Stolysmaster

So, any other suggestions? Or, is there a concensus on using superglue to fix this problem? If I can get a "second" on that, I think I'll go ahead with that method. Thanks.

Thanks for the time and info you put into your comments Jim. Just hearing from someone in Orkney gets the Scottish/Viking part of my blood excited! (Ancestry from the Outer Hebrides[Morrison] and Sutherland[Mackay] amoung many others to the south). I think I will try your method of "misting" and building gradually with the Poly Urethane. It also sounds like your method does not involve applying a lot of Poly overall, which appeals to me. I want to keep the finish thin, while having enough to get a good depth in the gloss. I will reread your comments on the mask several times, and hopefully get some comments from others as well before I make a respirator mask purchase. Thanks again, Robert

While I was wet sanding my nitro lacquer finish I got the wood wet on the inside of two of the control holes. This caused the maple to expand and cause some buckling near the holes on the top and caused a little of the nitro lacquer to chip about 1/8 of an inch on the side of these holes. After my initial panic subsided, I decided to just let it dry out and see what happened. The buckling subsided to being almost not noticable at all, except in the right light at the right angle of viewing. However, the lacquer chipping remained of course. I am thinking about masking off around the holes to just leave the chipped area exposed, and using a Q tip or tooth pick to drop some unthinned lacquer on the chipped area. Once it dries I should be able to sand it smooth and polish it, I hope. Is this how I should fix this problem, or is there a better way? Here are some links to my almost finished guitar. Unfortunately I do not have any close ups of the chipped lacquer areas. Thanks. http://i76.photobucket.com/albums/j34/Stol...er/DSC01001.jpg http://i76.photobucket.com/albums/j34/Stol...er/DSC01006.jpg http://i76.photobucket.com/albums/j34/Stol...er/DSC01007.jpg http://i76.photobucket.com/albums/j34/Stol...er/DSC01003.jpg http://i76.photobucket.com/albums/j34/Stol...er/DSC01002.jpg http://i76.photobucket.com/albums/j34/Stol...er/DSC01000.jpg

The last four guitars I've refinished /finished have been done with Nitro lacquer, and I've had pretty good results. I used behlen nitro and sprayed through a DeVillbis Finishline III gun with a medium sized compressor. My latest project is almost finished - a flat top Dean Cadillac copy (slightly larger than a Dean) with a neck made for me by Doug Darling at Soulmate Guitars. A little final polishing on the lacquer and wiring left before I call it done. It looks pretty good so far. My biggest mistake was not grain filling the Black Limba body back before staining and finishing; so it took a LOT of nitro to get it level. I did not even lift the grain with water and sand back before staining either (Colortone w/alcohol), so that could have been part of the problem. Anyway, its almost a done deal. Live and learn! However, I've been tempted to go for a polyurethane finish on my current project; an Eric Clapton cut Explorer - one piece mahogany back from Kalamazoo (1980) with a 1/4" curly maple flat top and black Limba neck with a couple of hard maple stripes for stiffness. I've read Jeremy's (LGM) tutorial and I'm convinced that I would probably really like a Poyurethane finish because of its ease in working, durability, stability and lack of shrinking, and still giving a deep gloss. I used to be afraid of poly u because I thought it made guitars sound "dull". But I've read enough now that I think the key with any finish is simply not to get it too thick, and then it will sound fine. First, Jeremy said that he prefers to use a "gravity feed" gun, and not a HVLP. I am confused by this because I believe my DeVillbis Finishline III is both!...gravity feed and HVLP. What am I missing here? Secondly, I plan to use a two part automotive type poly u, as he and others recommend. What type of prep, if any, should I use between the transparant dye and spraying the poly u clear finish? Thirdly, Jeremy recommends multiple coats, then sanding to 800 grit, then spraying 3 more wet coats within 36 hours, then sanding up to about 3600 micro mesh, then two more wet soats, then micro mesh to 12,000, then buffing! Dave at McNaught Guitars told me that when he uses poly u, he just sprays on about 6 coats, waits until the next day, then sprays about 6 more coats, waits 24 to 36 hours, then sands to about 1000 to 1200 grit, and then polishes with a buffer. Noticing a pretty big difference between these two methods, I'm wondering what MY method should be. Any thoughts on this? Last question: I've never used a respirator mask when spraying nitro in my garage or outdoor storage closet, and have only experienced minimal permanent brain da...dam...dam...dammmmage. Jeremy says that poly u is DEADLY and that you MUST use one. So; how much will I have to spend on one that will be adequate and where is the best place to get one? Thanks for any comments.

