Silky999

Thanks folks....I will report back when I’ve hopefully picked it up today. I’m a little concerned about fitting the Delano preamp as I’ve ordered the extra passive/active treble/tone pot so will need to add a capacitor and some wiring. From the diagram, it looks like one prong of the capacitor is soldered to a lug on the pot and the other to the top of the pot as an earth..have I got that right? Also I need to earth the pots, would lining the surface the pots sit against with copper foil be sufficient or do I need to actually run an earth wire off the base of the pot to the foil?

Picking this up on Saturday as an early 50th present to myself. I’ve already ordered a Delano Sonar 3 to go in it as the main gripe seems to be the weak electronics. That was recommended by Mark at Bassdirect as it apparently it’s a very neutral tone to the preamp and not as aggressive as a OBP 3. I’m sure he’s knows what he’s talking about as they seem to be the main dealer for MTD in the UK. I also didn’t want to go the Bartolini route which is what I believe most do with these basses. I’ve yet to play it so hoping that it all gels when I go to pick it up as I’m going on looks and research on the internet due to it being in a shop some hours away. I’ve heard the neck is asymmetrical which will be a first for me. I just need to decide on what strings to use. Has anyone strung one of these with flats and if so, did it cut the mustard as it were? Any opinions gratefully received.

Songofthewind, I think with Liberon, it’s little, let it dry, little more. I had no problem getting the body to go off but it took me about 2 weeks to do the finish from first sanding to final coat. I then went off on holiday and left it to cure for a couple of weeks before I did the wax coat. Cookpassbabtridg.....the knobs were an absolute bargain! The pre came with gold knobs so I ordered some up from John East in black. Very reasonably priced for the quality.

I’d recommend Richard Pilkington at Reading Guitar Repairs. He’s based on the Henley side of Reading and specialises in the woodwork side of things. He did a fantastic job fitting some pickups and a preamp for me though.

