Ian Davlin The Looth Group
Forum Replies Created
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Feeling shankared in sitarland
Hilarious.
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Those are tricky. Have you tried flexing it and throwing some naphtha to see how it flows in ? When they are that tight, sometimes all you can get in is CA and that is a terrible glue for that. Also, did this guitar take a hit ?
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I like the sound of this. You see it as a forum thing ?
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It is completely ok to shill up to the point that it becomes spam. A little bit of letting people know about resources is totally ok.
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This is pure speculation, but I would guess that this finish was produced with lightly mixed pigments rather than dye. There is a white component to this color that could be produced, maybe, with a yellow green dye mixed into matte lacquer, but that seems like a long shot. If I have time, I might run some tests.
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Killer post!
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I dont, but it seems to me you can get real close with experimentation. I would say the important part is to dye the wood and then isolate the porefiller from interacting with it. Like dye it, seal it, pore fill it and then seal it again. I’d also make sure to use porefiller colored with pigments rather than dyes, so it doesn’t bleed into the surrounding wood.
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Have you tried contact cement ? I like the 3m Spray on stuff.
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It is always amazing how much the bridgeplate makes a difference. Are you going to pull and replace ?
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Is this an archtop or flattop ?
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Hey, this is a super unusual bonding situation. I would test test test. Here are some tests I would run.
- G Flex epoxy from west systems.
- West 105 with West 404 filler
- Maybe CA. Sounds like a hassle though with a ton of eye burning episodes.
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Im having a hard time figuring out where the affliction is. Could you please take a closeup and throw an arrow on the photo ?
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I’m going to give some advice, but it should be noted that I don’t work on poly very often and this move involves taking the manufacturer of a lacquer product at their word on the application.
- I would use Mohawk Ultra Bond mixed with black pigment.
- I would then seal that in with Fill n Finish thin by doing a thin wipe on finish (ask about that if you don’t know.
- I would spray over the area with the Mohawk Ultra Bond of the correct sheen
- I would avoid the temptation to futz with the layer lines. There will be layer lines.
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Mike McConville has a jig for doing that. I think you can buy it here. https://mcconvilleguitars.blogspot.com/
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It occurs to me I didn’t thoroughly read your description. What are your thoughts on preserving the headstock finish ? Is this to protect the serial number ?
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Man, that is pretty gnarly. You might see if Mohawk Amalgamator has any affect on it. I heard their formula changed though, so I’ll see if the one guy I know who uses it effectively likes the new stuff.
If not, you might try stripping it with compressed air. If you can preserve the oxidation of the wood and the original pore filler, your color match job is going to be a ton easier.
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The center is definitely pigments and not dye. It’s my understanding that the lines you see in those a pore fill bleed through too.
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Cool!
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By celluloid glue do you mean the slurry method of melting celluloid into acetone ?
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I would work on the archtops, the old flat tops, I find, to be too squirrely under string tension to take on for neck resets. Could be I’m just a coward now.
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I have the X1 C and absolutely adore it. From what I have heard, this one is pretty damn slick in some ways that even exceed the one I spent over a grand on. If you are ok with filaments that do not require an enclosure and the small build plate, this is probably the best entry level printer on the market. Once again , though, I dont actually own this printer and it is brand new.
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Sweet butterbeans.
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Well, I guess it depends on how you want to go about it. It occurs to me there are 3 different repairs here.
- The mahogany I would be inclined to repair with epoxy putty. If you are going to grain fill the area, which I recommend, you could cut fake grain lines into the putty and adjust the area afterwards with an airbrush. As it is inside the slot, it is going to be super hard to get to a bunch of angles of observation that will make the lack of chatoyance apparent.
- The pale laminate and the (assuming) ebony peghead overlay, I would use wood and do something similar to the scoopie technique from the Ding Kings episodes on the subject. Do you have any cutoff left over from roughing out the shape of the peghead ? If so, I would glue a slice of that on and trim it back by hand after the glue dries.
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I haven’t heard of needing to strain Mixols, but it makes sense. One of the downsides to using a gravity feed for pigments is that it will settle particulates to the bottom of the cup.
With all pigments, having more particulate than the solution can suspend, is part of the problem too. Straining can also solve this problem, although maybe going to the opposite end by making the color more dilute. I know that if you mix Blendall powders into lacquer, that does need to be filtered. Just haven’t seen it with Mixols.
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One thing I would say about the point zero that I use is that it is meant for very, very small patterns. If you run it wide open to try to use it as a small spray gun, kinda like the old Pasche or Badger siphon feed guns can do, it’s going to clog up the nozzle area. By small patterns I mean about the width of a large sharpie pen line is about as wide as you want to go.
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Im curious about the issues with the point zero, I haven’t ordered one in a while, but the last few I ordered served me great. Something might have changed.
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I’ve never had any luck with the burn in knife. That being said the last time I used one was in the 90s and the sticks were far from fresh and the balm was pretty funky too. All that being said, I still dont know anyone who professes magical outcomes with the stuff.
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It looks like you tackled it and fairly well I might add given what was there.
You could go in and touch up the edges a little where it got dark a little, but I’m not sure it’s worth it. I would do this by very carefully scraping those dark lines back with an exacto knife and then retouching. You could also maybe extract the dark bits under the tang of the fret and fill with either a maple scoop, or putty and give it some lighter color than what is there.
Its should be noted that the degree of difficulty on maple like this is 8/10 and you have already produced a solid repair that looks “professionally attended to” in the words of Frank Ford.
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Ink or pressed in ?
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This was a Ding King event.
