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Jeff R

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Jeff R last won the day on October 6

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About Jeff R

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    Baton Rouge, Louisiana
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  1. Paint repair

    In my experience with a CA glue clearcoat repair, it works best on shallow clearcoat dings on flat surfaces. On edges and bevels, it's very hard to keep the CA glue in the target area as you build it up and then it's delicate and difficult to shape a non-flat surface with the taped razor blade without tearing all or part of the patch out or chattering it. Since the original finish is nitro and nitro typically kinda dissolves or melts into and cauterizes itself, and because of those CA challenges I mentioned, I think the nitro pens are the better option for the topcoat. Murkat Jay was spot on - time and patience. This is the kind of job that you'll do a little every day or two for a couple weeks if you want satisfactory results.
  2. Paint repair

    On ding/dent repair ... I make sure to assess people's expectations on finish repair before I take on those tasks. Totally invisible repairs that can pass all tests an OCD-plagued client's eyes and fingertips might execute are pretty rare, and anyone who comes in with those tendencies and sought results, I usually don't take the job because neither myself nor anyone else will likely be able to please them. Go into the task with an appropriate mindset and reasonable expectations as far as results - this is a patch, not a pro refin in both the task itself and $$$ investment. Considering the depth and scope of your gash, taken on as a first-timer DIY job at that, I'd say undetected from a few feet away would be a win. I've used the ReRanch and StewMac touch up pens with very good results. I've also had good fortune matching vivid colors like that Italian racing red with the Testors plastic model car and plane enamel paints in the tiny little bottles. I haven't had compatibility issues to date. Whichever route you go, you'll have to patiently build up the color in a few layers over a few days of multiple applications. It doesn't take many layers of color to get rich color, and we let the clear be the crater's "fill". Also, thin layers will stay in the "craters" of the dings and also help you maintain the line where the red and black meet when it comes time to make that distinction. I'd do the red first and then the black, with some nice pinstriping tape with an exacto and a fresh blade for it handy to get as crisp a line as possible when it comes time to remove that tape. For the clearcoat, StewMac sells an "aged clear lacquer" touch up pen ("aged," not "amber," the latter is too orange for this task) that may be just hued just enough to match any subtle yellowing your topcoat has acquired over the last 30 years. "Aged" or a true "clear" is for your eyes to assess. Again apply patiently in layers, like a layer a day, and gradually build up flush to a very, very subtle mound within the crater. DON'T use the lacquer pen tip as the "brush," it is too difficult to control the flow and you will at some point gloop out a blob of lacquer that will create a big mess and more headaches. I warm (not "cook") the paint pen in a pot of water on a stovetop so it will flow thinly, extract a glob of the lacquer into a tilted small glass baby food jar and apply with a small artist brush. After the clear layers are down, let it cure for a least a week so it doesn't smear or drag during leveling and buffing out. For that process, I'd first wetsand briefly and GENTLY using nice auto finish grade 400, 600, 800 and 1000 grit wet/dry paper, then use SM's micromesh pads going through all the fine grades, and then close it out with a soft cotton cloth and Formula 1 Scratch Out, a easy to use poor man's 3M Finesse-style polishing compound available at any chain auto parts store. The wetsanding and micromeshing in particular are where you can erase your previous work (literally) and basically make or break this job. Look for videos on wetsanding guitar finishes on YouTube to get a better idea of the process, preparing and using your wetsand papers, what you will see occur during wetsanding (clouding), and potential pitfalls. And if you want to get some experience and confidence, go get a beat up pawn shop cheapo electric and practice wetsanding on that first!
  3. Cali Body Size?