I just realized that this post should be on the finishing "chat" area, so I will repost it there. I'm sure the moderator will erase it from here!

The last four guitars I've refinished /finished have been done with Nitro lacquer, and I've had pretty good results. I used behlen nitro and sprayed through a DeVillbis Finishline III gun with a medium sized compressor. My latest project is almost finished - a flat top Dean Cadillac copy (slightly larger than a Dean) with a neck made for me by Doug Darling at Soulmate Guitars. A little final polishing on the lacquer and wiring left before I call it done. It looks pretty good so far. My biggest mistake was not grain filling the Black Limba body back before staining and finishing; so it took a LOT of nitro to get it level. I did not even lift the grain with water and sand back before staining either (Colortone w/alcohol), so that could have been part of the problem. Anyway, its almost a done deal. Live and learn! However, I've been tempted to go for a polyurethane finish on my current project; an Eric Clapton cut Explorer - one piece mahogany back from Kalamazoo (1980) with a 1/4" curly maple flat top and black Limba neck with a couple of hard maple stripes for stiffness. I've read Jeremy's (LGM) tutorial and I'm convinced that I would probably really like a Poyurethane finish because of its ease in working, durability, stability and lack of shrinking, and still giving a deep gloss. I used to be afraid of poly u because I thought it made guitars sound "dull". But I've read enough now that I think the key with any finish is simply not to get it too thick, and then it will sound fine. First, Jeremy said that he prefers to use a "gravity feed" gun, and not a HVLP. I am confused by this because I believe my DeVillbis Finishline III is both!...gravity feed and HVLP. What am I missing here? Secondly, I plan to use a two part automotive type poly u, as he and others recommend. What type of prep, if any, should I use between the transparant dye and spraying the poly u clear finish? Thirdly, Jeremy recommends multiple coats, then sanding to 800 grit, then spraying 3 more wet coats within 36 hours, then sanding up to about 3600 micro mesh, then two more wet soats, then micro mesh to 12,000, then buffing! Dave at McNaught Guitars told me that when he uses poly u, he just sprays on about 6 coats, waits until the next day, then sprays about 6 more coats, waits 24 to 36 hours, then sands to about 1000 to 1200 grit, and then polishes with a buffer. Noticing a pretty big difference between these two methods, I'm wondering what MY method should be. Any thoughts on this? Last question: I've never used a respirator mask when spraying nitro in my garage or outdoor storage closet, and have only experienced minimal permanent brain da...dam...dam...dammmmage. Jeremy says that poly u is DEADLY and that you MUST use one. So; how much will I have to spend on one that will be adequate and where is the best place to get one? Thanks for any comments.

No, it did not appear to have clouded up the finish, maybe because it was mixed 50/50 with lacquer thinner. But I think I would like to remove some of it anyway. How long should I wait before I wetsand with 600? I think I should let it cure for awhile first, right?

After applying 4 thin coats of sanding sealer to my guitar and sanding slightly with 320 grit paper I proceeded to spraying on nitro lacquer. I sprayed about 6 thin coats, two at a session, mixed 50/50 with lacquer thinner, over a day and a half. Then it was time to mix up another batch and start spraying again. I spray another 4 thin coats, two at time, over a 24 hour period...then I realized that the last batch I mixed was made of sanding sealer instead of lacquer thinner! I had picked up and opened the wrong can for the second batch and sprayed more sanding sealer on top of the lacquer! What do I do now? I'm thinking that I should wait for 24 hours, then sand back to what I can only guess is half of the total finish applied so far. Please help with some advice here. GEEZ...what a STUPID MOVE!

