![](https://garageland.co.uk/wp-content/uploads/2024/02/20240125_100906.jpg)
The fretless bass neck I’ve modified, for use with my PJ bass project build, needs a few more coats of lacquer, before it’ll be ready for any waterslide decals. The existing lacquer coats are quite thin – as evidenced when I modified the neck heel. Waterslide decals need a flat, sealed base for the best results – and if I try flat-sanding at this stage – I’ll risk wearing away through that thin, existing, amber tint layer.
So – although the colouration of most of the neck is OK – I think the face of the headstock could do with just a little bit more colour, and as a separate issue, the bare maple at the modified heel needs some sealing, colouring and lacquering.
![](https://garageland.co.uk/wp-content/uploads/2024/02/20240209_132738.jpg)
Here – fresh maple has been exposed where the sides and end of the heel block have been modified. I first seal these with some Mylands Sanding Sealer – an alcohol based lacquer sealer, simply applied with a brush. This is left to harden and cure, and is then rubbed back smooth with fine grit paper, over a backing block.
I then use a vintage amber nitro mix – (50:50, lacquer and anti-bloom thinners) – and apply fine mist coats with a Badger airbrush. This means I can carefully control the spray area, as well as precisely how much tint is applied. Gradually – I shade in the exposed maple, until the colour matches the existing, surrounding tint. I can then use the same mix to shade the face of the headstock – until it too, is at the exact shade I want. (Bearing in mind that nitro will usually yellow further, and darken with age). The nitro, sprayed with an airbrush, dries really quickly, and once the shading is complete – the neck is allowed to dry for 24 hours. The whole neck is then given a couple of coats of clear gloss lacquer over the top. This will act as a barrier layer – to help protect the tint coats below when rubbing-back. It also helps to further smooth the face of the headstock. The whole neck is clearcoated, (except the fingerboard, and the flat of the heel – where the bolts screw into, and where the wood of the neck contacts the body. Here – a light lacquer coat is usually desireable to improve the neck/body contact). The neck is then set aside until the clearcoat has cured and hardened.
![](https://garageland.co.uk/wp-content/uploads/2024/02/20240125_100999.jpg)
Meanwhile – the prospective headstock decals are also given a few light mist coats of the clear gloss nitro mix. All decals should have some barrier mist coats applied, before they’re fixed in place – but especially if they have metallic foil elements, like the ones pictured above. It’s also important that each mist coat is given a full 24 hours to dry, before any other coat is applied. This means that clearcoat spraying becomes a daily chore for a while – but at least it’s not been too cold in the workshop this winter. While I’m working with clearcoat for the PJ neck – I’ll also be able to add some final cover coats over the decal I previously applied, on the headstock of my restored Fender Jazz bass neck. It’s just a question of establishing a daily schedule, and then working through it. Sometimes – it’s a whole lot more time-effective to combine multiple lacquering tasks.
![](https://garageland.co.uk/wp-content/uploads/2024/02/20240202_111756.jpg)
I eventually settle on a “later Seventies style” waterslide decal for the PJ neck. Then – despite all precautions when building up a succession of ultra-light mist coats – there was still a slight reaction with a part of the metallic surround. (Around the area of the serial number, below the Fender logo). However – I still think the block style lettering looks preferable to the more serifed version, given the space available – so I decide to substitute the damaged section of the waterslide with a similar, spare Fender logo. This leaves a small gap between the two decals which will need careful attention, as the decals become buried in nitro. Again – to properly position the logo – I use a couple of temporarily fitted bushings to help make sure I avoid any clashes, and I also mark the neck as an “obvious fake” with one of my “Custom build – inspired by Leo Fender” roundels.
Before finally applying the decals – the surface is gently flat-sanded and levelled, with a thin, final coat of lacquer over the top, left to fully dry and harden. The surface where the decals will sit needs to be smooth, flat and impermeable to water ingress. When applying the decals – a little water is dripped first, onto the area in question. After soaking in warm water – the decals are then simply “floated off” their backing paper, and into position on the headstock. Excess water is carefully absorbed with paper towels. Then – as the surface dries – any trapped bubbles underneath the decals, are carefully worked out towards the edges, and all traces of excess water removed. Finally – as the surface dries – the decals become fixed, and are pressed into place a little more firmly. The applied decals are then left for at least 24 hours, to fully air dry.
