So, the Squier has been here for a while, and has started to undergo some significant changes. It's had a BadAss Bass II bridge on it for about a week, now. What a great upgrade! For such meh tuners, the sustain has improved considerably, and the differences in tone and resonance are like night and day from the flimsy Squier bridge.
When I got it, I ultimately decided against sanding the fingerboard. That decision has been repealed. I decided to order some Mother-of-Pearl/Black Pearl (could be Abalone, couldn't tell from the pictures (but they sure do look good)) Roman Numeral Block inlays for it. They're actually vinyl, and I got to thinking that regardless of how thin they are, that's going to mess with a fretless during slides (and, aren't slides the whole reason we go fretless? C'mon, I play bass, too; you can be honest ;)).
The solution is pretty simple: Polyurethane. I was cleaning the neck on my Geddy when it dawned on me; There has to be over 500 coats of polyurethane on that maple fingerboard. That's a big part of what makes it feel so fast. Polyurethane would also eliminate any unnatural rises on the fingerboard after a 1/32inch coat, as well as protect the inlays and preserve their color and appeal forever. Well, the Geddy sounds AMAZING... ...So, what's good for the goose is good for the gander, right?
Time to find out! The first step is pretty obvious. I don't want to lay these inlays down over a gloss black fingerboard with scuffs here and there and string-wear marks on it. The only thing I never really liked about this axe was the appearance of the fingerboard, so this works out famously. Some 400grit sandpaper, some tack-cloth, some air duster, a lot of patience, even more attention to detail, and a Philips screwdriver later and I've got something to be rather proud of. The sanded fingerboard gives a matte look that looks a LOT more like real Ebony. At least while there's no polyurethane on it, it seems to have something of a warmer sound, too... ...Just a little more 'mwah', if you will :)
The next step, of course, will come when the inlays get in. The inlays I'm using will have I, III, V, VII, IX, XII, XV, XVII, & XIX in either Black Pearl or Abalone (can't tell from the picture, myself, what do you think?) set inside Mother-of-Pearl blocks at the respective frets. Once placed in, they will keep their transfer tape while I apply enough polyurethane to bring the surface of the fingerboard level with the inlays. At that point, I'll remove the transfer tape and start applying polyurethane over the entire surface of the fingerboard (sanding and cleaning between all coats, of course, with 800-1000grit sandpaper and tack cloth until the entire fingerboard is level, smooth, and between 1/32inch and 1/16inch higher than it was when I started.
The end result should be a beautiful, smooth surface that plays fast as hell and now has gorgeous inlays. At some point in time, when I've done a LOT more research on shaping necks, I'll shape the neck and give it a satin finish. I have plans for the body and headstock that will stay secret for now. Baby steps and all that... ...I'll post pictures of it when the inlays are in and the neck is properly glossed and back on the guitar. Stay tuned!
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