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Fattar inte heller.blackparkas skrev:Men vänta nu.... Är det här ett BRA pris helt plötsligt!?
Tycker att vi svänger väldans i vad vi tycker är bra priser eller icke....
Vi lovar att ha som målsättning att jobba i den riktingen att denna fråga utreds en gång för alla! En förundersökningskomitte är redan tillsatt och ska ha kick off senare i veckan.200071 skrev:Det är kanske dags att klargöra en del här?
Frågan är om OK är lika med bra eller om möjligtvis bra ska användas enbart om fynd. Då undrar man om fynd ska räknas som X % under OK. Men vid vilket X ska OK ändras till fynd? Eller kan det vara så att bra ligger mellan OK och fynd? I så fall måste det finnas både X %och Y % dvs X % under OK blir bra och när man närmar sig Y % blir det ett fynd. Utredas bör även huruvida icke OK kan användas för fynd eller om icke OK enbart förknippas med priser över OK vilket ju är lika med bra för säljaren.
Det tål att tänkas på....
200071 skrev:Det är kanske dags att klargöra en del här?
Frågan är om OK är lika med bra eller om möjligtvis bra ska användas enbart om fynd. Då undrar man om fynd ska räknas som X % under OK. Men vid vilket X ska OK ändras till fynd? Eller kan det vara så att bra ligger mellan OK och fynd? I så fall måste det finnas både X %och Y % dvs X % under OK blir bra och när man närmar sig Y % blir det ett fynd. Utredas bör även huruvida icke OK kan användas för fynd eller om icke OK enbart förknippas med priser över OK vilket ju är lika med bra för säljaren.
Det tål att tänkas på....
Bra pris=Ett pris inom rimlig, eller något billigare, nivå för objektet, förutsatt att instrumentet är bra och har bibehållen originalitet.blackparkas skrev:Men vänta nu.... Är det här ett BRA pris helt plötsligt!?
Tycker att vi svänger väldans i vad vi tycker är bra priser eller icke....
Har ju en gul fläck till vänster om stallet. Motivlackat.bootsy skrev:Är svart custom color?
Japp, vid den tiden var bara 3T sunburst standard, de andra kulörerna fick specialbeställas mot kostnadstillägg.bootsy skrev:Är svart custom color?
Fast att man får betala tillägg för en annan färg är ju inte samma sak som custom color?Bassmaniac skrev:Japp, vid den tiden var bara 3T sunburst standard, de andra kulörerna fick specialbeställas mot kostnadstillägg.bootsy skrev:Är svart custom color?
Anders
Nja, Fenders beteckning på icke standard kulörer var Custom-color, även om det gällde en simpel "Black" eller "Olympic White". Det har alltså ingenting med att göra att det skulle vara en specialblandad kulör.bootsy skrev:Fast att man får betala tillägg för en annan färg är ju inte samma sak som custom color?Bassmaniac skrev:Japp, vid den tiden var bara 3T sunburst standard, de andra kulörerna fick specialbeställas mot kostnadstillägg.bootsy skrev:Är svart custom color?
Anders
Notes for Fender Custom Colors
Listed below are the sources for the original Fender custom colors. All colors are available in acrylic lacquer (at least in the short term, and only in certain areas), and in ChromaBase. Note that some colors that were originally nitrocellulose now have acrylic lacquer formulas. If the manufacturer is using the same paint number, they consider this color to be identical to the original nitrocellulose color. If doing refinishing work, it's always better to use DuPont paint when available. This is the brand Fender originally used, so the color match will be better than other brands. Also, PPG doesn't offer many colors in the new DBU paint type, where DuPont offers all colors in ChromaBase. If you have a choice, I would spray all refins in acrylic lacquer. DBU and ChromaBase are more expensive, and a little tricker to use. But if you can't get lacquer, ChromaBase is your only solution.
Lake Placid Blue (metallic)
Lacquer Source(s): DuPont 2876L.
Low VOC Source(s): DuPont 2876K.
One of Fender's most prolific custom colors. There is some source of confusion as the actual year this color was first available in the automobile industry. DuPont lists the color as being used in 1958 for Cadillac's Brougham line only. Ditzler lists the color as being used in 1957 only. Sherwin-Williams doesn't even acknowledge the color exists. In any case, this color only lasted one year in the automobile industry, but may live forever in guitar history.
