Many guitar enthusiasts, especially those venturing into DIY refinishing, explore various paint options beyond traditional nitrocellulose lacquers. Driven by cost-effectiveness and the allure of readily available spray paints, alternatives like acrylics and other formulations become tempting. This article delves into a real-world experience using Montana GOLD spray paint on a guitar, revealing why it might not be the shortcut to a perfect finish you’re hoping for, and what you should consider instead for your Montana Guitar project.
The Allure and the Initial Disappointment of Montana GOLD on a Guitar
The journey began with stripping down a Squier Stratocaster, aiming for a surf green finish over a white acrylic primer. Montana GOLD, known for its wide color range and satin finish, seemed like a promising candidate. The application, however, immediately presented challenges. The paint was described as “tricky and sticky,” hinting at potential application issues from the outset. Furthermore, upon drying, tiny green dots marred the satin sheen, an unexpected cosmetic imperfection. While initially dismissed as “instant vintage mojo,” this was a subtle red flag regarding the paint’s behavior.
The Lingering Softness: A Montana Guitar Finish Nightmare
The real issues surfaced long after the paint had supposedly cured for a month. Upon reassembling the guitar and placing it on a sofa, imprints of the fabric became embedded in the finish. This wasn’t a one-off incident. Propping the guitar against a carpet resulted in the carpet texture molding into the lower edge of the body. Even the pressure from the scratchplate screws caused the paint to visibly deform and “wave.”
A year later, the finish remained soft and pliable, likened to a “latex body suit.” This ongoing softness rendered the Montana GOLD finish impractical and unsuitable for regular guitar use, proving to be a significant drawback for this montana guitar experiment. The decision was made to strip off the “gloopy mess” and seek better alternatives.
Seeking Solutions: Montana BLACK and the Manufacturer’s Insight
Inquiring about Montana BLACK, described as “nitro combination” with a matt finish, seemed like a logical next step. The hope was that this formulation might offer better hardness. However, direct communication with Montana paints provided valuable insights and a dose of reality.
Their response highlighted several critical points:
- Standard Guitar Finishes are Different: Guitar finishes typically utilize two-component (2K) clear coats, which dry significantly harder than standard varnishes, including those offered by Montana.
- Surface Preparation Matters: Whether the paint is applied over existing finishes or bare wood significantly impacts the outcome.
- Montana GOLD is Satin, Not Gloss: Reinforcing the satin nature of Montana GOLD clarifies it’s not designed for the high-gloss, durable finishes common on guitars.
- Montana BLACK is Nitrocellulose-Based but Matt: While Montana BLACK is nitrocellulose-based, its matt finish necessitates a compatible 2K clear coat for a glossy and durable guitar finish. They suggested that the BLACK paint needs extended drying time before applying a 2K clear coat on a neutral, unpainted substrate.
- Varnishes May Lack Hardness: Montana’s varnishes were deemed potentially insufficient in hardness for guitar applications.
- Experimentation is Key: The crucial advice was to test all material combinations on scrap surfaces before applying them to the actual guitar.
This candid response from Montana paints underscored the complexity of guitar finishing and the potential pitfalls of using off-the-shelf spray paints not specifically designed for instruments. The prospect of a “long expensive experiment” with Montana BLACK and 2K clear coats became apparent.
The Return to Nitrocellulose for a Reliable Guitar Finish
Faced with the uncertainties and potential costs of experimenting with Montana BLACK and compatible clear coats, the tried-and-true option of nitrocellulose lacquer became significantly more appealing. Despite the slightly higher cost (£13.00 per can), the reliability and established history of nitrocellulose in guitar finishing offered a much safer and predictable route for achieving a professional and durable finish on a montana guitar.
Lessons Learned: Satin Finish Appeal vs. Practicality
While the Montana GOLD satin surf green finish aesthetically resembled “a bar of soap” and had a certain visual appeal, its soft, impractical nature made it unsuitable for a guitar finish. The experience highlights the critical difference between visual appeal and functional durability in guitar painting.
The takeaway is clear: For a lasting and robust finish on a montana guitar, carefully consider the specific properties of your chosen paint. While Montana GOLD might be suitable for art projects or decorative purposes, its softness makes it a poor choice for guitar bodies. Investing in proven guitar finishing products like nitrocellulose, or seeking professional advice, remains the most reliable path to a successful and durable montana guitar paint job. Always test your finishing process on scrap wood first to avoid similar sticky situations.
