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SHOW YOUR DISTRESSED FINISHES!
- Thread starter JIO
- Start date
That's amazing! Thanks for posting! What kind of guitar is it?
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
Hard to see in the pics, but the clearcoat has cracks all over the place.
Rick B.
Rick B.
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
From an ebay auction - '75 J
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
The '75 J above is an example of a historic 'ruin' - not especially attractive, even somewhat repulsive visually.., but it exists in this form because it was played. Being that it was played so much, there's a fighting chance it was because it plays/sounds good. But aside from that, maybe the future buyer will have it professionally refinished in period correct sunburst. Maybe they'll leave it as is. No judgement. It is a thing, a utilitarian device - a musical instrument. It's the painted wooden door that gets opened and closed over and over again for years and years allowing access from point A to point B. It's a look that evolved over time mostly w/o notice but it's quite special if you unbiasedly can focus on it. Sorta like finding a sea shell that's been shaped/pummeled/formed by the ocean. How could it ever be anything but intriguing?
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Not sure if this counts as "distressed" or just insane lacquer checking, but fwiw:
- Jun 30, 2010
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Not sure if this counts as "distressed" or just insane lacquer checking, but fwiw:
I think clear-coat checking falls under the distressed umbrella - it's the most subtle form!
- Jun 30, 2010
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bgmttt posted his lovely '60 P on another thread http://www.talkbass.com/threads/1960-fender-precision-finish.1062678/page-2#post-16706528 which shows before-after pics of this bass. It was professionally re-finished in a great distressed look by Dilian Obretenov - Link Removed
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It's always tough to get the whole story based on photos but that looks like it's well done, and if the owner is happy that's all that really matters.
Personally I'd prefer a fresh "vintage/nitro" refin on an old bass like that and let it wear naturally....ultimately I didn't write the check for this so I would never second guess the outcome. That bass looks a thousand times better than it did before the OW treatment!
Personally I'd prefer a fresh "vintage/nitro" refin on an old bass like that and let it wear naturally....ultimately I didn't write the check for this so I would never second guess the outcome. That bass looks a thousand times better than it did before the OW treatment!
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
It's interesting, and lowphatbass 's input brings it into focus. Before, that wonderful bass looked shabby due to a very amateur refinish. After - it looks awesome! Money was spent, in my opinion, wisely as it brings out the character of a bass that has not only been around for 54 yrs, but has been played for 54 yrs. We'd all love to be the one who creates the physical history on a bass - but frankly this one was not it right? It had already been 'deflowered'. So my point is it was a sophisticated aesthetic choice to create a 'look' that encapsulates the basses history (real or romanticized-who cares?). It's one step beyond an 'authentic nitro refinish'. A refinish is a refinish, regardless of the tact taken. Thumbs up to bgmtt 's choice.
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- Jun 30, 2010
- 49,619
- 222,151
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- musician/artist/owner - Gildaxe
FCS '56 P-bass gold sparkle 'relic' currently on ebay
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
'64 lefty P - from Andy Baxter on ebay
- Jun 30, 2010
- 49,619
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- musician/artist/owner - Gildaxe
- Jun 30, 2010
- 49,619
- 222,151
- Disclosures
- musician/artist/owner - Gildaxe
FCS 2013 NAMM 'heavy relic' Vintage Blond P-bass
I can be a take it or leave it guy on "relic-ing" as there are soooo many different results and different techniques that each individual think actually looks "right". To each his own, but MAN, I AM ALL ABOUT THIS ONE! *SPLOOOSH*FCS '56 P-bass gold sparkle 'relic' currently on ebay
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
Yes, relicing affected (as a technique) can have varying results both good and bad. (or worst, mediocre) Time and time again the whole notion of 'distressed' rises to the surface of the debate. Those who worship smooth and shiny (not insinuating you here - just follow me) will react the strongest to a distressed finish for two reasons; if real it is looked at as "abused" and therefore not "worth" as much, and if used as an affected look, because it's not "real/earned" regardless of quality of technique. To those folks I respect their right to have this aesthetically challenged opinion but just wish they would return to polishing their shiny instruments and know we've all heard their side of the story ad nauseam and "one more time" won't impress or persuade anyone thank you. I have my own theory why people think like this, but Jim, Jim - I'm a bass player/artist - not a doctor!
I like shiny, and in fact I think a very distressed finish like on the lefty P-bass emphasizes/brings into focus the shiny bits left because of the wear. In summery, it's a big world and there's plenty of shiny instruments out there to coddle.
