural structure of the wood in areas like crotches (where branches meet) or faults can produce wilder more unpredictable figuring. If you've had tearout planing figured wood, you know exactly what the "rising and falling" grain is! Wood fibres are not entirely unlike the drinking straws mentioned earlier. End grain happily absorbs dye deeper than the side of wood fibres. This is where we can take advantage of this. It is advisable not to practice this on your latest guitar. Save scrap pieces of your figured woods and test test test! Write down your test schedules and practice it a couple of times to ensure that you can repeat it and it gets the exact result you want. Preparation Is Key Firstly, finish sand your figured wood to a reasonably high grit such as 400. Raise the grain by wiping it down with a clean cloth wetted with distilled water - do not soak it! Sandpaper acts like millions of sharp edges, slicing and mangling wood fibres at a microscopic level. Some may be loose, distorted or otherwise junky. Water displaces these broken fibres by swelling them, causing them to stand up from the surface. If you run your fingertips over the wetted wood, it will feel rough and woolly from these raised fibres. Let the wood dry and lightly re-sand the surface with 400 grit to knock down the junky fibres. Contrary to what you might instinctively do here, instead of sanding with the grain sand slightly at an angle to it. About five o' clock to eleven o' clock than six to twelve. This helps to ensure the fibres are actually removed rather than simply pushed back in place. Repeat this once more and feel the difference in how much less woolly the wetted surface feels now. Water helps to reveal any scratches you might have missed during the finish sanding stage. Getting the surface perfect is key as the dyeing process will highlight any flaws. Initial Dyeing Mix up a dye according to the instructions darker than the final colour you are aiming for. Alcohol is a better solvent than water simply to prevent any more unnecessary grain raising. StewMac's ColorTone Liquid Stain or TransTint dyes are great for this. For example, if you want a red finish use anything from a medium brown to black. Sticking with the same sort of hue looks most "natural", however you can go crazy with greens and browns under yellow or other crazy combinations! The more radical the difference in colour, the more detail work you need to do a little later in this process.... Apply the dye as you would normally to the surface of the wood and allow it to dry. Don't scrimp on the dye as it needs to be applied to the surface consistently - but don't soak it to death! Nothing amazing required here, other than patience in letting it dry thoroughly. Now, what's happening here is that the dye is soaking in at different rates depending on the amount of end grain being presented by the wood surface. Wood fibre end grain drinks the dye like a madman whilst the sides of wood fibres less so. This causes the dye to penetrate the surface roughly in proportion to how angled the fibres are. Sanding Back This matters, because now we are going to sand the dry surface again. Doing this will remove most of the dyed fibres that are sitting flat to the surface. The more angled the dyed fibre, the deeper it sits in the surface and the more sanding is required to remove it. As you sand the surface, areas and patterns corresponding to flat grain lighten up first. Exactly how much you sand back is entirely up to your preference and/or experience. The most natural look comes from sanding back most of this dyeing stage, however the contrasting "pop" is correspondingly lower. Leaving bold darker dyed areas produces a more striking end result at the expense of it looking a little less "real". Varying the amount of sandback creatively can add an extra dimension to the final results. For example, incorporating the areas popped as part of a final burst. Subsequent Dyeing/Sandback Repeating this process using a slightly modified or even a totally different colour produces a more subtle and effective end result. A simple red over black can look harsh from too high a contrast. Red over black with a second dark red sandback smoothes the transitions, deepens the lustre and ends up that much more amazing. The most stunning finishes are achieved by layering several subtle repetitions of this process in combination with burst dyeing techniques. World-class finishes like the labour-intensive PRS Tiger Eye look deep enough to get lost in....