This is the technique I followed (thanks to Jazzdog on TB) APPLYING A SANDED-IN OIL FINISH SURFACE PREPARATION AND FINISHING PUTTIES: Although it is better to repair a broken or missing piece of wood with a scrap of the same species (preferably from the same board), putties can be used. Three different kinds are marketed: Oil-Based Water-Based Solvent-Based Putties that use acetone-based solvents will begin to evaporate and harden as soon as the container is opened, despite your best efforts to promptly seal the container immediately after use; acetone is a highly volatile compound with extremely small molecules, and it is a tenacious escape artist -- it will find and escape through any irregularity in the containers seal. Scrupulously cleaning the mating surfaces of the lid and container before resealing the container can help minimize these losses. Applying a layer of plastic wrap across the top of the can before reinserting the lid can help by acting as an additional barrier to prevent solvent from escaping. Some manufacturers (e.g., Woodpatch) place the labels on their cans upside-down to encourage consumers to store the product with the lid facing down, which helps thwart solvent evaporation. The instructor adds a small, sacrificial, quantity of acetone to the container before resealing, and stores his cans bottom-side-up. It is also helpful to write the date the can was opened on the bottom of the can with a felt-tip pen. If a previously-used can of putty has begun to dry out, it can often be rejuvenated if it is still pliable by mixing in additional solvent. Although putties are best reserved for projects that will be painted, stain-grade projects can include some putty if judiciously applied and finished. In either case, however, it is important to read the labels of both the putty and the finishing products to ensure they are compatible. A shop-made putty made from same-species sawdust and a few drops of finish (e.g., shellac) can be used in inconspicuous areas, however, the limitations endemic to manufactured putties pertain to shop-made putty as well. Shop-made putties using glue and sawdust are best limited to painted projects. Putties seldom match the color of the wood to which they are being applied, display completely different texture from the sourroounding wood tissue, and do not absorb stains and finishes the same way the adjacent wood fibers absorb them. Many wood species (e.g., cherry) change color with age, while putties do not. When putty is used in a project that will be stained, oiled, or otherwise remain visible when finished, a bit of camouflage can be achieved using artists brushes, artists colors, and stain, to emulate the coloration and grain patterns of the surrounding wood fibers. Putty can be difficult to apply without contaminating wood fibers in the area surrounding the repair. These smears will be visible when clear finishes and stains are applied. One technique that can minimize this kind of damage, is to apply blue painters tape before applying putty: When installing moldings that will be face-nailed and puttied, first apply painters tape, then nail through the tape, then apply putty through the hole in the tape. When the tape is removed, the area surrounding the filled nail hole will not have been contaminated by putty smears. DENTS & CRUSHED FIBERS: Damage to a work piece during the construction process seems all but inevitable. A dent (compressed wood fibers) can be repaired by applying moisture and heat directly to the dented area, causing the wood fibers to swell and expand to almost their original volume. Start by lightly scraping the dent and the area immediately surrounding it. Then, apply a few drops of water directly to the dent and allow it to absorb into the wood fibers for a few minutes. Next, dampen a small area of a clean cloth and apply it directly over the dent. Using a clothes iron set to high, apply heat to the dented area through the moist cloth with the pointed tip of the iron, taking care not to press the iron into the wood. Avoid the temptation to lie the iron flat against the wood -- the objective is not to iron the wood, it is to apply heat and moisture only to the dented area in order to achieve localized swelling of the wood fibers. The instructor demonstrated this technique by inflicting four dents in a board. He then scraped two, leaving two un-scraped as a control. After circling the dents lightly in pencil, he steamed the dents. Those that had been scraped were virtually invisible, while the un-scraped dents were observable and could be felt. SCRAPING AND SANDING: People tend not to notice perfection, but readily notice imperfections: an award-winning project depends as much on the avoidance of conspicuous faults as it does meticulous joinery and application of finishes. When a finish has been successfully applied, people will have an urge to touch your project; to have their sense of touch confirm what their eyes have observed, and to fully appreciate the tactile qualities of the surfaces. It makes sense for the artisan to employ these same senses during the finishing process. Use your fingers to inspect the prepared surfaces; can you feel defects or irregularities that may be observable when finish is applied? Using an inspection light at an angle to the work piece will cast shadows that will exaggerate surface imperfections; once found, they can be corrected. One of the most common finishing errors is the failure to completely remove mill marks before finishes are applied; these kinds of imperfections will be magnified when the finish is applied. This is because the scalloped surfaces presented by mill marks expose segments of end-grain which absorb stains and finishes at a different rate than face or edge fibers. While scraping or planing removes mill marks quickly, leaving a surface that is ready for 200-grit abrasives, the wood fibers are compressed and burnished to some extent (Tangentially, Japanese temple builders maintain their chisels and planes in such a super-sharp state that the wood fibers are compressed and burnished so effectively that water is repelled, making the application of wood finishes unnecessary). When finishes or stains will be applied, it is important to use abrasives after scraping and planing to prepare the wood fibers to consistently receive the finish. Abrasives cut across the wood fibers, creating a condition in which the wood surface is analogous to myriad wicks, thirstily absorbing stains and finishes, and allowing them to penetrate more-or-less evenly and uniformly. When water-based stains or finishes are applied, the wood fibers absorb the water swell, and the grain is raised, resulting in a rough surface. Deliberately raising the grain before applying water-based products minimizes this effect. After sanding through 220-grit, apply water to the wood surface and allow it to dry for 24-hours. Then, re-sand with 220-grit abrasive to remove the raised fibers, and apply the water-based product. A glue size (a solution containing 90% distilled water and 10% hide glue) applied before finishing can serve as a barrier coat that limits the absorption of successive finish layers, and can help reduce uneven absorption