![](https://garageland.co.uk/wp-content/uploads/2024/02/20240202_112437.jpg)
There’s already plenty enough about this neck to mark it as not a genuine Fender neck. But I may as well add yet another layer of obvious doubt. I had some reproduction “Made in Mexico” decals made up to re-label my authentic 2004 Fender MIM Jazz Bass restoration neck, but unfortunately the supplier didn’t get my serial number right. The decals are useless to me otherwise – so I may as well stick one on the back of the headstock here. It sort of “looks right”… but it’s completely incongruous, and an obvious error. And on top of that – it’s good practice for me…
Same routine with the application of the decal, as before…
Both necks are now at the stage where clear coat layers need to be built up over the decals, and otherwise, generally, over the rest of the maple. The Jazz Bass neck is already a good way along this process, and a few more, thicker body coats will be laid down as part of my ongoing daily lacquer schedule. The back of the Jazz Bass neck is already quite smooth and nicely lacquered. (I’ve only really had to fix the nut slot and re-do the face of the headstock). In fact – there’s evidence of some nice, age-related “checking” in the lacquer on the back of the neck – so I only need to focus on the face, back and sides of the headstock – ensuring, of course, that the fingerboard is protected, and that any lacquer at the back and sides is nicely feathered-into the existing coverage. A few paper plugs in the pegholes will help to ensure that no overspray accidentally makes it’s way through to the otherside.
For the PJ neck – I also need to build up some similar, thicker general coats – but first, I need to ensure that the decals are carefully misted-in. For the first few days – only the lightest mist coats of clear lacquer are applied over the decals. Once again – a full 24 hours is left between coats, to ensure that they’re fully dry. Once four mist coats have been applied over the decal areas – the coverage can begin to be built up with slightly thicker coats, and soon the coverage schedule catches up with that of the Jazz Bass neck.
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With the decals – at first – the edges of the waterslides are still quite apparent. As lacquer is applied – enough will eventually be laid over the back-printed plastic film – so that it can eventually be flat-sanded back to match the level of the surrounding lacquer. One or two subsequent layers of lacquer should then be enough to fully “bury” the edges of the decals – so that the edges don’t telegraph through at all – even when viewing in from an angle.
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As you can see in the image above – (of the Jazz Bass neck, with more top coats of lacquer over the decals) – as the lacquer is built up – it begins to make the edges much less noticeable, and there’s much less of an obvious “ridge” around each decal. The above condition is about when I’d begin to consider making my first flat-sanding passes. There should be plenty of coverage by now. Enough to easily avoid sanding-through to either the print of the decal, or the tinted wood below.
Flat-sanding is done with very fine wet and dry papers, and using naphtha as a lubricant, to prevent the papewrs from becoming clogged. However – the nitro is only properly sandable when it’s fully dry and properly hard. Don’t rush it, or soft lacquer will render the abrasive papers useless, and the grit won’t polish properly. You’ll end up dragging the surface, and you may have to add yet more lacquer, before you can begin to flatten things back again.
As the surface is flatted-back in the usual manner – the ridges at the edges of the decals are carefully polished flat until they roughly match the level of the surrounding lacquer. Sometimes, it helps to get the very last stubborn high spots evened out, with grit papers over your fingertips, instead of a backing block. Once there are no obvious ridges or low spots left behind – the whole area can be cleaned down with naphtha, and allowed to fully dry. Providing no significant amounts of lacquer have been removed anywhere – a few light mist coat passes are then usually enough to add the final gloss topcoat, which will usually then polish up quite quickly and easily.
It’s important not to overwork surrounding areas while you focus on the decals. It’s usually a good idea to work on the general area of the decals at first – gradually feathering out and encompassing the entire area of the face of the headstock. Take care you don’t accidentally abrade the edges of the headstock too much. Lubricated papers can sometimes “suck down” onto the surface, and may catch – especially at the edges. Once the whole face of the headstock is smoothed – the same process is used on the back of the headstock. (Obviously – if there’s no decal there – it’s just a general flat-sand). Once the flat surfaces are levelled – the rest of the lacquered surfaces can be gently rubbed back with a Mirlon pad, wrapped around the hand. This regularises the surface, and prepares it for either polishing, or for a couple of additional, (and final), mist coats of gloss.