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Wood Satin Clear Coat
In response to those of you who have asked for a finish that feels less like polished lacquer and more like natural wood, Wood Satin Clear nitrocellulose is now available. It will work over Neck Amber and unlike tung oil will protect the neck from from warping due to moisture absorption. Wood Satin can also be used to give a guitar body a flat finish.

Tinted Clear Coat
Another product that the customers asked for.... Tinted Clear Coat is available in either a gloss or satin finish. The nitrocellulose clear coat has been tinted with a slight amber/yellow aniline dye blend to replicate the look of aged lacquer. The tinted clear can be used to age a color, new bindings, pickguards or age the typical wear areas of a relic.

Clear and Satin Nitrocellulose Lacquer in 16 fluid oz. aerosol cans.

Available Colors All colors in 16 fluid oz. aerosol cans.

Fender Neck Amber
Neck Amber replicates the amber look used on Fender necks as well as many other solid body electric necks. It is shown here on maple. The color can be adjusted from the darker look of the fifties and sixties to the lighter look of the seventies by varying the number of passes sprayed. The aerosol contains the correct aniline dye color mix but contains no lacquer in the mix. Therefore, it must be clear coated after the color has been applied.

Fender Blonde
The color is slightly whitish and was mixed to the color found in the neck pocket of a '62 Telecaster. The color originally appeared in 1956. It is a pigmented color that opaques the grain if sprayed too heavily. The grain should be opaqued about 50%. Clear coat with nitrocellulose for a finish that will age over time.

Butterscotch is an aniline dye blend which does not opaque the grain. It has been matched to the body of a '52 Telecaster Reissue (1983). The color also works well on birdseye maple capped Tele's as it enhances the birdseye. It can be used for tinting maple necks as well. Shown here on ash.

Butterscotch Blonde
Although the original color as applied in 1952 may or may not have not been the color we know today, nearly 50 years of aging (and a lot of cigarette smoke) has given us the color most associated with the Tele's of the early fifties. The color is pigmented and should be applied lightly so as not to completely obscure the grain. This is the color you need for your new "Relic"

In the past I have used and recommended a well known manufacturers nitrocellulose black for the pigment coats of Black Beauties and such. I have been told that the color in nitrocellulose is difficult to find. So, if you need a very opaque nitrocellulose that when clear coated shows great depth and gloss this is the color for you.

Copper Tone Metallic
In 1954 Fender produced a prototype Tele in copper. Fender has since offered the color on special order '52 Reissuses. Copper Tone Metallic replicates that color. The color is blended in a high metallic acrylic lacquer and depending on the light source along with the viewing direction will appear to be light gold to copper to red copper. It should be applied over a prepped and white primed body. The color can be used with or without a clear coat. However, clearcoating with nitrocellulose slightly deepens the color and makes the color appear more "coppery".

Daphne Blue
Daphne Blue found its way into the Fender color scheme in 1960 and stayed until 1965. Originally an automotive color, it was offered only on the 1958 Cadillac. Like many of the colors from the Custom Color era it is again offered by Fender. Slightly darker than Sonic Blue, Daphne Blue can be warmed and aged with a clear coating of nitrocellulose lacquer. A white primer is recommended for more efficient covering.

Cherry and Heritage Red
Both the Cherry (Es335 Red) and Heritage Red (SG Red) can be replicated with the same aerosol spray. The choice of wood will determines the final color. This first sample shows the aerosol color sprayed over maple which was first tinted with a water based aniline dye (in this case our GRREDL) . The second sample shows the Cherry Red aerosol as it appears when sprayed over untinted mahogany. Both applications require clear coating to bring out the vibrant nature of the color.

Dakota Red
Introduced in 1958 for Cadillac the color was quickly ushered into the Fender line of colors. It can be sprayed over the prepped and filled body or over a prepped and filled body sprayed with a white primer. The color completely opaques the grain and is the "reddest" of the Fender colors. If clear coated a "deeper" finish can be obtained.

Fiesta Red

Although Fender seemed to favor General Motors colors for their guitars here is a color for the Ford guys. Fiesta Red found its way to the public eye on the '56 Thunderbird and was discontinued the next year. It was used by Fender from '60 to '69. The color is lighter and more orange than the truer red of Dakota Red. Fiesta Red will look great with white trim. Can be clear coated for a deeper finish.