exhibited in end-grain and the blotching that can occur when stains are applied to certain species. OIL FINISHES: The two oils commonly used in the manufacture of oil finishes are Linseed oil and Tung oil. Linseed oil is derived from the flax seed, while Tung oil is extracted from the nut of a Tung tree. Without further treatment, these oils would dry too slowly to make them suitable as wood finishes. Metallic driers are added to Linseed oil, which is then heated, resulting in a product commonly known as Boiled Linseed Oil. Tung oil is heat treated to achieve polymerization - a state in which the molecules are bound together in long strands. In 1989 the A.Q.M.D. (California Air Quality Management District) mandated changes to reduce VOCs (Volatile Organic Compounds) common in many wood finishes. These regulations resulted in the reformulation of many time-tested products that had achieved superior results as wood finishes, and stimulated the inordinate growth of water-based products. Prior to this time, Watcos Danish Oil products were favored by many woodworkers for their ease of application, short drying times, and superior finishes. The reformulations mandated by the A.Q.M.D. in 1989 yielded products that were generally inferior to pre-89 products and did not dry properly. After experimenting with many oil finishes in search of a product with characteristics comparable to the venerable Watco Danish Oil, Liberon Finishing Oil (a Tung oil-based product imported from England), was selected as the best oil finish. Minwax Antique Oil Finish (in the red can) also provides acceptable results, although it does not dry as quickly as Liberon Finishing Oil. Other Liberon products also work exceptionally well, including their French import Black Bison Clear Fine Paste Wax (available in neutral and several tinted shades), and their steel wool, an un-oiled product that is graded for consistent texture and scratch pattern, and is clearly superior to other steel wool on the market. NOTE: Steel wool should not be used in conjunction with water-based finishes, as steel particles will become embedded in the finish and will create unsightly black specks in the finish. When using water-based finishes, synthetic abrasive pads are available in several color-coded levels of abrasiveness. Scotch-Brite is one example. While bronze wool will not rust like steel, it is very fragile and disintegrates quickly. NOTE: An oil finish, while very suitable for the exterior of fine furniture projects, is not recommended for the interiors of cabinets, drawers, et al. Even with ample air circulation, an oil finish will not cure properly, and an unpleasant odor will linger long after the project has been completed. SPONTANEOUS COMBUSTION: Before describing the process of applying an oil-based finish, a discussion of spontaneous combustion is warranted. Simply stated, spontaneous combustion describes [oil-soaked] materials bursting into flame: a very dangerous condition that should be avoided at all cost. Three components are required for combustion: Fuel Oxygen Heat An oil-soaked rag item provides the fuel, and there is abundant Oxygen in the atmosphere. As oils polymerize, they generate heat. A rag lying flat readily gives off this heat to the atmosphere and combustion temperature is never achieved. However, in a folded rag or wad of steel wool, the heat is not allowed to dissipate -- it is contained in folds and pockets, and the temperature continues to build until combustion is achieved. Because spontaneous combustion is so likely, and the dangers so severe, caution should be exercised to prevent an occurrence. This is achieved by closely monitoring all oil-contaminated products during use (never leave an oil-saturated applicator unattended), and by promptly disposing of oil-soaked rags, unfolding them and spreading them flat on a concrete or dirt surface, away from all combustion sources, until completely dry. When the oil has thoroughly dried, you are left with a rag Frisbee that can be safely placed in a trash container. APPLYING AN OIL FINISH: Each finishing session will require seven to eight hours when applying a hand-rubbed oil finish; between half-an-hour to an hour to apply and sand-in the oil, followed by six hours of monitoring and surface maintenance. This isnt a project to start at 10:00 p.m. unless you are prepared to be up all night. Work on only one or two reasonably-sized surfaces at a time - dont attempt to apply the finish to an entire project at once. One of the benefits of an oil finish is that there is no need to finish an entire project at once, or to maintain a wet edge. You can stop and start as you please, as long as you thoroughly remove all slurry before it dries and becomes thick and unworkable. After sanding to 220-grit, prepare silicon carbide wet-or-dry sandpaper in three grits: 220-grit 320-grit 400-grit 600-grit Tear or cut the abrasive into sizes that will be convenient and manageable when folded in thirds (I divide sheets of abrasive into eighths). Youll also need to prepare an ample supply of clean, absorbent, lint-free rags with which residual slurry can be removed. Wet the wood surface with finishing oil, rubbing it in with your hands until the surface fibers are saturated. The instructor keeps his finishing oil in a squeeze bottle (with an airtight lid), for easier and better-controlled application. Start with 220-grit and sand the oiled wood, with the grain, until a slurry of oil and sawdust is created. Once a slurry has been created you can sand in circular or figure-eight patterns. Work one small area at a time, until the surface is consistently smooth and the slurry has been packed into the open pores of the wood. After perhaps ten or fifteen minutes, the surface(s) you have been working will be consistently sanded to 220-grit, and the slurry will have begun to thicken. Now its time to wipe all remaining slurry from the surface of the wood with a clean rag. The instructor uses manicurists orange sticks, wrapped in a clean cloth, to remove all traces of the slurry from corners and areas containing detail and tight radii. This needs to be accomplished before the product becomes too dry and gummy to remove easily - with Liberon Finishing Oil, you have about twenty minutes. With other oil finishes, such as Minwax Antique Oil Finish, you have a little longer - perhaps three-quarters of an hour. You will need to monitor your project for bleed-back over the next six hours. Bleed-back is the term used to describe residual oil that will ooze from the wood pores up to the wood surface as the finish polymerizes. Bleed-back will appear as small bumps of finish on the surface of the wood. Inspect your work once an hour, wiping away bleed-back with a clean rag. Then allow the first coat to dry for 48 hours before proceeding. When you have sanded the oil finish into the entire surface of the project using 220-grit abrasive, repeat the process with 320-grit. Wait twenty-four hours and repeat the process with 400-grit; after another twenty-four hours and repeat the process with 600-grit. Allow at least seven days for the finish to cure before applying two thin coats of hard paste wax containing Carnauba wax.

