Guitar Garage Open House Nov. 2nd & 3rd, 2013 - Noon to 6 PM

Guitar Garage Open House

Nov. 2nd & 3rd, 2013 - Noon to 6 PM

Some cute bubble-top Hagstroms from the "stash"

Don't be fooled by the tidy work bench
As part of the Waltham Mills Open Studios, Guitar Garage will be having an open house event.

We invite local guitarists, bassist, guitar freaks and anyone else who's interested to come on by, meet us, see our shop and check some of the vast guitar and bass stash that resides in "the Garage".

As an added attraction, tube amp builder/genius John Currier will also be setting up, showing off some of his custom built and vintage equipment.

The main event link is below - Guitar Garage is located in Building 18 on the 3rd Floor of 144 Moody Street, Waltham MA

http://www.wmaastudios.org/events/openstudios.php


The Waltham Mills







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Gibson SG Supreme Amethyst Burst Refinish



I was contacted by a client to refinish an early 2000's SG Supreme from its factory "Midnightburst" (dark blue burst) finish to a lighter finish that would better show off the flamed maple top.

The dark blue factory finish really was too dark to show off the flamed maple top except for under very bright light.

Rather than simply redoing the top in a lighter transparent blue, he inquired about changing the top to a transparent purple or amethyst burst finish, while leaving the back of the body and the neck in the factory midnight blue.  To illustrate the color he was interested in, he sent along a picture of a large amethyst crystal that captured the color and depth he preferred.



I told him I could try, but the final finish that resulted would depend upon the color of the underlying maple - and also - how cleanly I could strip the maple top.

When I first got the guitar - I could see what the owner meant - the flamed maple was clearly visible under a strong light - or with the use of a flash, but under typical lighting, the guitar simply appeared to be dark blue fading to nearly black around the edges.

The picture below is a bit misleading - this was taken under a strong bench light AND with a flash - the guitar was much darker in person.



After disassembly, the first step was to strip the top of the guitar, while trying to not damage the finish of the sides of the guitar and instead establishing a nice straight line to go from the lighter purple finish to the midnight blue sides and back.   Because of the difference in colors, it was not going to be possible to fade one color into the other along the sides.

Fortunately - Gibson still did use nitrocellulose lacquer on the the SG Supreme - making it much easier to strip than a polyurethane finish.  However - it quickly became apparent that it was going to be difficult to get all of the remnants of the blue finish out of the grain of the flamed maple - especially the darker "stripes", which are more open-pored than the lighter body of the maple.

I masked the sides as well as I could using decent quality 3M "blue" tape - and then tried to keep the chemical stripper at least 1/4 inch away from the actual edge of the masking, to avoid any of it seeping under the tape.

Using this approach, I was able to strip the majority of the finish off the top - using a mix of scraping and sanding to get it off closer to the edge of the body.  There were a few small areas where the finish DID soften under the tape from the stripper - inside a small part of each of the horns, along the edge of the top bevel in one spot and a small area at the butt of the guitar.  The finish didn't come off in these areas, but it did become uneven - which was frustrating - I'll have to experiment with better masking tape and maybe give myself a broader margin from the edge when using strippers in the future.

After the chemical stripping - finished scraping the edges bare and then sanded to entire top - partially with my random orbital sander and the rest with a sanding block and by hand - working down to 320 grit on the orbital sander and then 600 grit with the sanding block.

As you can see in the pictures below - some of the blue did remain in the grain in a few areas - for example near the controls and a few edge areas.  I wasn't as concerned with the edges - since those would have the darkest part of the amethyst burst, but I was concerned about areas closer to the center of the body, where the lightest part of the purple burst finish would be.



I clearcoated the top for two reasons - first to seal the grain of the maple which would allow for any future refinish to not have deal with color trapped in the grain (Gibson doesn't do this step - maybe because they feel it lessens the flame ?).  The second reason was for me to see how the flame top looked vs. the remnants of blue in the finish.


The clear coat really made the flame "pop" - but did show up the blue that was still in the grain.  I shared the pictures with the client and cautioned him that some of the blue might show up as darker areas through the amethyst burst, but he said to go ahead.

I also test sprayed a piece of rock maple that was similarly light in color with a tinted clear coat to see what kind of dye mix would yield the desired color.  I found that simply using Transtint Purple #6026 in a clear gloss base gave me a color very close to what I wanted.  I opted to go light on the color, knowing I could build up density later if I needed to.


Before spraying the top, I first tended to the areas on the edges that had been damaged in the stripping process.  I mixed Tintsall Prussian Blue into clear laquer along with a small amount of black laquer to get a midnight blue color that matched the sides of the body.  I used the lacquer in its unthinned state - which was quite thick - to touch up and build up the areas with a fine brush.   When these areas were dry, I wet sanded them lightly to level them and make sure the color matched.  The finish on the sides is essentially opaque, to cover up the transition from the maple top to the mahogany body and neck.  There was still a little uneveness in the areas, but I would clear coat over them later so I didn't worry about it at this stage.

Then I sprayed the light purple transparent base coat onto the body.  I did mask off the back of the body and the neck again - but I left the midnight blue sides unmasked.


I was happy with the results - and my test slab of rock maple had been a pretty good indicator of the what the guitar would look like !


Now came the darker edge of the "burst" - for which I used the same Purple #6026 dye, but with a lot more dye in the clear gloss base.  The goal was to spray a nice dark purple border - and then go back and fade the darker color into the lighter center with a much softer spray.