    Don't know if this sheds any relevant light, but I recently exchanged e-mails with Jol and he very, very nicely gave me all the information he had on my VR Centaurafornian custom job, from personal recollection to all the log book data. My VR's body is officially listed as "Stevens Dinky Strat" with added scalloped cutaways noted on the work order. Charvel created the "dinky" strat and if my Charvel history recollection is up to snuff, the dinky was first created by taking 1/4" off the entire around edge of a stock strat body. Basically the greatly beveled edge of an old strat body removed, then replaced with a more subtle, sharper bevel (think Ibanez RG). A Soloist is that same alteration formula, just neck-thru construction. I don't know if that transcribes to a 7/8 scale body, but that's physically how the first conversions of stock strat bodies into dinkies went down.
  4. BEST PLAYING GUITAR? Hmmmmmm.........

    Best playing guitar I've ever owned was an early 2000s Parker Fly Deluxe in "Majik Blue." The guitar was actually too perfect, it not only played itself effortlessly, sounded great and versatile and never went out of tune even when going to town on the non-locking trem, it weighed five featherweight pounds. It was too toyish compared to my traditional guitars and I felt it was better to retain my bond with the old designs rather than embracing the "out there" modern space age stuff. My trusty '96 G&L Legacy has always been a sick player, but earlier this year I refretted her with 58118s (very jumbos), crisped up her 12" radius, and did an oil finish on the trunk of the neck akin to old skool San Dimas Charvels. This guitar was always comfy like an old pair of jeans, now it's got sick low action coupled with tall'uns for as effortless playing as one could want or need.
  5. #0066 - An illustrated journal...

    Man, if that's not your favorite and the flagship of your collection, send it to me so it can be the favorite and flagship of mine. Wow, simply wow!

    Good call. I almost always go an out of phase sound for that middle position. Not only in LPs but in most 2H guitars, it seems once I set the bridge pickup (my primary one) to my tastes and then set the neck pickup to match the bridge in volume/perceived output, the "both" position is inevitably a repeat of one of the "only" positions and basically a useless, wasted position. On the other hand, if I intentionally set in-phase pickups to get three unique tones, one or both of the "only" positions sounds like meh vanilla whatever. I don't use the middle out of phase a lot, but a position used sparingly beats a position that's useless and subsequently never used at all.
  7. Whatsit called? Velocity or attack controlled gain?

    Aural exciter? I read "opposite of compression" and this was the first thing that came to mind. I don't know if an AE will do exactly what you're describing, but I'll throw it out there. I know I had an Aphex rackmount AE probably 25 years ago that was nice for hi-fi'ing the tone of my Boogie half stack when used at non-arena volumes.
  8. Mesa amps

    I don't think you can go wrong with either. If they don't both have the onboard five-band slider EQ (I consider that a necessity for any older Boogie), I'd get the one that has it. If they both have EQ, I'd get the Mark III personally for the "deep" push-pull (I don't think the .22 has that) and the sweet layer of phat and boom the "deep" control adds to all sounds, which is particularly nice if we're talking combos and even nicer if you want to thicken up strat and tele tones on the fly. Plus big wattage equates to big clean headroom, which is always nice for pedals. Sounds like both amps are older, you may want to be thinking now about a TLC/checkup for whichever you get and if so, sending it back to Boogie for them to do the work. I've sent two or three amps to Petaluma over the years and they have been great to work with, their prices were in line with what I'd pay a typical reputable amp repair guy and it's only fair to assume that since they designed and built the amps, they know their circuits, have OEM components or suitable value/quality replacements, etc. Plus they can mod their circuits a little to better hit your expectations and wish list (keep reading) For what it's worth, I've owned a Mark II, I think five or six Mark IIIs, three Mark IVs, one Mark V and an assortment of Dual Recs, Rectoverbs and Tremoverbs. I deduced over many years of ins-and-outs that the Mark IIIs are my favorite for my ears, hands and tastes. My current and last Mark III (Jan. 1990 green stripe) was sent back to the factory and they re-capped it, they replaced whatever had dried out or drifted over time, added a dedicated R2 volume on the back panel (STELLAR mod) and completely overhauled the reverb circuit (down to a new tank) to make it more akin to what's in the Lone Star circuit. Turn time from factory arrival to factory expedite was about a week or so.
  9. Duesenberg guitars?