I’d recommend the Liberon Finishing Oil. I started at 300 grit then went progressively finer down to about 4000. This was wet sanded with each grade of wet and dry. I left at least 6-8 hrs between each coat and started with a drench coat. You have to be careful as each coat drys that you don’t get bleed back so it needs regular checking after each one and the risk gets less with each successive application. Bleed back also depends on the body wood and how porous it is. There’s a very good post on TB I followed.

My 2009 Warwick Rockbass Corvette is all done. It has gone from being a Basic 4 to something a little more upmarket. The list of mods and changes; Remove original low gloss finish and hand oil sand the Alder body New truss rod with an Ebony fretboard and new frets MEC pickups out, Dimarzio Model Js in 9v Chinese preamp out, John East Uni-pre at 18v in Rockbass chrome tuners out, black GOTOH GB7s in Chrome bridge out, black bridge in Set of D’addario Chromes I know it will always be a Rockbass at heart and for the money I’ve spent could’ve bought a used German made Warwick but I’ve really enjoyed doing it. It feels special and unique because of the time, effort and literally blood I’ve put into the project without it just being about throwing money at it. The Alder body came up much better than I thought it ever would with numerous coats of Liberon Finishing Oil and lots of sanding at increasingly finer grades. It was topped off and waxed with Black Bison Wax. The bass feels and sounds a little more refined and less agricultural and will hopefully be more reliable. The Uni-pre is truly remarkable for its versatility. The Model Js are very hot which has needed winding them right down and backing off on the gain to avoid clipping. Overall I would describe the tone as classic rock with the ability to dial the top in and out for a more retro funk/motown sound. I just need my area to move to tier 1 now so I can try it at a band practice. I sold my Ibanez SR1820 so that leaves the Warwick and the 1989 SR800 in the stable. The 800 is getting an EMG BQC put in it soon to go with the existing EMG PJX pickups. I really want a neck thru to fill the gap on the wall but can’t decide on what to look for as I like a skinny neck. Perhaps an early SR900 but that a topic for another day...... BEFORE AFTER

It was this; mix it 1:1 but takes 4-6 hours to go off then about 12-15 hrs to fully cure so wouldn’t work on something that needed to stick together quickly to hold in place if you get what I mean. Simple enough to use and you can sand it, drill it, tap it etc. Put plenty on then sanded and filed into shape when cured.

