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Goldtop always looks good, but, that is a really nice top
This is *way* more interesting than yet another burst clone. Beautiful wood - be a shame to cover it up, but goldtops to look the nuts, too... And opens up refin options in future.
also, the top isn't really good enough for a normal burst, might work for a dark burst but that's not the plan here.
it may look so good natural I change my mind later... but i am sticking with the gold plan for now
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At this point i will just keep everything close by whilst I work on the neck. It needs a bit of tweaking around the switch area but mostly I am happy. Its a much softer carve than my last one, even though i used exactly the same templates. I think i was more aggressive with the sanding on this one. The result is a less pot bellied carve which should suit the style I am after
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Are we down to 80% sure now???
having a nice bit of figure under the gold is still well in the spirit of the originals.
@steverobinson do you do the proper gold top paint in aerosols? Can't see it on the site
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Last month, I finally had it resprayed by @DamianP in his Gold, and it looks so much better - bottom pic
I'm sure that Steve's paint has improved since then and maybe there was an error in the application, but I just wanted to share my experience.
Rift Amplification
Brackley, Northamptonshire
www.riftamps.co.uk
The Probett finish does look great though... it would put me off doing the relic job i want to do
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Ah yes in 2010 it didn't use Bronze powder in the formulation but it's the best my lacquer supplier could do at the time.
Yes, it has changed completely since I figured out how to handle the bronze powder in an aerosol formulation.
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I fully intended slotting the fretboard tonight. I couldn't find find my fret slotting mitre block.
Whilst looking for the fret slotting equipment I found a ready slotted 24.6" rosewood fretboard. So that's now prepped and ready to go. It's not an accurate scale for the early 50's - buts its my favourite version of the 24 3/4" compensated scale length. Its also what most bursts have, but that's a very simplified statement to describe whatever was going on with Gibson's fret spacing during the 50's and 60's
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