Jump to content

DGW

Established Member
  • Posts

    131
  • Joined

  • Last visited

Everything posted by DGW

  1. Yeah, I've drained my compressor and do so frequently. I've used Dupont Chroma Clear and a few other cheaper brands. I'm not sure what you mean by "complete system" ... I have a compressor, water/oil separator, pressure gauge, and gun. I do follow the spec sheets every time due to my poor memory. I'm located on the east coast ... yeah, high humidity but I shoot indoors in a climate controlled environment. Is there something else I need to consider adding to my "system"? This only happens when shooting clearcoat and only when I wetsand is the solvent pop really apparent (residue gets trapped in the crators). Pretty frustrating. I was thinking that me and urethane just may not be compatible. That's why I ask about Nitro. Would really prefer to stick with urethane, but I need to get this figured out.
  2. I've been using urethane for awhile now and I've tried everything from buying traps, different nozzels, different techniques, different temperature rated reducers, and different brand clearcoat altogether ..... NOTHING helps. I'm now thinking of switching to Nitro ... Is this type of paint more forgiving for solvent pop? Or will I be faced with the same problems? Before you suggest "lighter coats" and all the obvious stuff, please know that I've tried EVERYTHING. Thanks
  3. I'd like to add covers ... Can someone tell me where to get the wax and how to do it? Do I need a melting pot or is there another way?
  4. Yep ... And you also have to remember that you're still using spray cans! You're not going to have the flexibility of air/paint/fan adjustents for true professional results IMO.
  5. You're obviously refering to rattlecan paintjobs ... Use a 2-pack product with a catylist and you won't have those problems.
  6. I did the rattlecan thing for many years ... It sucked ... don't waste your time. Nowdays, I only shoot acrylic urethane (car paint). Cures in hours (not months or years) and the finish looks as professional and is as durable as you're gonna get.
  7. The tummy cut was done to help replicate the bodys that Linn Ellsworth cut for EvH early on. It can be seen cut in the guitar at the bottom of the pic and on the Black and yellow guitar. It may look "absurd", but the cut adds comfort and brings the guitar closer in to your body. The body was purchased from a friend ... I just finished it up and completed the build. I hear what you're say'n, but the Mighty Mite neck is actually pretty nice. Thanks, I initially had to steam out dents and do alot of sanding, but yeah ... several coats of tru-oil using 0000 super fine steel wool between coats. Then I went over the whole body with bees wax. It helped condition the wood and really made the color "pop".
  8. Thanks! I did alot of sanding and used several coats of tru-oil sanding with 0000 steel wool between coats. Then rubbed it down with bees wax.
  9. Here's my latest build ... Thanks for looking. Before: After: * One piece Padauk, San Dimas style body with Ellsworth style tummycut * Mighty Mite maple neck with ebony fretboard * Gold Original Floyd Rose tremolo * Brass Big Block upgrade * Gold Schaller style tuners * Gold Custom Logo Neckplate * Seymour Duncan '59 Trembucker * 500k volume pot * Solid brass EvH style eyelet hooks Pictures really don't do this guitar justice. The guitar looks even better in person. And the tone of this one piece Padauk is incredible! Note the Linn Ellsworth style tummycut ... it's extremely comfortable.
  10. I leveled mine with 320 and started wetsanding with 400. It turned out fine. It'd depend on the thicknes of the finish if you'd sand through or not. I suppose I'm fortunate I laid it kinda thick. Holy crap!
  11. That turned out nice, but isn't 800 grit a bit aggressive to start with?
  12. I've done it by hand with really good results, but it's a real workout. I then tried one of those foam pads but it left alot of swirl marks and didn't work as well as doing it by hand. Easier yes ... good results, no. I finally decided to go with the StewMac buffing arbor setup and I'm glad I did. If you're just doing one guitar, you should be fine doing it by hand. But if you do alot of guitars, I'd recommend the StewMac buffing arbor.
  13. I had this happen once ... Turns out it wasn't water spots at all. What had happened was I waited too long between coats of clearcoat. Then when I went to wetsand, I sanded through the first layer in some areas and it looked just like "water spots". Could this be your problem?
  14. I agree .. your basecoat will be trashed without some sort of protection. btw ... I may have used a different Kustom Shop "Flatz". The one I used was 2-part and it worked really well. But again, anything with a flattening agent will become shiney with contact.
  15. I've used this same stuff and have had absolutely no problems. The flow was great and the quality equal to HOK, Dupont, and every other acrylic urethane I've used. The only thing I caution with using ANY flattening agents is that they will become shiney with wear or areas that you may come into contact with. Another option I've used successfully on guitars is to shoot gloss and then buff it out with 0000 extra fine steel wool to give it a dull sheen.
  16. Your "painter" used Krylon. Krylon is crap ... I know first hand. It's an acrylic lacquer and can take up to a year to fully cure. I painted this guitar with Krylon and let it cure for 8 months before wetsanding and buffing the finish. It looked awesome at first, though the paint was really soft and really suseptable to damage ... Approximately 3-6 months later, it looked like the first pics shown above. I wish I had better news, but your guitar will only continue to look worse and worse. I will never use that crap again.
  17. which will be twice the distance from nut to 12th fret so you should be around the right place but really you measure 12th fret to nut to detrmine the scale length and as neil say once you know the scale length measure from the nut. Okay, so it is in fact the same way you would determine the bridge placement on a guitar. I'm restoring an old Ibanez beater ... I removed all the hardware, including the bridge because I was going to replace it. I didn't really think twice about filling all the holes during the body prep stages and I've since sprayed it with an epoxy primer/sealer. I purchased a Wilkenson replacement, and when I measured exactly how you guys are telling me it's done, it looked ALOT closer towards the neck than where the original bridge was mounted. I also took into account the actual saddle placements and not just the mounting holes. I even compared it to pictures I had taken prior to disassembling the bass and it's way off. Weird.
  18. For a guitar, I think you determine the bridge placement by measuring the distance from the front edge of the nut to the 12th fret, then use that measurement from the 12th fret on to determine the bridge placement. I used this theory in trying to determine the bridge placement on a bass and it looks way off. Can anyone give me a little guidance here? Thanks!
  19. I've got a second hand guitar that has a color stained finish that has been clearcoated in lacquer. The previous owner said he can't remember what he used to "clean it", but it caused the clearcoat to become cloudy. Any idea what he may have used and what the best way to fix it would be? Thanks.
  20. Shielding paint requires SEVERAL applications in order to really be effective. Put a meter to the cavity and check for continuity to make sure it's doing it's job. If shielding is a problem, I'd recommend copper foil over shielding paint. JMO
  21. Thanks guys. The neck is a Mighty Mite... * 22 medium jumbo frets * "C" Shape Profile * 9.5 radius to 12 compound radius * 1-5/8" at the nut (R2) I shimmed the neck, and the string height is about 2mm from fret to string at the last fret. I'm going to let all the adjustments "settle" for a day or so, then go back and tweak it.
×
×
  • Create New...