I emailed GOTOH directly and they replied that the production for the 206 finished 25 years ago and they didn’t have any spares or old models lying around. They also said that none of their current saddles are compatible. Oh the joys of owning an older bass. Meanwhile I did what Acebassmusic suggested with some cold weld glue and the repair seems to be holding. The bridge is back together and all seems to be working as it should. It not like it’s getting adjusted daily so fingers crossed. I have also ordered an Accu cast B500 from Indonesia just in case the repair doesn’t last. Ibanez bridges seem to be like rocking horse s**t!

This is the bass so you can see why I’d rather fix the existing bridge than change it. If I did change it would have to be same dimensions or slightly larger to cover any mismatched screw holes. the Hipshot transtone is a contender, any one had any experience of that one? The Accucast b500 looks good as well

I’ve never used the width adjustment so standard 19mm would be ok. I agree the Omni adjust/206 is brilliant bridge with loads of adjustments. I suspect that years of over tightening the saddle lock screw has weakened the metal. It’s done well considering it’s 31 years old. if anyone has a spare saddle/same bridge that they’re looking to sell? I’ll try the cold weld first then if that doesn’t work, another bridge.

Some epoxy cold weld has been ordered!

I didn’t think about some sort of glue! I will try that in the first instance

I don’t think it can be repaired as the metal has broken where the red pen line is. I think replacing it is the only viable option. Size wise a Schaller 3D looks about right. The hex bolt is holding it for the moment.

That’s sold unfortunately

So changing the strings on my 1989 Ibanez SR800, the saddle for D string has cracked across the securing hex bolt and is in big piece and a little piece. It’s an Omni-Adjust/GOTOH 206 4 string bridge in black which isn’t made any more and hasn’t for some years so I can’t find a direct replacement bridge or saddle. I have managed to secure the saddle back down but it’s not going to last. Any suggestions for a replacement bridge? The original has an unusual screw pattern so I’m struggling to find a direct drop in. I’m happy to consider Hipshot, Schaller, GOTOH or anything else that fits the bill

I’ve put some tapewounds on and I think I have found my perfect sound. The Model Js and tapes just really seem to gel.

The luthier was really impressed with John East’s customer service and actually spoke to the man himself on the phone about some jumper questions. if anything the uni-pre is too adjustable with its little circuit board dials for bottom and top bass freq. selection and treble freq selection as well as pots

I’d really recommend the East Uni-pre. I managed to find a pre owned one about half price on flea bay. As I said, the only headache was enlarging the pot holes from 7mm to about 9mm for the concentric pots. I wasn’t confident to do it myself especially after spending weeks doing the oil finish so got Richard Pilkington at Reading Guitar Repairs do do that and fit the new pups and preamp at the same time. If you’re handy, I’m sure it isn’t that difficult. The instructions with the East are very clear. It does need copper foil put in the electronics compartment to ground the pots against not just the usual paint but that was a couple of quid.

My Warwick Rockbass Corvette is finally finished and all working. It started out as a 2009 Rockbass Corvette Basic 4. The previous owner had the truss rod repaired and an ebony fretboard fitted at the same time. I stripped the original finish and hand sanded it with oil. Then the preamp wouldn’t work so I decided to upgrade to a John East Uni-pre 4 running at 18v along with some Dimarzio Model J pickups. Got it back from the luthier as the pot holes needed enlarging and wiring isn’t my strong point. it sounds so much better with more punch and definition but still has that Warwick growl. It’s much more versatile now. I can’t recommend the East preamp more highly. The luthier also commented on being able to speak to John East on the phone about some wiring queries. The Model Js have a decent output for passives and for the price are fantastic. From this; To this;

A company called Vinyl Revolution in Oxford and it was £125 if I remember correctly. I supplied the bass body stripped of everything ie pickups, bridge, neck off, pots removed

I had mine vinyl wrapped;

Thanks folks, I went further than the guide and basically kept applying oil and sanding through 600, 1200, 2000, 3500, 5000 grit wet and dry. just be more careful than me putting the bass back together as it’s so easy especially with softer woods like Alder to mark the body. There is the option of using some oil based poly before the wax if you wanted a more durable finish.

