There’s something uniquely alluring about the finish of a genuine vintage , but we can get close via artificial means. Huw Price shows you how to relic a swamp ash T-style body…
We have previously covered the process of finishing a body and will no doubt do so again in one form or another. So the starting point for this project is a finished and polished body with a nitrocellulose finish.
This could be a body you have sprayed yourself with the intention of distressing, or a factory finish on a body of a you own already. The crucial bit is the nitrocellulose finish because if it’s poly, oil, acrylic or anything else, none of the following techniques will work.
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This project was enjoyable because there was no pressure to create something vintage authentic. The brief was merely a Surf Green finish with medium distress and lots of lacquer checking. The body was a swamp ash T-style finished with clear cellulose sealer coats, a white base coat, Surf Green and several layers of light tint and clear lacquer. All the finishing materials came from Steve Robinson at Manchester Tech, and we would highly recommended that company.
Much is made of the tonal benefits of wood-to-wood and wood-to-metal interfaces, with neck pockets left unfinished, and the likes of Eric Johnson advocate the removal of finish beneath the bridge area. Working on the assumption that no harm could come from that approach and it may actually result in enhanced tone, I decided to try something new.
The masking tape is removed carefully to reveal base wood. Excess grain filler has plugged the string holes, but it helps to prevent the wood from swelling and cracking the finish while wet sanding and it can be drilled out later
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Over the years, I have built a handful of acoustic s and it’s common practice to apply masking tape to the front in the area where the bridge is destined to be. Wood glue is designed to stick wood to wood and not wood to lacquer, so the masking tape makes it quicker and easier to expose the bare wood after the finish has been applied.With that in mind, I carefully masked off the area under the bridge, following a line just inside the outer edges of the bridge plate.
The tape had to be left in situ until the finish had cured properly and the cutting and polishing process had been completed. To remove the tape, I scored around the edges with a craft knife then cut across the middle of the pickup rout. I peeled the tape from the outside in to reduce the risk of causing damage to the finish.
You can make a mini sanding block from a small offcut of hardwood and double-sided tape. Here, it has been used to remove sprayover from the edge of the neck pocket
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I followed the same procedure for the neck pocket, cutting the masking tape just inside the outer edges of the neck pocket . After removing the tape, I sanded away the overspray with a small block. When this is finally assembled, both the neck and bridge will be coupled directly to the body.
At the start of this process, you may well find yourself staring at a shiny and pristine finish. This will be your final opportunity to ask yourself if you really want to go through with the process, because there’s no going back.
My approach is to begin by adding dings, dents and chips to the finish because when I get the lacquer to check later, the lines will form around these marks. Look closely at genuine vintage finishes and you’ll see that’s how things tend to happen in the ‘natural world’, and it can look amazing.
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Like the guys at Fender and Gibson, I collect several bunches of keys and simply drop them onto the body. Remember to do the sides as well as the front and back – and be aware that the longer the drop, the deeper the dents.
Notice how the lacquer checking lines correspond with the dings and dents. This is why you have to damage the paintwork before cracking the lacquer
It’s actually quite hard to gauge because dents that are seemingly superficial can look far more prominent later on. Adding too many chips and deep dents can look a bit over the top.
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Before dinging up the finish, I fit the string ferrules, pickguard, bridge, neck plate and control plate because it’s unrealistic to damage the finish under those areas. Having them in situ provides a modicum of protection in the surrounding areas and will give you more realistic results.
All the fixtures and fittings have to go onto the body to ensure they line up properly. The bridge, pickguard and control plate also ensure dings and dents end up in the right places
I also try to tap the finish strategically with blunt objects and screwdriver shafts. Achieving a convincing look requires variety and randomisation . You can go for larger chips around the edges, and I sometimes use a dental tool to flake off the lacquer. Look for pictures of genuine vintage s with the same body shape as you are working on and you will be able to identify the areas that tend to take the brunt of things and copy the wear patterns.
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In the natural ageing process, bodies usually get chipped around the bottom edges. Here, the lacquer has been chipped through to expose the wood
I’m partial to a bit of rub-through on the upper bout, but many artificually-aged instruments are merely sanded in this area. When that’s done, you get to see the layers of tinted topcoats, colour and base coats and the wood beneath. It’s a nice effect, but it’s rare to see genuine vintage s with that sort of wear – and the sanding lines can be a giveaway.
In my experience, vintage edges tend to be more jagged and rough. To simulate the effect, I rub through the finish with slightly damp 1000 grit wet and dry paper, followed by finer grades of micromesh . It’s actually quite a slow and gentle process that doesn’t require specialist ‘tools’ such as bicycle chains or belt sanders. To achieve the jagged edges, I flake away the finish using my fingernails, taking care to avoid scratching or denting the wood.
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Loose bits of chipped lacquer never look quite right. You can flake them out and modify the shape and size of the dent using one of these dental tools
I don’t particularly enjoy this part of the process because at the end of it the body looks worse – more like a nice finish that has been subjected to random acts of violence. Fortunately, however, things start to improve from this point onwards.
Almost every vintage with a nitrocellulose finish will show some degree of lacquer checking. It’s caused by rapid fluctuations in temperature, and over the years can develop into intricate and fascinating patterns that many people find aesthetically pleasing. Needless to say, inducing lacquer checking is a fundamental part of the faux-ageing process. According to Edwin Wilson, the Gibson Custom Shop’s Historic program manager, lacquer from different eras checked in various ways depending on the formulation.
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This area of the upper bout has been rubbed through with very fine wet and dry paper and micromesh cloth. You can see how much lighter the Surf Green looks where the tinted coats have been removed
So, on a 50s Les Paul you might expect to see the checking lines going from side to side on the body and headstock. On 50s Fenders, the checking generally follows the grain lines, but by the time of s made in the mid-60s, when Fender was using Fullerplast as a base coat, the checking often ran side to side.
Since it’s safe to assume that none of us is equipped or legally entitled to formulate our own lacquer, Gibson and Fender included, the technique used for getting lacquer to check has to be considered carefully. This is why Gibson Custom relies upon a method of razor-cutting checking lines into the lacquer that was made famous by the company’s ageing guru Tom Murphy. For the vintage reissue models to look authentic, the lines must have a specific look, so that cannot be left to chance.
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Picking away at the edges with a fingernail creates a ragged and jagged edge. We think this looks more authentic than the soft edges of a straightahead rub-through
Others use the freeze and thaw technique, and for this you’ll need patience and a big freezer. Simply put the ’s body in the freezer overnight, let it thaw out and repeat the process until you see checking lines beginning to develop. Sometimes, it happens straightaway, and sometimes several cycles may be required, but the results can often be excellent.
For this project, I went with my usual method of heating and freezing. The heat comes from a hair dryer or a paint stripper gun. If you use the latter, select the lowest heat setting and keep the gun
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