You might want to recheck your body thickness on the Explorer, I believe it is 1.5", the same as on a Flying V.

avengers63, I thought of that, but I was worried that because of the extremely small diameter of the stud hole that the angle of the drill bit would have to be so steep that I might miss the control cavity and come out the back of the guitar! My control cavity is not nearly as wide as that of a Les Paul, and the studs are much smaller diameter than a standard TOM. I will have to take a close look at it though.

Before my Schaller "roller saddle" bridge studs get pounded into their holes in the body of my Cadillac copy guitar, it occured to me that I had almost forgotten about the grounding wire going from the control cavity to one of the bridge stud holes!! I quickly tried to find some info on this in Melvin's book and in Koch's book, but a quick five minute search this morning yielded no info. I'm guessing that I should just drill a hole from the control cavity into the stud hole (hoping to hit it on the first try!), and trying to have it pop thru just a bit above the bottom of the stud hole. Then, run a wire (14 ga?) thru the hole, leaving the last inch or so of the wire bare, and bend it down against the side of the stud hole. Then simply tap the stud in, and assume it makes a good contact. Am I missing anything? Thanks.

Acrylic is.....um...plastic. There must be other sources for nitro though. I like nitro, it's definitely pretty easy to use and looks great. But I'm having trouble getting past the environmental/toxic part. I'm interested in using the KTM9 that LMII is selling --anyone know if it's the same stuff as the water-based finish StewMac is selling? Also, I played around with a tung oil varnish on one guitar --at first I didn't like the results, but it's been close to a year now and I have to say, the guitar is looking pretty good now (I rebuffed it a couple of months ago). I think the oil just needed a really long cure time. Don't know if I'm patient enough to use it again though, not if it takes a 6-month wait before the guitar is ready! But it has the avantage of being non-toxic, all-natural. Oops, I'm rambling. Yeah, I guess I didn't make it clear that I know that Acrylic is plastic too...like I stated; I know that some people use plastic finishes and don't have a problem with them affecting the sound. BUT, since it looks like I can get Behlen's, McFadden's, etc. from other places, I will probably stick with what I know, like, and have had success with; NITRO! Thanks to all who have posted.

Thanks, ihocky2, I just found the Woodcraft site; did not know about them. I'll probably get some of the Behlen's SIL from them.

I have just gotten an email from Stewert MacDonald telling me that the Behlen Nitro Lacquer I recently ordered and received from them is bad, and intructing me to send it back. They do not know when more will be available! One of my guitars will be ready for finishing in about two weeks, and the other shortly thereafter. I guess I am looking for a suitable substitute, but I have never liked the idea of using polyurathane...I'm one of those with the belief that putting "plastic" on a guitar affects the sound in an adverse way. It's possible that I can be convinced otherwise, if anyone would care to try. I think that some have had good results with Acrylic Lacquer, or Acrylic something or other (I think Doug at Soulmate uses it; he built the neck on the one that is ready). I want a relatively thin, hard, glossy finish (like nitro!), but something that I can spray on with my gun and compressor. I only have experience spraying lacquer. Any ideas? Please help! Thanks

Classy??? No offense, but I think that thing looks like it could have been part of the mechanism for the first flushing toilet.

Don't like 'em, don't use 'em. I used to use one on a standard Strat; twenty years ago when I thought I was Ritchie Blackmore (complete with attitude). I got it to stay in tune pretty well using the right nut, roller string trees, and bevelling the bottom of the front of the bridge plate. Then I finally got over that phase. If I ever use a Strat again it will be one that I build, and will be a hardtail. I think Floyds, Kahlers, and the like are hideous looking. It is also my belief that guitars sound better without them, but I realize that is very subjective, and some readers of this opinion will turn beet red and are already writing back to give examples of great players with great tone who use them! Differences of opinion on this subject are part of what makes the guitar world go around! I say tomato, you say...

