Jimi Hendrix’s Machine Gun is roaring in the shop today—fitting. With the fine weather and perfect humidity, I did give ’em the gun. Four more coats of nitro on Sakura, but more importantly, The Crow got the frosted Duco black lacquer. I had to wait overnight to see the complete result, and it’s breathtaking.
Exactly as I’d hoped, the Duco finish looks like crow’s feathers, and it is different on every part of the guitar. From bold, wide crystals to small intricate patterns—it’s all there.
The next step was to carefully un-tape the masked portions and then scrape the binding clean at the right time. There’s a fine line between too soft and too brittle to scrape. Happily, I got it just right.
I use a sharp blade to scrape the black Duco lacquer off the binding. I can vary the depth of the cut with pressure and the width is controlled by the angle of the blade relative to the side of the guitar.
Special care was needed to avoid scratching the clear nitro over the binding on the sides. After I was done I went back and did some final polishing and cleanup.
There is a pleasing tactile sensation when you touch this finish—something I hadn’t thought about but am happy with. I can’t wait to get all of the parts on this sucker and fire it up. That will have to wait for a bit while the finish cures completely.
I just received my first pieces of variegated nickel hardware from Dwight at TonePros. We’ve been batting ideas around for over a year, and it’s finally coming together. Based upon the traditional TOM vintage bridge, the alloys have been massaged and the finish is unique as well.
Of special interest are the tailpiece anchors. Machined from 1018 steel as per original vintage correct specs, they couple and ring out with a clarity that you don’t get from the cast pieces—or even brass for that matter. They are also the correct “long” length.
The matching tuner hardware is awesome as well. They are vintage Kluson type machines, but with a few important differences. First, the tolerances are to a more modern specification that wasn’t in the originals. Second, they are locked down from the top with a nut to secure them to the headstock. I individually fit each tuner, starting with an undersize hole. This increases stability and couples the string vibration to the head of the guitar. Here’s the test fit on a dummy neck.
I hand sand and buff each of the keys to eliminate any molding seams—this gives them a friendly feel like an old guitar. Then they are hand painted for a vintage patina. Then they are polished and fine-scuffed for a satin touch. I can’t wait to get these into the latest build. Thanks to Dwight and his crew for making this a reality.