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Just use a flat black to start with. There are a lot of options if you have spray equipment.

Search for mods, but really you'd need something like a THD Hot Plate or Weber Mass Attenuator. If you don't have a load on the output transformer or a tube amp like the Valve Jr current builds up in the transformer and it blows up. Possibly entertaining but pricey. So you need something to take that load and drop it down to line level and provide the needed load on the output transformer.

I really like the AutoAir line of paints. I run my business out of my house so I try to keep the fumes down and prefer to work with the stuff that isn't cancer in a bottle. I'm currently looking for a good compatible water based clear. I also use House Of Kolor, I have a class all next week with a HOK instructor.

If you want to have it cut it needs to be a vector file, Adobe Illustrator or Inkscape are programs that will do this. Most people with a plotter will be using Illustrator.

An airbrush won't typically atomize your clears well or provide enough coverage to do a good job of getting an even coat. You can do bases with an airbrush just not anything complex and its a total pain.

The kustom shop stuff is solvent proof as it's made to work with automotive paints. You can do flake with out a spray gun, just takes thought and testing. One of the most popular way to do flakes these days is the flake buster gun from Old School Flake. It is a process where you dry spray flake into fresh clear. Do a google search there's tons of info. I dont know about brushing on a solid base, I have 5 guns and a few airbrushes so I keep going that way.

You realize real flake that's solvent proof ain't cheap either right? Basically the method you are planning on using is similar to what old school flake does. It relies on the material you are applying the flake to is still wet, so a polly should work since they take a long time to dry. The only way I've done it using the stuff from Auto Air. I bought a large supply of Auto Air that it came with flake mixed in ready to spray.

sorry long week at work just made it back here. I'll fix them now.

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Looking at them it's Alsa's paint. It just has the look of thier chrome. The bottom guitar definitly looks like its over wood.

That resonator looks more dark brown to me. I think I would go with a transparent layer of black over the guitar if I were you.

It's all a way of blocking paint. For the LGM guitar a stencil would be nice if you can get it digially done. So you could do the front and back the same. Masking has the advantage of being able to replace pieces if you want to back mask. But is a lot more work if your going to keep repeating the design. Your other choice is a latex liquid mask.

I'd talk to gene at RhinoGuitars.com. He is Roberto-Venn trained luthier and a great guy to deal with. Ed Roman, rightfully, went out of business and now has a new tiny shop in a strip mall.

It basically keeps the paper from clogging as much and reduces the effective grit of the paper. For guitars there is some debate regarding the dangers of wet sanding. Basically if you have holes for screws the water can get trapped causing the wood to swell and the finish to crack. I stoped wetsanding and just using higher grits based on Craig Fraser's advice who does a lot of work for Jackson's custom shop. A little drop of oilless unscented dish detergent can help the process.

Rooster the only problem is you need to keep air flowing for paint to cure well. Otherwise as the solvents escape your guitar is sitting in cloud of solvents, which can lead to solvent pop and other issues. You really want to keep the air flowing for 24-48 hours depending on the tech sheets for your paint. My main concern here might be how much am I going to spend heating the room to do this, posibly making Drak smarter than the average bear. I live in the desert so its much less of an issue for me.

Its a mesh/fiber filter that I just toss they were pretty cheap for a big pack. In the future I may go to a canister, thanks for the tip.

If its just the top you want to dye and sand back, then I would just sand the sealer off the top. That may not be too bad if you have a decent sander. As for the hole. I would fill it, is it on the top or the back/sides?

I like kick back legs because it's easier to build and gives you more cabinet air volume. 2x12's will give you more volume and a different frequency response than 2x10's. I'm pondering a 10 and 12 or 8 and 10 in a cab, or all 3. Depending on wiring you could generate a lot of choices that way. I'm also interested in experimenting with passive radiators on a guitar cab, if only i had more time and money.

Key to curing paint are two factors, time and airflow. Air caries away the solvents and allows more to escape. Time allows the process to happen. Spray a guitar keep it in a vaum the paint will never cure. For heat. One option I use lights not pointed at the body to heat the air and raise the ambient temperature. I do this so that I don't heat the paint directly and cause it to skin over and trap the solvents beneath the skin and never cure. I just leave them on all the time, but my cold weather is 50 or so in the garage. The lights keep my booth between 70 and 80. The other option is to use less toxic paints, if you can get over the marketing, internet, and cool guy hype about nitro. Many woodworking finishes can be brushed on well, so the fumes are even more reduced. About your idea. The window up top has 2 issues as I see them. One is your dragging fresh air over your paint, unfiltered your gonna get junk in it. I have a great flake job that has a piece of lint in it because my filtration sucked at the time. The other is that air is going to be cold. If your going to go forward with a booth I would build a stand alone box with intake and output filtration. Use piping to vent the booth out your window. I bought my filters off ebay they are mad for pro booths, I use an intake, overspray and carbon filter. I'm still reworking my design and will totally rebuild after my electrician rewires the garage. Take some time and think about safety, grounding, overspray control etc... I'm trying to switch to entirely water based paints but will keep a booth to control my painting enviorment clean and surrounding areas overspray free.

Lots of work, either with the gun or sandpaper. Or if you can level sand it and work with it go from there. If you want a color you can put a transparent color over it then clear.

Under a clear its probably fine, depending on the clear. The idea here was using it as a mask which is why the adhesive is an issue.

The problem is that material they may use and it interacting with the paint, leaving adhesive behind, etc... I've taken some kustom paint classes and they address specifically using the right materials and interactions of things like frisket and the wrong vinyls. Unless you know for sure what they are going to use you are asking for trouble. It's a regular post on the kustom paint forums of people having this problem. I wasn't trying to pick on anyone just be a little funny.

I own 3 valve jr's and obviously think they work great. However I would look at the Blackheart Mini Giant, a few more bucks but more options. Same designer only built buy the parent company of crate/ampeg instead of epi.

I use my mesa widebody 1x12 vertically with my 6v6 valve jr on it, no problems. I always have used my 2x12's that way too or my mesa nomad 1x12 on top of my mesa 1x12. Vertical or horizontal my cabs sound the same. Recenly I have gotten more into tilting back the speaker, I can hear my better and can reduce my stage volume making other people happier. Whinners.

Your substrate, aka sealer, should be as good as you can get it. You can work out issues later, but it will be more work and come with a lot more risk of messing things up. Your final paint will be limited to a large degree by the underlying foundation. I havent worked with the stewmac stuff so I can't help you there.