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  #16  
Old 09-13-2015, 01:25 PM
joe white joe white is offline
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Certainly Howard. I use a .003 mask material and level the finish all the way flat between spray sessions. To keep from going too far when leveling, I draw a line around the outer perimeter of the mask with a pigmented artist marker and level only far enough to remove the marker lines. By the end of the second and final spray session, the finish has built up level to AND a bit over the .003 mask. On the final level, I want to just reach the marker lines but I do not attempt to completely sand it off but if the builder demands a .003 film on the top, I can carefully get there with this mask as my meter. By not removing the marker lines on final level, I end up with a measurable film of .0035 to .004 and the mask will pull free of the polyester leaving a nice, crisp edge. It's very possible that this would not work with other finishes but I think that as long as the finish and finisher are getting superb adhesion, the mask should also pull freely on those as well.
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  #17  
Old 09-13-2015, 02:07 PM
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fetellier fetellier is offline
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I mask with this product, it is thinner than the top finish so when you level sand the top the bridge and fingerboard areas can be brought level with the finish. I cut through the finish around the edge and peel it off.


http://www.hobbylobby.com/Crafts-%26.../p/7245-PE0812

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  #18  
Old 09-13-2015, 05:22 PM
viento viento is offline
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a little addition to my starting question:
How can I avoid different levels of the abalone ring around the sound hole and the rest of the top when I spray a colored burst? And furthermore masking the abalone ring seems a bit tricky to me...
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  #19  
Old 09-14-2015, 06:32 AM
John Arnold John Arnold is offline
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Quote:
He told me one of his early ones he screwed up but was able to sand most of the color off and start over
IMHO, only two scenarios are possible:

The top was too thick before finishing.
The top is too thin now.

Spraying aniline dye directly on the bare wood generally produces a different look than spraying tinted lacquer. This is due to the uneven absorption by the spruce that I mentioned earlier.
Just make sure you like the look that you will get. The stained sunbursts were used by Gibson and Martin until around 1934, and tinted lacquer sunbursts were used after that.

Quote:
How can I avoid different levels of the abalone ring around the sound hole and the rest of the top when I spray a colored burst? And furthermore masking the abalone ring seems a bit tricky to me...
I have always used regular automotive masking tape (3M green or yellow). The width should be a hair narrower than the pearl plus the black lines on each side of the pearl. I cut the right width by putting a 16" long strip of tape on a piece of Plexiglas or Formica, and use a metal straightedge and an XActo knife.

As long as the strips of tape are 1/8" wide or narrower, they can be stretched/bent to go around the curve of the rosette.

The step that will occur from masking the rosette and the edge purfling can be block sanded out after spraying a few coats of clear lacquer. You can minimize the step by mixing more color in the lacquer, but that can get touchy if the color goes on too quickly. The mix I like is when I can spray 3 or 4 very light coats to get the color density I want.

Quote:
Certainly Howard. I use a .003 mask material and level the finish all the way flat between spray sessions.
When masking the whole bridge footprint, I have used regular masking tape when spraying, but before level sanding and buffing, I remove the masking tape and replace it with packaging tape, which is very thin.

Last edited by John Arnold; 09-14-2015 at 06:53 AM.
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  #20  
Old 09-14-2015, 06:49 AM
mirwa mirwa is offline
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Have a look at the finishes on old guitars like say a 68 335, they used aniline dyes back then, it gives a really mottled effect. You either like the effect or not

Steve
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