You could put it on as thick as you wanted with no runs whatsoever, count to 10, then throw the thing on the floor and jump up and down on it.Unfortunately, the stuff would cure between the spray gun and the body, and they simply couldnt use it in the Mississippi climate.They saw the transfers going on as fret markers and made some less than favorable comments concerning the quality of the instrument.
much of which was pioneered by Chip and Hartley Peavey.
When Chip and Hartley came up with a patented method for manufacturing necks, they settled on the idea of using a torsion rod with a hook on the end, that would grab the wood and keep it from rotating.
The markers were painted over with a urethane, which at the time no one was using.
In the early stages of development, both Hartley and Chip decided they wanted the finish to be tough as an airplanes.
Also, the neck tilt mechanism was designed to rest up against a slug.
Chip designed the first few slug slots to be the same size as a nickel, so that a nickel could be used while they were waiting for the slugs to come in.If you find one with a coin in it, it was likely a prototype that slipped out of the factory somehow. This particular neck had all zeros for a serial number.This particular neck, GUITAR DEPT 3, was a fretless neck made for Charley Gressett, and was, literally, the third neck carved on the gunstock carving machine at Peavey.Emron urethane is used on airplanes, however it is incredibly cost prohibitive, so Chip had Sherwin Williams come in and work up a formula for them.They had another promising formula worked up by a Swedish company that according to Chip was all solids and no thinner.Chips commercial art experience coupled with Hartleys existing state of the art silkscreen department (used to produce amplifier name plates) held the secret.