Gold Top Gold
Original Gold Top powder as first used by Gibson in 1952 for the Les Paul model is actually a fine bronze powder. Bronze powder, as opposed to a mica powder, will show a slight green iridescence as do original Les Pauls they are when viewed at an angle. The supplier of our powder is also the bronze powder supplier to Gibson. All of the Gold Tops (including the '54 shown to the right) refinished by The Reranch in the last year have been "gilded" using the aerosol sprays. Not only do the aerosols spray the powder more finely and evenly than most spray rigs, the tedious task of cleaning the powder from the spray gun is eliminated. One can should be enough for a top. Spray the powder over a white primer for quicker coverage and after applying the gold must be clear coated to protect it and "lock" it in place. Body preparation is very important so be sure to review the steps given on the ReRanch Gold Top page.

Inca Sliver
The color first appeared on the 1957 Corvette and continued through 1959. Fender used the color from 1960 until 1965. The color has a high metallic content but due to the fineness of the metallics it is very easy to apply. Unlike some metallics If too wet of a coat is applied Inca Silver dries flat and consistent. The color can be used with or without a clear coat and a white primer is preferred.

Lake Placid Blue Metallic
One of the all time favorites among "Fenderphiles", it is aptly suited for the Strat type guitars in that the color changes from a medium blue metallic to a dark navy solid depending on ones viewing angle. The gentle flow of the body contours of the Strat take great advantage of this quality. It is a one layer color and can be applied over a prepped body or a prepped and white primed body. Clear coating adds to depth and iridescence and protects the metallic particles from any possible oxidation. And perhaps contrary to your intuition, Lake Placid Blue Metallic is a very easy finish to apply.

Olympic White
While very white the color has a slight blue component in the mix. It can be clear coated to give an aged yellow appearance although it is believed that Fender did not clear coat the color because of this very reason. A white primer coat will serve well to prevent any natural color in the wood from bleeding through. It is a great color for use with gold components such as seen on the SG Les Paul Custom.

Sea Foam Green
Slightly darker than Surf Green, Sea Foam Green (also called Foam Green by Dupont) is a great choice for either a Strat or Tele style body. Originally seen on the '56 Buick it saw life with Fender from '60 to '69. The color should be clear coated for a deeper shine.

Sherwood Green
Originally seen on the '57 Mercury it was used by Fender from 1960 to '65. The color is a medium green with silver metallic undertones. While dark enough to apply directly over prepped wood a white primer coat is recommended. With a primer coat one can should be enough for a body and peghead.

Shoreline Gold Metallic
A lighter gold than GoldTop Gold and more forgiving in it's application. The color is similar to the modern color "champagne". It was first seen on the '59 Pontiac and used from '60 to '65 by Fender. Although, there was a '58 Fender Shoreline Gold color in '58 it is believed that the color was a one off custom color and not true Shoreline Gold. The color works best over a white primer and clear coated.

Sonic Blue
What a color! It will work on any style solidbody but is especially revelent to the Mustang. Why Fender liked the color so much for the Mustang is a question left to be answered. However, the dirth of Strats and P-Basses finished in the color make them much more desirable. A very easy color to apply and when clear coated will age with grace.

Surf Green
The color, if not a brother, is a close cousin of Sonic Blue. Most of you older guys will remember it from the '56 Chevy. The younger guys will remember it from... well, their Dads' '56 Chevy. As evidenced by the prices (that is, if you can find one), there are not a lot of Surf Green any things out there. If you want an easy to apply color you will not see again in a "Blue Green Moon" this is the one for you. Clear coating will again only add to the beauty.

TV Yellow
TV Yellow was developed by Gibson in the early '50s to allow a "white" guitar to be played under the intense light required for black and white TV without the color overpowering the camera. The color is opaque but still shows the grain. It will display this magic only on an open grained wood. The subtle display of grain is difficult to display and may not show in the sample. I think it has overpowered my scanner! The color works best on mahogany. See the TV Yellow page for more information.

Vintage Cream
Seen on Strats and Teles from the late '60s until about 1974 it has since been reoffered as "Vintage White" by Fender. The color is a light yellow that is probably best described as "banana pudding". The color is opaque and should be applied over a white primer and clear coated for the best gloss. The color will work with either a white or black pick guard. Vintage Cream should be one of the easiest colors to apply.

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