Thomas, you are indeed blessed to have that wonderful instrument in-hand! Hopefully, you'll get some time to post more about your sound discoveries, including recordings if you have the time and inclination. These are very inspiring guitars.
To make a long story short, try air drying your wood and avoid commercial rapid kiln dried lumber. Average is 1-2 years per 1” of thickness. Flat sawn wood requires about twice that. At this stage the wood cells should be “open” enough for borax treatment. About 48 hours submerged in water/borax (water should turn dirty). This will prevent any fungi from developing and will also make the wood easier to machine later. Next stage is drying for about 30 days (in Arizona).Hey @preeb , I'm working on my first build (15 years of dreaming and a couple of false starts along the way) and I'm totally hooked. I've been binging your threads for the last few weeks and I'm so grateful for all the knowledge you are willing to share and the level of detail. Your unwillingness to compromise on quality coupled with your constant search for improvement and innovation is inspiring, to say the least. I've started a detailed project plan for my next build, an LP, which is chock-full of tips, tricks, methods and advice from your threads, so thanks!
I joined this particular forum because I have so many questions for you (sorry ) on all kinds if topics and methods and what not across different threads, but I wanted to ask you here, if that's okay, about your way of making the wood lighter with water and salt.
I find the fact that you even thought of trying it fantastic, and I loved the Cremona story that inspired you. I wanted to try to pry a little into your methods; how do you wet the wood? Do you submerge the wood completely? How long for each part (sweet&salty)? How long do you dry it afterwards before using it? I assume you use roughly the amount of salt to get a similar salt level as the mediterranean sea? You said somewhere in one of your threads that you don't like a really light neck, does that mean you only use the salted wood for bodies? What additives so you add to speed up the salting proces?
Sorry for the flood of questions, I'm just fascinated by this idea and process and would love to try it one day. If I'm overstepping on some of these, then I will take zero offence to you ignoring some or all of these questions (I realize that you've used a lot of time and effort refining your process and might not want to share some of it).
Thanks again Gil! I'm Ásgeir by the way
This all bloody unreal! Do you happen to have any ratios for your pumice pore filler mix?Old school oil pore filler mixed from boiled linseed oil, 4F pumice, mineral spirits, lacquer and oil soluble dark mahogany aniline pigment powder.
Application is with a brush and then I force the stuff into the pores with burlap
Once it hardens a little about 30 minutes later I repeat and leave it until the shine is gone and it's looking a little hazy
then I scrape it flat and hang it for 48 hours. Very messy process... but it has to be done properly twice in order to allow a good surface for super thin lacquer coat.
Please post a photo of the color you are referring to.Gil, your Rusty Cherry is very close to the color I want to put on my current build, a little archtop inspired by the old Gibsons. I don't want the dark edge of a Cremola or tobacco burst, just the amber center fading to red/brown on the sides. Woods are spruce and mahogany, I'm wanting to darken the back and sides a bit and have the top fade into it. I haven't done a tinted shellac finish and this isn't the place to learn, but I think I can get close with just stains and lacquer. I assume you mix dyes to get that color, do you mind saying what you did use?