I followed this guide over on TB and used Liberon Finishing Oil followed by Liberon Black Bison wax. I think it was 10 sanded in coats of oil and 4 coats of wax. The body is Alder so I wasn’t expecting much figuring but was pleasantly surprised. The oil makes the wood slightly darker which I like. APPLYING A SANDED-IN OIL FINISH SURFACE PREPARATION AND FINISHING PUTTIES: Although it is better to repair a broken or missing piece of wood with a scrap of the same species (preferably from the same board), putties can be used. Three different kinds are marketed: Oil-Based Water-Based Solvent-Based Putties that use acetone-based solvents will begin to evaporate and harden as soon as the container is opened, despite your best efforts to promptly seal the container immediately after use; acetone is a highly volatile compound with extremely small molecules, and it is a tenacious escape artist -- it will find and escape through any irregularity in the containers seal. Scrupulously cleaning the mating surfaces of the lid and container before resealing the container can help minimize these losses. Applying a layer of plastic wrap across the top of the can before reinserting the lid can help by acting as an additional barrier to prevent solvent from escaping. Some manufacturers (e.g., Woodpatch) place the labels on their cans upside-down to encourage consumers to store the product with the lid facing down, which helps thwart solvent evaporation. The instructor adds a small, sacrificial, quantity of acetone to the container before resealing, and stores his cans bottom-side-up. It is also helpful to write the date the can was opened on the bottom of the can with a felt-tip pen. If a previously-used can of putty has begun to dry out, it can often be rejuvenated if it is still pliable by mixing in additional solvent. Although putties are best reserved for projects that will be painted, stain-grade projects can include some putty if judiciously applied and finished. In either case, however, it is important to read the labels of both the putty and the finishing products to ensure they are compatible. A shop-made putty made from same-species sawdust and a few drops of finish (e.g., shellac) can be used in inconspicuous areas, however, the limitations endemic to manufactured putties pertain to shop-made putty as well. Shop-made putties using glue and sawdust are best limited to painted projects. Putties seldom match the color of the wood to which they are being applied, display completely different texture from the sourroounding wood tissue, and do not absorb stains and finishes the same way the adjacent wood fibers absorb them. Many wood species (e.g., cherry) change color with age, while putties do not. When putty is used in a project that will be stained, oiled, or otherwise remain visible when finished, a bit of camouflage can be achieved using artists brushes, artists colors, and stain, to emulate the coloration and grain patterns of the surrounding wood fibers. Putty can be difficult to apply without contaminating wood fibers in the area surrounding the repair. These smears will be visible when clear finishes and stains are applied. One technique that can minimize this kind of damage, is to apply blue painters tape before applying putty: When installing moldings that will be face-nailed and puttied, first apply painters tape, then nail through the tape, then apply putty through the hole in the tape. When the tape is removed, the area surrounding the filled nail hole will not have been contaminated by putty smears. DENTS & CRUSHED FIBERS: Damage to a work piece during the construction process seems all but inevitable. A dent (compressed wood fibers) can be repaired by applying moisture and heat directly to the dented area, causing the wood fibers to swell and expand to almost their original volume. Start by lightly scraping the dent and the area immediately surrounding it. Then, apply a few drops of water directly to the dent and allow it to absorb into the wood fibers for a few minutes. Next, dampen a small area of a clean cloth and apply it directly over the dent. Using a clothes iron set to high, apply heat to the dented area through the moist cloth with the pointed tip of the iron, taking care not to press the iron into the wood. Avoid the temptation to lie the iron flat against the wood -- the objective is not to iron the wood, it is to apply heat and moisture only to the dented area in order to achieve localized swelling of the wood fibers. The instructor demonstrated this technique by inflicting four dents in a board. He then scraped two, leaving two un-scraped as a control. After circling the dents lightly in pencil, he steamed the dents. Those that had been scraped were virtually invisible, while the un-scraped dents were observable and could be felt. SCRAPING AND SANDING: People tend not to notice perfection, but readily