ENGLISH 12
Shellac
The raw material for shellac is obtained from the secretion of the Asian lac insect that deposits it on the bark of certain
trees after consuming its sap. This residue then undergoes a purifying process that transforms it into shellac. It is thin-
ned in alcohol and later applied on the instrument in several coatings, a process used also on violins and expensive fur-
niture called “French polishing”. The AZ-10 model offers this finish in 2 different colors, amber and vintage violin. The
neck is left untreated as it is with classical instruments.
Metal Flake
This is a variation of the high-polish finish where metal flakes are mixed with the lacquer creating a shimmering and
glistening Disco effect. After applying a primer the metal flakes are then added and coated with a high-polish clear lac-
quer. If you want to literally “shine” on stage then this finish is the perfect choice for you.
Airbrush (Graphic)
Everything is possible with this surface treatment; the boundaries are set by your own imagination. It doesn’t matter if
you like single motifs or an entire piece of art, because you will be working with one of the most renowned airbrushers
and your wishes will come true in a unique masterpiece.
Sandblasted finish
Woods like swamp ash have more of a coarse texture and when treated with a sandblasting technique they are purified
in totally different form. This type of finish has an outcome that depends entirely on the different hardness degrees of
the wood’s internal rings. Pressure and friction created with the sandblasting tool will naturally erode the wood at the
softer spots; this will create small dents, molds and depressions in the wood’s surface resembling a relief. This treated
surface then receives a natural oil finish, but the possibility for other relief colors is also available under the colored oil
finish offerings.
Chrome Tone (CT)
Chrome is a surface that awakens emotions in most people, is an absolute eye catcher on stage, and is therefore seen
more and more as a guitar finish option. Unfortunately the connection between chrome and wood is a rather frail one.
Most chromed wood surfaces have low durability and the appearance of stains and dark spots is pretty quick and so-
metimes in the worst-case scenario the chrome peels or brakes off. But research continues and Framus contacted a com-
pany that specializes in galvanic connections and together with our engineers we solved the problem. The magic word
is subsurface work: Only a very flat surface will bind together with chrome for a long time. The instruments have to be
prepared accordingly; a special lacquer and polishing quite a few times in-between are all part of the procedure. And
that is all we’re giving away …
We don’t concentrate only on classic silver chrome surfaces; we also offer additional chrome colors namely silver, gold,
black, blue and red. Aside from this wide and unconventional array of colors, Framus also offers two different surface
treatments, one being the already known glassy option and the other one not less glassy and mirroring, but optically hea-
vily textured therefore called “chrome riffle”.
The following table shows the available finishes on the standard Framus models:
