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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
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 ma
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 re