notice imperfections: an award-winning project depends as much on the avoidance of conspicuous faults as it does meticulous joinery and application of finishes. When a finish has been successfully applied, people will have an urge to touch your project; to have their sense of touch confirm what their eyes have observed, and to fully appreciate the tactile qualities of the surfaces. It makes sense for the artisan to employ these same senses during the finishing process. Use your fingers to inspect the prepared surfaces; can you feel defects or irregularities that may be observable when finish is applied? Using an inspection light at an angle to the work piece will cast shadows that will exaggerate surface imperfections; once found, they can be corrected. One of the most common finishing errors is the failure to completely remove mill marks before finishes are applied; these kinds of imperfections will be magnified when the finish is applied. This is because the scalloped surfaces presented by mill marks expose segments of end-grain which absorb stains and finishes at a different rate than face or edge fibers. While scraping or planing removes mill marks quickly, leaving a surface that is ready for 200-grit abrasives, the wood fibers are compressed and burnished to some extent (Tangentially, Japanese temple builders maintain their chisels and planes in such a super-sharp state that the wood fibers are compressed and burnished so effectively that water is repelled, making the application of wood finishes unnecessary). When finishes or stains will be applied, it is important to use abrasives after scraping and planing to prepare the wood fibers to consistently receive the finish. Abrasives cut across the wood fibers, creating a condition in which the wood surface is analogous to myriad wicks, thirstily absorbing stains and finishes, and allowing them to penetrate more-or-less evenly and uniformly. When water-based stains or finishes are applied, the wood fibers absorb the water swell, and the grain is raised, resulting in a rough surface. Deliberately raising the grain before applying water-based products minimizes this effect. After sanding through 220-grit, apply water to the wood surface and allow it to dry for 24-hours. Then, re-sand with 220-grit abrasive to remove the raised fibers, and apply the water-based product. A glue size (a solution containing 90% distilled water and 10% hide glue) applied before finishing can serve as a barrier coat that limits the absorption of successive finish layers, and can help reduce uneven absorption exhibited in end-grain and the blotching that can occur when stains are applied to certain species. OIL FINISHES: The two oils commonly used in the manufacture of oil finishes are Linseed oil and Tung oil. Linseed oil is derived from the flax seed, while Tung oil is extracted from the nut of a Tung tree. Without further treatment, these oils would dry too slowly to make them suitable as wood finishes. Metallic driers are added to Linseed oil, which is then heated, resulting in a product commonly known as Boiled Linseed Oil. Tung oil is heat treated to achieve polymerization - a state in which the molecules are bound together in long strands. In 1989 the A.Q.M.D. (California Air Quality Management District) mandated changes to reduce VOCs (Volatile Organic Compounds) common in many wood finishes. These regulations resulted in the reformulation of many time-tested products that had achieved superior results as wood finishes, and stimulated the inordinate growth of water-based products. Prior to this time, Watcos Danish Oil products were favored by many woodworkers for their ease of application, short drying times, and superior finishes. The reformulations mandated by the A.Q.M.D. in 1989 yielded products that were generally inferior to pre-89 products and did not dry properly. After experimenting with many oil finishes in search of a product with characteristics comparable to the venerable Watco Danish Oil, Liberon Finishing Oil (a Tung oil-based product imported from England), was selected as the best oil finish. Minwax Antique Oil Finish (in the red can) also provides acceptable results, although it does not dry as quickly as Liberon Finishing Oil. Other Liberon products also work exceptionally well, including their French import Black Bison Clear Fine Paste Wax (available in neutral and several tinted shades), and their steel wool, an un-oiled product that is graded for consistent texture and scratch pattern, and is clearly superior to other steel wool on the market. NOTE: Steel wool should not be used in conjunction with water-based finishes, as steel particles will become embedded in the finish and will create unsightly black specks in the finish. When using water-based finishes, synthetic abrasive pads are available in several color-coded levels of abrasiveness. Scotch-Brite is one