Nice. I agree with tonewheel - put a coat of something over that.
You should test whatever you are going to coat it with on a scrap with the same pen on it to make sure that you don't liquefy the signature, maybe using something like a spray varnish using a lot of very thin coats.
I brought the pickguard to my Les Paul into NYC and had the man himself autograph it with an ice pick. It will be a long time before that wears off.
Great minds think alike.
Did the same with my SK-1, surprised him when I pulled it out of my pocket instead of asking for a selfie.
He really is generous and friendly, as well as talented.
Great stuff! You never know how long they'll be here. Doug Riley was a great drawbar puller from Toronto when I played in bands there in my 20's (see his short but great solo in The Cat on Youtube with Paul Shaffer, entitled 4 B3's). He passed away suddenly at the Calgary airport a few years ago.
The selfie is not a bad idea for provenance (proof that this really is a genuine signature)...at least your descendants will believe it's not a tall tale.
1955 B3, Leslie 21H and 147. Hammond A100 with weird Leslie 205. 1976 Rhodes. Wurlitzer 200A. Yamaha DX7/TX7. Korg M1. Yamaha C3 grand, 67 Tele blond neck, Les Paul Standard, PRS 24, Gibson classical electric, Breedlove acoustic electric, Strat, P Bass, Rogers drum kit, Roland TD 12 digital drums, Apollo quad, older blackfaced Fender Twin, other amps, mics and bits and pieces cluttering up the "studio."
Great stuff! You never know how long they'll be here.
I'm really glad I did it; I had it planned for quite some time. I also wanted to get Ian McLagan's signature on my M3. A few years ago, he was scheduled to do a segment of Fresh Air on NPR (it's produced here in Philly) and Terry Gross's assistant (who I know) called me to find out if he could borrow my organ. Of course, I agreed, and was going to have him sign it. Sadly, 2 days before he was to fly to Philly, he passed away. I did see him at an in-store performance a couple years earlier, and he signed his book ("All the Rage") for me. I toyed with the idea of transferring that signature somehow to my organ, but it's not the same thing, so I didn't do it.
Nice. I agree with tonewheel - put a coat of something over that.
You should test whatever you are going to coat it with on a scrap with the same pen on it to make sure that you don't liquefy the signature, maybe using something like a spray varnish using a lot of very thin coats.
Steve
A friend suggested I use a floor wax like Future instead of urethane. He said Future will protect while urethane might dilute the ink and wash it away.
I was stage manager for a jazz fest we had here in Sylvania several years ago. It featured Joey and Kevin Eubanks. I had to quickly fix Eubank's guitar amp (he'd just come from somewhere overseas and it was still set on 220 vac), and also got Joey to sign the back of the B3 I'd provided. Unfortunately, I sold that rig about a year later, totally forgetting about the autograph. So, it's floating around out there somewhere...
Over the years: Hammond M3, BC, M102, B3, four X77s and three PR-40s, a Thomas Electra and a Celebrity, three Fender Rhodes, Roland HS-10, HP-2000, HP-600, RD-600, JV-880, a thing made by Korg (?), two Leslie 910s, 122, 257, 258, 247, two 142s, and three custom-built Leslies. Wow, way too much money spent!
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