Yup...Although I'm familiar with his work with Purple and like it, I always associate Steve Morse first with the Dixie Dregs, and Blackmore with Purple...because he established the "Purple" sound. OK, the top ten for me: Michael Schenker, Ritchie Blackmore, Pat Travers, Dave Meniketi, Gary Moore, Robin Trower, Yngwie Malmsteen, Buck Dharma, Mathias Jabs, Uli John Roth, Leslie West (Yes, I know thats eleven...same as the Volume Knob on my amp).

The last '82 Artist I refinished sold for $900 on Ebay two years ago, so I'm not too worried about that aspect of it. This one might go for even more, to the right buyer, because I had a MOP four leaf clover inlay put into the top behind the tailpiece, and refinished it in emerald greenburst...very cool Irish look. It's the one in my ID picture. However, I definitely see your point about lowering the resale value if I saw off the neck and replace it. I'm building two new guitars right now, so I guess I'll just keep this one in the case. I like it, but I can't play it for very long at a time because of the thin stock neck.

I've been debating that myself. But, then I would have to build the body and do everything I've already talked about...twice as much work. Plus, I'm very happy with the rest of the guitar as it is. I refinished it a couple of years ago. If I built a whole new guitar, then I would still have this Artist that I don't want to play as much because I don't like the feel of the neck, or the tone of the maple neck.

Because I don't like the thinness of the neck, or the wood (maple) of my 1982 Ibanez Artist, I am considering replacing the neck with one made more to my liking. I want to lower the resonant frequency of this guitar and change the thickness of the neck to a thicker profile (front to back), more like a '59 Les Paul round back shape. So, I'm considering making a new neck out of Black Limba, like the one Doug made for me for the Dean Cadillac copy I'm in the middle of constructing. My question is this: Has anyone ever just sawed off the neck on a set neck guitar like this before? I'm thinking that I would first saw completely around the truss rod on all sides, close to the body. Then, after removing the truss rod nut at the headstock, pull the truss rod out. Then pull out the frets left on the fingerboard of the neck part still attached to the body. After that I would score the finish around the neck/fingerboard area, and set up a neck pocket jig around what is left of the fingerboard that is sitting proud of the body. Then begin to take out the majority of the neck wood left in the pocket area with a forstner bit. Then, rout the rest out, leaving a mortice for the new neck. What do you think? I'm I forgetting something here?

Southpa, very helpful advice. Thanks.

Drak, I was hoping you would chime in on my question, because of your vast experience in finishing. Unfortunately, you did not give me your opinion on this type of technique. Would you...please? Thanks. Mattia, thanks for your advice on washing away residual alkyloids as well.

This is basically what I was trying to say as well. Many more things affect the sound in a more significant way than whether or not your pickups are mounted to a pickguard. As I said in my earlier post, go listen to the difference between an Explorer and a Flying V of fairly recent vintage...not very much difference; although one has the pickups mounted to the pickguard and one does not! As for the use of the word "proxy", I apologize for not being an "enerd".

This effect was more pronounced than what I have seen in the past. I have stained, wetted, finished and refinished a lot of wood in my time, but have never seen anything quite like this. Bleaching pulls color out, this actually colored the wood with a yellowish/amber tint. I just want to know if it has any ill effect on the wood, or possible bad reaction with finish materials like lacquer, acrylic, etc.

I wanted to share an experience I had this morning when I went to check on some of the progress being made on my Dean Cadillac copy at the local woodshop. This guy has been helping me out since I do not have very many woodworking tools at home. He showed me the effect of mixing some lye with a small amount of water, and then brushing it on an endpiece of the quilted maple to be used as my top. He said it duplicated the look of 20-30 years of natural aging that periodic and normal exposure to sunlight would produce over time , on a piece of finished wood. He said that the effect could be varied or minimized, based on how much of a certain type of vinegar (or something else acidic) was mixed in to counter the extremely basic ph of the straight lye mix. He told me that this would really give the wood much more of a three diminsional look, even before any staining. I could not believe the change when he actually brushed it on the maple. AMAZING!! It gave it a yellow/amber tint and really popped the grain and 3-D effect. Has anyone ever heard of doing this? If so, does it hurt the wood in any way? Is this recommended? I'd like to hear some opinions on this technique. Thanks.