    Just scanned the parts/tools page at Rockinger ... that sure does look like the Hamer OEM, doesn't it? https://www.rockinger.com/index.php/en/Truss-Rod-Wrench-for-Gibson/c-WG921/a-00W87
  10. Duesenberg guitars?

    This crossed the bench about a year ago and I was quite impressed. If you want one hollowbody in the stable, you can't find a Newport and are split between an ES and a Gretsch, this is a superb cross between them.
  11. Wood Filler Putty for Screw Holes

    I'd use tiny diameter dowel material and a dabba glue. Use a piece of guitar string as a depth gauge in the hole so you can compare and cut the dowel flush (with wire clippers) before you glue it in. If you err on the high side and the dowel is a touch tall, put masking tape over the glued in dowel nub(s) ... punch through the tape with the dowel overage and file or sand. The tape will protect the finish. If you err on the low side, fill the wee crater(s) with sawdust and a drop of super glue.
  12. Worst shipping job contenders

    Early 60s Gretsch Double Anniversary husk (body and separated neck) in authentically aged, checked and literally smoked "smoke green" w/Cadillac green sides and back. Each piece wrapped once in bubble wrap and thrown in a box with a stingy smattering of random loose bubble wrap. First two pics are how it was left on my doorstep by USPS. Look closely at the second photo and you can see Cadillac green - that's the back of the headstock trying to peek out. How the head didn't snap and how the hollow body was not crushed along with the box at some point is beyond my imagination. Third photo is unpacked, fourth photo is finished player's restoration a few months later.
  13. +20 on the recent generation of LR Baggs retrofit systems because that's about how many Anthems and Lyrics I've installed in a variety of mid- to upper-tier acoustics this year. While the Lyric is very good and quite sufficient, I prefer the Anthem as well. It simply sounds more rich, nicely full and robust. I've installed and troubleshot/fixed a variety of on-board acoustic systems this year and if I was upgrading my own go-to (self-restored and slightly modified '74 Gibson Hummingbird), it would get an Anthem, without question or hesitation.
  14. Multiple/daisy chained amps?

    I used to A/B/Y with small committed pedalboards for my BF Vibrolux Reverb (clean to grit) and my Soldano Astroverb/Boogie Thiele 1x12 (grit to apocalypse). I seem to remember getting a jolt a few times touching the two amps simultaneously with my first homemade A/B box. I soon bought a legit A/B/Y but I also made it a point to not touch the amps simultaneously so I can't say if either/or or both solved that issue. My multi-amp rig lasted maybe a couple months at most - twice as much shit to haul to gigs, set-up, break down, yada yada. But it was definitely cool while it lasted - tons of tones on command.
  15. Cabinet's Impact on Tone

    In addition to straight versus slant (straight is boomier IMHO too) and speaker selection, good solid wood throughout definitely helps too, so you may want to compare what your current cab is made of and what your target cab is made of. I found this phenomenon out accidentally with my first Boogie 4x12, one of the old half-backs with metal grate, back in the early 90s. I had decided to make a pedalboard the exact size of the top open-half. My logic was I could pop the pedalboard into the back of the 4x12 for transport. So I started making the pedalboard platform with a scrap of old big chip particle board I had lying around in my shed. I noticed it was slightly warped after I cut it and tried to seat it flat in the cab's frame. Since it was going to require more effort and a nicer piece of wood, I went and got some multi-ply birch, like the actual cab was made of. Twice as thick, twice as heavy, flat as a pancake. After I had finished the two boards and before I stuck pedals all over the "good" one, I decided just to bolt them in to see how the cab sounded fully closed, I had never tried that. Neither sounded as good as the half-back to my ear, but the solid birch back definitely threw more boom and authority compared to the shit wood. Similar thing went down about six years ago when I inherited a old 1936 series horizontal Marshall 2x12 from a buddy. I noticed it had a particle board backboard when I was tinkering with it. I soon changed that out for a heavier (and I assume stiffer) multi-ply back and it definitely made the cab sound bigger than it was.