I need tips/advise for re-finishing a '23 A-2

[Joey McKenzie]

A few years back I bought a truss rodded '23 A-2 that had been thru the ringer. Originally a brown top, someone globbed black paint on the top to cover a chimp-like attempt at gluing a top crack, etc. Short story long, I removed the back and completed all the needed structural repairs (re-gluing the end block to ribs, kerfing repairs, repaired the top crack, re-glued the top brace, etc) and the mandolin is now re-assembled and looking good. I have already carefully stripped the finish from the body, but not the neck as of yet. I am thinking that I will most likely strip the neck as well, since the entire body will be re-finished and it may be better continuity wise to do everything.

Things cleaned up pretty well, but there is a bit of black stain/paint showing up on the top, so I have decided to make this A-2 a black top to cover the slight black discoloration (didn't want to sand too deep). I am fairly experienced in structural repairs, but finish work is not my forte. Here are my main questions:

1) What is the best method to keep the 2 wood sound hole purfling/rosette rings clean and crisp looking when finishing in black? The obvious thing is to tape them off, but any tricks and advise would be helpful. I have seen re-fins where the sound hole rings look pretty clunky and just not "right".

2) What method should I use for finishing the body? Hand applied stain/dye? Sprayed? I do not have a spray rig, so if it is best to spray the mandolin, I would most likely hire someone else to do it. If it can be finished authentically by hand, I would like to do it myself - I have a pretty good eye and would kind of like to complete the entire job by me little self! I need stain/dye brand names, correct color shades/names for the black top, as well as the correct colors, brand names, etc for the back,ribs and neck. When done, I would like it to look like an authentic Gibson blacktop - not just a pretty black in-accurate finish.

3) What other un-expected horrors might I encounter doing the re-fin?

4) I would consider letting an experienced guy/gal to do the finish work, if it makes sense investment wise. Any Ideas?

When I initially got this mandolin, it had all the above mentioned problems plus a horrible ill-fitting bridge, 35 year old strings, worn out frets, and it still was one of the best sounding A-2's I've ever played. I still need to re-fret it and replace the fingerboard binding, but that's about all. It's been a fun project, things are looking good so far, and I want it to end on a high note.

Any ideas and thoughts would be appreciated!

Joey McKenzie

[Rick Turner]

Have a pro do the finish. An instrument of that particular vintage (Loar years) should be done right, and it's no instrument on which to learn.

I recommend Addam Stark who shares spray booth space with me here at my shop.

[Paul Hostetter]

I'll second that.

[Bill Van Liere]

I'll third that, and I'm not even an expert like the two before me.

[Gail Hester]

...and a fourth.

[Steve Davis]

And I was going to recommend Gail Hester.

[Paul Hostetter]

It's not about who, exactly (Rick and I have one very talented finish guy nearby, but I know Gail is just as capable), but about the wisdom of practicing on a potentially valuable instrument. Practice instead on a Kay or a Kentucky, where less is at stake. I have an A-4 in right now for multiple offenses, but someone in its past stripped and refinished the top, having sanded completely through the rosette on one side. The finish seems to be Watco.

[Joey McKenzie]

Thanks for the advise - it sounds like I should hire a more experienced person to do the finish!

I have been doing repair work for many years and feel confident in the work I do, but if I don't feel confident I won't do the work. Just wanted to find out what is involved in finishing a blacktop Gibson mandolin, and if it was do-able by a fairly talented amateur. Don't worry - I'm over it!

Any ballpark ideas on what a re-fin will cost?

Thanks!
Joey McKenzie
quebesistersband.com

[Pete Martin]

Hey Joey, why don't you just refinish it like that old black Martin tenor you had years ago

[Joey McKenzie]

Man Pete, that's getting back probably 30 years or more! That was a 1929 Martin 2-18T someone painted black, but otherwise was in amazingly good condition. Bob Steinegger refinished it and I later sold it to Monte Gaylord. You might remember O'Connor played one as well. I still have another '29 2-18T that I've had since about 1979, and it's name is "Petey"!

Joey McKenzie
quebesistersband.com

[spinality]

I'd love to hear the other shoe drop on this project: How did it turn out? Also:

It's...about the wisdom of practicing on a potentially valuable instrument. Practice instead on a Kay or a Kentucky, where less is at stake.

I'm sorry that nobody suggested that you do precisely that: Practice/learn finishing techniques on a couple of lesser instruments, and see whether that work brings you up to the level where you're comfortable doing the A-2 project. It's obvious from the complexity of the other restoration work you've done that your finishing skills would develop quickly. You're going to go down this path (finishing) sooner or later; having lavished so much care on this instrument, it's too bad you couldn't deal with the finish as well. (Though it's impossible to argue with the position that this instrument deserves to be "done right"...so maybe a couple of practice jobs wouldn't be enough.) Well, I'm sure it's moot by now.