When refinishing using LPB, I like to use a slightly yellowed tint coat over the LPB to give an "aged" look. But be careful - too much tint and LPB can turn to a sick greenish shade.
Daphne Blue
Lacquer Source(s): DuPont 2804L.
Low VOC Source(s): DuPont 2804K.
Originally developed as nitrocellulose, DuPont deemed this car and color popular enough to translate the formula to acrylic. Used on 1958 Cadillac's only.
When refinishing using Daphne Blue, again I like to use a very slight yellowed tint coat over the blue to give an "aged" look. But be careful - too much tint and you turn this color into Foam Green.
Olympic White
Lacquer Source(s): DuPont 2818L, Ppg DDL8144.
Low VOC Source(s): DuPont 2818K.
Used on 1958 to 1962 Cadillac's only. Oly White and Black are the two easiest Fender colors to reproduce. I wouldn't waste my money buying these two colors from DuPont or PPG, as any white lacquer will pretty much do fine. The only trick to making Oly White look "right", is to use a slightly yellowed tint coat. But don't go too wild, as over-yellowed white finishes can be spotted a mile away. Since we're dealing with white here, a little tint goes a long way. Without any tint coat, the true Olympic White (and any other whites) look much too stark and "fresh".
Burgundy Mist (metallic)
Lacquer Source(s): DuPont 2936L, Ppg DDL50536.
Low VOC Source(s): DuPont 2936K.
A 1959 Oldsmobile color (#2936L), but also used on 1959 Potiac's (Royal Amethyst) and other 1959 Buick's (Lido Lavender). Available from DuPont #2936L, or Ppg #DDL50536 (DuPont's shade seems better though).
A yellowed tint coat has some effect, but not a big change in the overall color. Hence I would avoid tinting Burgundy Mist.
Fiesta Red
Lacquer Source(s): Ppg DDL70618
Low VOC Source(s): DuPont 2219K, Ppg DBU70618.
PPG translated this original nitrocellulose paint formula to acrylic. Either a PPG executive owns a 1956 Tbird in this color, or PPG just thought they could corner the lacquer market because no other paint manufacturer sells this color in lacquer. Only used in 1956 on Ford Thunderbirds.
Using a yellowed tint coat on this color is a waste of time, paint, and film thickness. Don't bother.
Dakota Red
Lacquer Source(s): DuPont 2590L.
Low VOC Source(s): DuPont 2590K.
Probably one of the last nitrocellulose colors developed, this formula was translated to acrylic by DuPont only. Used on 1958 Cadillac's only.
Using a yellowed tint coat on this color is a waste of time, paint, and film thickness. Don't bother.
Shoreline Gold (metallic)
Lacquer Source(s): DuPont 2935L, Ppg DDL21722.
Low VOC Source(s): DuPont 2935K.
This may be the most mis-represented Fender custom color. The real Shoreline Gold is a very light colored gold; more of a bronze/brown color. It has the (false) reputation of being THE Fender gold, but the actual color in reality has been seen by few and is quite different than it's reputation. A 1959 to 1960 Pontiac color (#2935L), but also used from 1959 to 1960 on Oldsmobile (Golden Mist), Buick (Pearl Fawn) and 1960 Cadillac (Fawn).
I would recommend a yellowed tint coat on this color. It significantly warms and makes the overall color more gold, and less bronze.
Inca Silver (metallic)
Lacquer Source(s): DuPont 2436L, Ppg DDL31425.
Low VOC Source(s): DuPont 2436K.
One of the first acrylic lacquer colors developed especially for the 1957 to 1959 Chevy Corvette.
I would recommend skipping the yellowed tint coat on Inca Silver.
Blue Ice (metallic)
Lacquer Source(s): DuPont 4692L, Ppg DDL13045.
Low VOC Source(s): DuPont 4692K.
A 1965 to 1966 Ford color, but also used on 1965 to 1966 Mercury's (Silver Blue).
Go light or skip the yellowed tint coat on Blue Ice. This is a very pretty and warm color without any tint.
Firemist Silver (metallic)
Lacquer Source(s): DuPont 4576L, Ppg DDL12883.
Low VOC Source(s): DuPont 4576K.
