COY4003AFG Finish

[whojamfan]

The yellow in the CV used on this model, is it in all layers, or just 1? The reason I'm asking is that the inlays are very dark and the neck binding has 1 spot where the the color is a little inconsistant. I would like to sand/scrub/rub-whatever the finish in these spots to bring them out, but I by no means want to remove the CV entirely. Any advice?

[collin]

very good question!

The Amber Fireglo was designed (I think...) to make newer fireglos look like older aged fireglo. The downside is that the entire instrument was sprayed with amber, leaving the inlays and binding a sickly green color. I'm sure it would have been a ton more work to shoot clear CV, then tape off inlays/binding etc, and then shoot amber CV over the fireglo bits (so I understand why they don't do it). My favorite AFG models are dot-inlay models like the 330, 1996 etc because the inlays don't have that weird look to them. It's like the amber makes the fireglo look nice and vintage, but a vintage fireglo instrument doesn't have the green bindings etc, they don't amber nearly as much as the fireglo parts do.

Guess that's a long-winded way of saying I have no answers, but that is a very good question---I'd sure like to know!

[jingle_jangle]

The problem you're having, Mike, is because the Amber Fireglo is achieved with an ambered conversion varnish, along with a different FG color blend. The purpose of the tinted CV is to "age" the binding and inlays somewhat, but often appears to be overdone a bit. Because the degree of ambering is tied to the thickness of the CV, a heavier spray or one extra coat can lead to a very yellowed finish, and the converse is also true--a lighter spray, fewer coats, or a bit more sanding in an area (like your binding section), shows up as less ambering.

When I amber a guitar or bass, I spray the amber tint as a separate coat of color, and use non-ambered conversion varnish over it. This way, I can easily control the amount of ambering, going very light over fretboard and inlays to avoid the bad teeth look, and giving a nice even coating to all the bound areas. It's not necessary to do any time-intensive masking when it's done this way, but it does one (very quick) extra step.

If I was doing this in production, before I would spray my batch of AFGs, I would prepare one dedicated gun with an amber tint to go under the CV. It would add literally five minutes to the process. This way, no matter how many coats of CV are applied, and no matter how much sanding is done, the color goes on controllably and remains consistent throughout the process, right into the happy user's hands.

[collin]

to avoid the bad teeth look

Well put.

[Danotron]

I love the AFG color on the basses and guitars, and I even like it on the binding; but I have to agree that I'm not so crazy about it on the inlays either. That's one of the reasons why I sent my 2006 620 AFG up to Paul W to redo the inlays (that and I absolutely love the crushed pearl!).

I have noticed that Amber Fireglo, like regular Fireglo, changed between 2006 and 2008. I know it was COY for 2006 but because of the backlog they were still filling orders in 2008. I have a great 660 AFG from 2008 that the inlays, although they are definitely "greenish", don't bother me as much, but if I could lighten them I would.

On the other side, one of the cool side effects of the amber tint is that it also darkens the fret board to a richer brown color, at least it did on mine.

If there was a way to slightly lighten the inlays without losing the brown, I'd love to know about it.





(I seem to be on a picture binge tonight )

[whojamfan]

It doesn't have any green tint to it, the inlays are just a little too dark. No old man teeth or any of that, just a bit much that I was hoping could be easily remedied. It's a 2006, and has already changed colors a little, as it was a very Monty Brown looker on the edges, but now is getting more red.

So basically, short of refinishing the CV on it, I'm married to it?

[jingle_jangle]

There is a way to lighten the yellowed effect, but it is a bit tricky: Sand off the CV on the fretboard, working between the frets, and using 1000 grit wet or dry, wet, and hard foam blocks, to gingerly remove a portion of the ambered CV's thickness. This can be done with patience, although it's fiddly and not for the faint of heart...

Then re-buff on a buffing wheel.

In other words, it's a specialized luthier's operation unless the owner has a strong constitution and a weekend to spend.

[whojamfan]

So, no nail polish remover and a sham wow?

Thanks for your help

[johnallg]

There is a way to lighten the yellowed effect, but it is a bit tricky: Sand off the CV on the fretboard, working between the frets, and using 1000 grit wet or dry, wet, and hard foam blocks, to gingerly remove a portion of the ambered CV's thickness. This can be done with patience, although it's fiddly and not for the faint of heart...

Then re-buff on a buffing wheel.

In other words, it's a specialized luthier's operation unless the owner has a strong constitution and a weekend to spend.

Wouldn't you also need to be really careful to not take the CV on the frets down to the metal? Is it thinner than over the wood/inlays?

[whojamfan]

I'm not even going to try this, it's not a big enough issue to risk.

[jingle_jangle]

Wouldn't you also need to be really careful to not take the CV on the frets down to the metal? Is it thinner than over the wood/inlays?

This sort of takes care of itself. The CV forms a hardened meniscus at the base of each fret on both sides. When sanding, the paper does not cut into this when using a hard foam block as I do.

And there is no CV on the tops of the frets, so no worries there. And, it's the buffing that makes everything nice and friendly at the end:



That's Dan's 620 in the photo, incidentally. Dentally, get it?

[johnallg]

After reading this and looking at a fretboard, I see what you mean. Also from what you say the foam would not exert enough force to do any serious cutting. Thanks Paul.