example. While bronze wool will not rust like steel, it is very fragile and disintegrates quickly. NOTE: An oil finish, while very suitable for the exterior of fine furniture projects, is not recommended for the interiors of cabinets, drawers, et al. Even with ample air circulation, an oil finish will not cure properly, and an unpleasant odor will linger long after the project has been completed. SPONTANEOUS COMBUSTION: Before describing the process of applying an oil-based finish, a discussion of spontaneous combustion is warranted. Simply stated, spontaneous combustion describes [oil-soaked] materials bursting into flame: a very dangerous condition that should be avoided at all cost. Three components are required for combustion: Fuel Oxygen Heat An oil-soaked rag item provides the fuel, and there is abundant Oxygen in the atmosphere. As oils polymerize, they generate heat. A rag lying flat readily gives off this heat to the atmosphere and combustion temperature is never achieved. However, in a folded rag or wad of steel wool, the heat is not allowed to dissipate -- it is contained in folds and pockets, and the temperature continues to build until combustion is achieved. Because spontaneous combustion is so likely, and the dangers so severe, caution should be exercised to prevent an occurrence. This is achieved by closely monitoring all oil-contaminated products during use (never leave an oil-saturated applicator unattended), and by promptly disposing of oil-soaked rags, unfolding them and spreading them flat on a concrete or dirt surface, away from all combustion sources, until completely dry. When the oil has thoroughly dried, you are left with a rag Frisbee that can be safely placed in a trash container. APPLYING AN OIL FINISH: Each finishing session will require seven to eight hours when applying a hand-rubbed oil finish; between half-an-hour to an hour to apply and sand-in the oil, followed by six hours of monitoring and surface maintenance. This isnt a project to start at 10:00 p.m. unless you are prepared to be up all night. Work on only one or two reasonably-sized surfaces at a time - dont attempt to apply the finish to an entire project at once. One of the benefits of an oil finish is that there is no need to finish an entire project at once, or to maintain a wet edge. You can stop and start as you please, as long as you thoroughly remove all slurry before it dries and becomes thick and unworkable. After sanding to 220-grit, prepare silicon carbide wet-or-dry sandpaper in three grits: 220-grit 320-grit 400-grit 600-grit Tear or cut the abrasive into sizes that will be convenient and manageable when folded in thirds (I divide sheets of abrasive into eighths). Youll also need to prepare an ample supply of clean, absorbent, lint-free rags with which residual slurry can be removed. Wet the wood surface with finishing oil, rubbing it in with your hands until the surface fibers are saturated. The instructor keeps his finishing oil in a squeeze bottle (with an airtight lid), for easier and better-controlled application. Start with 220-grit and sand the oiled wood, with the grain, until a slurry of oil and sawdust is created. Once a slurry has been created you can sand in circular or figure-eight patterns. Work one small area at a time, until the surface is consistently smooth and the slurry has been packed into the open pores of the wood. After perhaps ten or fifteen minutes, the surface(s) you have been working will be consistently sanded to 220-grit, and the slurry will have begun to thicken. Now its time to wipe all remaining slurry from the surface of the wood with a clean rag. The instructor uses manicurists orange sticks, wrapped in a clean cloth, to remove all traces of the slurry from corners and areas containing detail and tight radii. This needs to be accomplished before the product becomes too dry and gummy to remove easily - with Liberon Finishing Oil, you have about twenty minutes. With other oil finishes, such as Minwax Antique Oil Finish, you have a little longer - perhaps three-quarters of an hour. You will need to monitor your project for bleed-back over the next six hours. Bleed-back is the term used to describe residual oil that will ooze from the wood pores up to the wood surface as the finish polymerizes. Bleed-back will appear as small bumps of finish on the surface of the wood. Inspect your work once an hour, wiping away bleed-back with a clean rag. Then allow the first coat to dry for 48 hours before proceeding. When you have sanded the oil finish into the entire surface of the project using 220-grit abrasive, repeat the process with 320-grit. Wait twenty-four hours and repeat the process with 400-grit; after another twenty-four hours and repeat the process with 600-grit. Allow at least seven days for the finish to cure before applying two thin coats of hard paste wax containing Carnauba wax.