This color replaced Inca Silver in 1965, and is a completely different color. The metallics used in this color are much more brilliant and intense. Also, this color has slight blue and green tints, were Inca Silver has basically no blue or green tints. Note the automotive color name is "Firemist Blue", but Fender changed the name to "Firemist Silver" since it was replacing a silver color, and the color is more silver than blue. A 1964 Cadillac Eldorado only color.
A light yellowed tint coat will warm the color, and takes the "edge" off. But be careful, too much tint can make this color drab.
Firemist Gold (metallic)
Lacquer Source(s): DuPont 4579L, Ppg DDL22422.
Low VOC Source(s): DuPont 4579K.
This color replaced Shoreline Gold in 1965, and is a completely different color. Shoreline Gold is more of a bronze colored gold, where Firemist Gold is much golder. Note the automotive color name is "Firemist Saddle", but Fender changed the name to "Firemist Gold" to be more descriptive to its customers. A 1964 to 1965 Cadillac Eldorado only color.
I would highly recommend a yellowed tint coat on this color. It significantly warms and makes the color very rich, making it one of the most striking Fender custom colors. If you're looking for a "gold" like the famous 1958 Strat/tweed Twin picture taken by John Pedan, I would recommend this color with a tinted yellow clear coat. It's not the exact same color (that 1958 Strat was a true one-off 1950's custom color), but it's pretty close.
Charcoal Frost (metallic)
Lacquer Source(s): DuPont 4618L, Ppg DDL32390.
Low VOC Source(s): DuPont 4618K.
Used on 1965 to 1966 Lincoln Continentals, and also on the 1965 Ford Thunderbird (Charcoal Gray).
Using a yellowed tint coat on this color is a waste of time, paint, and film thickness.
Ocean Turquoise (metallic)
Lacquer Source(s): DuPont 4607L, Ppg DDL12893.
Low VOC Source(s): DuPont 4607K.
Used on 1965 Mercury's and 1965 Ford's (Twilight Turquoise).
Go light on the yellowed tint coat here, or skip it entirely. The tint will darken this color.
Teal Green (metallic)
Lacquer Source(s): DuPont 4297L, Ppg DDL12745.
Low VOC Source(s): DuPont 4297K.
Although this color was conceived in 1963 for the Ford Thunderbird, it wasn't called "Teal" until 1965 when it was used on the Lincoln Continental. Fender added "Green" to the name "Teal" to be more descriptive, thus creating "Teal Green". Used on 1963 Ford Thunderbird and 1964 Lincoln Continentals (Patrician Green), 1965 Lincoln Continental (Teal), 1964 Ford Thunderbirds (Riveria or Regal Turquoise), 1966 Mercury's (Turquoise Frost), and 1969 to 1970 Lincoln's (Medium Aqua).
Go light, or skip the yellowed tint coat here.
Black
Lacquer Source(s): DuPont 99S, Ppg DDL9300.
Low VOC Source(s): DuPont 99K, Ppg DBU9300.
* The DuPont paint #1711 Fender gives on its 1960 custom color chart is actually a 1954 Pontiac color, "Arlington Maroon". The best I can tell, this is a mistake. DuPont's paint code for Duco (nitrocellulose) black during the 1950's was #44, "Jet Black". Although this DuPont product was discontinued in the 1970's, I know of at least one local paint shop that still has gallon cans of #44 today. But really, black is black, so you can use any brand of available black (such as DuPont's #99S). Or just use whatever black lacquer you have around.
Using a yellowed tint coat on this color is a waste of time, paint, and film thickness.
Candy Apple Red (metallic)
Candy Apple Red (CAR) was alleged to be Leo's favorite custom color, and hence was a very popular Fender color. It was also a "true" custom color. CAR was not simply a 1960's car color used on guitars. It was an actual custom finished used by Fender and custom paint shops. It was certainly the most difficult color for Fender to apply since it required an additional step of using a metallic basecoat before a translucent red color coat. All other metallic Fender finishes have the color and metallic particles mixed together into a single paint unit. "Candy" colors have a metallic base coat applied first. This is followed by a translucent color coat, and finally by a clear coat. This gives a much deeper metallic look to the finish because the color is not mixed with the metallic sparkles. The metallic particles shine through the translucent color coat instead of being surrounded by the color which stifles their effect. Also by separating the metallic particles and color, larger metallic particles could be used in the basecoat. This also enhanced the metallic effect.