I was VERY happy with the results - and managed to resist the temptation to make the edge darker and darker and wider and wider - probably my biggest challenge in doing any sunburst finish !!


This detail shot shows the way the original midnight blue finish starts at the edge of the SG top bevel - and the masking on the back of the body and neck.


Once the tinting was set - I clear coated the top with roughly five clear gloss coats - and then after removing the masking on the back - I clear coated the entire body one more time.

After allowing all the coats to cure - I wet sanded and buffed the entire body per usual practice - the top requiring more wet sanding to level the flame maple (which is why it received so many clear coats).

The client liked the final results - and though it is possible to see a few little bits of blue as dark spots in the grain of the maple in a few spots - they are hardly prominent.



The midnight blue, almost black, back of the guitar also goes well with the purple burst top.


 Most important - the flame of the maple top itself is now much more visible !




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Sold: 1972 Fender Precision (P-bass), Olympic White Refinish

SOLD!!



This Fender Precision was repaired and refinished and assembled from a bunch of vintage parts I collected over time.  I had always wanted to build an Olympic White with Tortoise Guard P-bass, as I think the creamy color of the aged Olympic White looks great with the brownish-red of a vintage tortoise guard.  So I assembled this example, but now have decided to part with it as I have more than half a dozen vintage Precisions and I really don't need that many.

The body is refinished with a '60s style nitro finish: yellow stain, clear sealer coat, flat white primer, Olympic White color coat and a tinted clear topcoat.  The tinting of the clear coat was done such that there is a "shadow" under the pickguard, neckplate, bridge and bridge cover with those areas yellowed less than the exposed areas of the body (see below).




The resulting bass weighs in at almost exactly 8 lbs with the chromed bridge and pickup covers on.  The 70s grey-bottom pickup (10.8K Ohm resistance) is powerful and sounds great (like they all do!) and the bass plays well. The neck has a tiny amount of relief ( 1/32nd of an inch) and plays well up and down the neck and intonates pretty accurately as currently set up.

The bass is not a mint-condition restoration, but is also priced accordingly at about half of what an original sunburst '72 P-bass sells for currently.

The bass comes in a kind of beat-up but solid early 70's Fender bass case with a fairly rare rootbeer colored lining - I originally got the case with a mutilated '73 Jazz bass that was brought to the US from London, so maybe its an export Fender case?  It has the correct 1972 - 1975 Fender logo on it.

This bass is located in the Boston area and is available for in-person examination if you're local.  For those outside of the Boston area, shipping will be extra - please contact me with your location and I will give you a quote for shipping via FedEx or USPS.

I accept payment by cashier's cheque/money order, cash in person or Paypal - though there will be an additional charge to cover Paypal expenses (approx. 3 1/2% of total).

Please direct all inquiries to me via email:  krishna@guitargarage.net  - with something like "'72 P-bass" in the subject line so I don't miss your email if it ends up in my spam folder.







Details

The majority of the parts ARE correct for a 1972 Fender Precision, but they are from different instruments originally.

The vintage parts include:
- 1972    B-width neck, refretted and refinished with repro logo
- 1970 - 1973 alder body, with routing repairs and refinished in aged Olympic White
- 1970s  grey-bottom Fender P-bass pickup
- 1969 - 1972 Fender bridge with extended G saddle screw
- 1968 - 1975 Fender 4-ply tortoise guard, with chip at point near output jack
- 1972 - 1975 "F" tuners & bushings
- 1972 - 1973 Fender hardcase, with rootbeer-colored lining






The reproduction parts include:
- chrome bridge & pickup covers
- strap-buttons
- F-logo neckplate
- pots, knobs and output jack
- various screws
- thumbrest
- nut








Body repair and refinishing

The body is a vintage Fender body, from between late 1969 and early 1973, based on the following characteristics:
- two dowel-pin marks on back, one on the body centerline near the butt of the body and one just inside the bass side cutaway (P-bass bodies from late 1967 through about 1979)
- placement of the bridge closer to the edge of the body (1969 til late 72/early73)
- no channel routed from control cavity to pickup (1958 through early 1973)
- remnants of yellow stain, which would have been applied under the finish (approx 1960 - 1973)

Most likely this was originally a sunburst body, though its hard to tell with all the modifications and refinishes its had over the past 40 years.


The front of the body is where the real mayhem has occurred !!  The body had been routed and plugged once before I even got it - for a large bridge pickup and a larger pickup in the stock middle position, as well as routing for a switch at the bass side of the pickguard and for an extra control/and or battery under the guard adjacent to the stock control cavity.

I plugged all the routed areas with alder - using epoxy as the adhesive to minimize shrinkage over the long term.  I feel that using a glue with water content (such as Titebond or hide glue) will swell up the glued-in plugs - more so than the surrounding wood - but this swelling subsides VERY slowly - especially once the plugs are sealed up and finished over (on the order of 3 months to over a year).  Using a two-part epoxy, there is little to no moisture introduced - and the epoxy itself has minimal shrinkage and is very tough/strong.

I then re-routed the pickup cavity and the edge of the control cavity - the results before finishing are visible below.


And here's the body with the flat white primer coat applied - ready for the color coats.


Once the color coats had been applied and wet sanded, then the entire body was clear-coated, with a VERY slight amber tinting to take some of the edge off the blinding whiteness. Note the back of the original tortoise guard - with some factory marks (9) and grounding foil applied.




At the correct angle, the outlines of the plugs for the bridge pickup and the switch near the pickguard edge are just visible - click on pictures for expanded views.








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