This thread is a serious study and consideration of the iconic look and implied history of distressed instruments to be enjoyed visually and discuss philosophically. A continued welcome to all who have open minds and eyes.…as you GFB just illustrated (the open-minded version) which is once you see the gestalt of the technique - you are able to like it, or not based on 'seeing' it for what it is - a visual artistic 'look'. As an artist I look at it objectively as an object, as a vessel that embodies a history of use with a treasure trove of stories to imagine caused all that 'mojo', and I appreciate when it's done well. It's like going to a film and acknowledging the 'suspension of disbelief' - one accepts it's not real, but allows themselves to enjoy the fantastic presented before them. If distressing is done well, it shows not only believable 'mojo', inviting that use history imagined, but it displays the artists' skill and their critical eye for mocking/replicating/imitating reality artistically.
The distressed glitter P is cool even more so because those sparkly finishes are so artificial looking.(no hint of wood showing through like on a 3TSB) So seeing the core wood starkly revealed as the surface is worn away really pops because it's natural/organic vs artificial/superficial. I'm not especially crazy about the blue/red FCS P as those two colors always clash in my eye and the distressing is just not as good on that one. The lefty with real use mojo is hands down awesome -
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.....
The distressed glitter P is cool even more so because those sparkly finishes are so artificial looking.(no hint of wood showing through like on a 3TSB) So seeing the core wood starkly revealed as the surface is worn away really pops because it's natural/organic vs artificial/superficial.....
My same thoughts when I saw it.
May be the first glitter bass I've wanted to own.
Agreed. I used to paint for this guy http://davesguitar.com/ and still do some painting and have owned many distressed instruments but at a time when they came by it the "hard way" so to speak (pre "relic-ing" era). I do enjoy a nice vintage distressed finish...so much character and history. I remember reading an interview with Jaco once where his bass was discussed and he said how he knew where every dent ding and splat of chicken grease was on it. Also as an artist (of the visual media type) there is something artistic about a nice vintage, worn in instrument much the same as an aged painting. My wife/beautiful lab assistant refers to guitars as art pieces, literally, (which helps when I want another one LOL) and I really appreciate the handwork that goes into a "well done" relic.Yes, relicing affected (as a technique) can have varying results both good and bad. (or worst, mediocre) Time and time again the whole notion of 'distressed' rises to the surface of the debate. Those who worship smooth and shiny (not insinuating you here - just follow me) will react the strongest to a distressed finish for two reasons; if real it is looked at as "abused" and therefore not "worth" as much, and if used as an affected look, because it's not "real/earned" regardless of quality of technique. To those folks I respect their right to have this aesthetically challenged opinion but just wish they would return to polishing their shiny instruments and know we've all heard their side of the story ad nauseam and "one more time" won't impress or persuade anyone thank you. I have my own theory why people think like this, but Jim, Jim - I'm a bass player/artist - not a doctor!
…as you GFB just illustrated (the open-minded version) which is once you see the gestalt of the technique - you are able to like it, or not based on 'seeing' it for what it is - a visual artistic 'look'. As an artist I look at it objectively as an object, as a vessel that embodies a history of use with a treasure trove of stories to imagine caused all that 'mojo', and I appreciate when it's done well. It's like going to a film and acknowledging the 'suspension of disbelief' - one accepts it's not real, but allows themselves to enjoy the fantastic presented before them. If distressing is done well, it shows not only believable 'mojo', inviting that use history imagined, but it displays the artists' skill and their critical eye for mocking/replicating/imitating reality artistically.
The distressed glitter P is cool even more so because those sparkly finishes are so artificial looking.(no hint of wood showing through like on a 3TSB) So seeing the core wood starkly revealed as the surface is worn away really pops because it's natural/organic vs artificial/superficial. I'm not especially crazy about the blue/red FCS P as those two colors always clash in my eye and the distressing is just not as good on that one. The lefty with real use mojo is hands down awesome -
I also, for the same reason didn't care for the blue one either. The colors were (to my eye) not complimentary. The sparkle had a great contrast with, what to me, read like a sparkle "hot rod/surf board" 60's sort of finish that had been laid over a classic sunburst, as if 10 years later, all worn through to reveal the wood beneath...IN PROPER, BELIEVEABLE WEAR LOCATIONS, and the anodized aluminum guard, surely a one-off deal here as I don't recall (but could be wrong) that style ever being anodized, was the icing on the whole deal. And that blonde after it was also a *sploosh*...
I love this thread though because it is a wonderful gallery of art and history.
