I would like some opinions, Please

[TEK]

Originally Posted by Bruce Sexauer

I think of binding as a bumper, and purflings as a cushion, or shock absorber. You (I) want the binding to be a hard material so that it doesn't get damaged and then transfers the shock energy into the purflings which as made of softer and more resilient material. All this to keep the damage away from the actual guitar structure; the plates, sides, and the linings. Koa is too soft for the job, and is itself damaged rather that transferring the energy to the purflings.

I am not making this stuff up, it is traditional thinking for how a guitar is intended to work, but is a bit of knowledge which appears to me to be in danger of being lost.

Doesn't mean Koa won't bind a guitar, it will, and I have done it myself several times. But not not until after I have explained to the customer why I don't think it is such a great idea.

Thanks Bruce for explaining this, I too was not sure what you meant but also knew you had a reason for your statement as you always do. I always enjoy your informative post. Very much appreciated.
Travis

[The Bard Rocks]

I would first think of something light in color, like Maple or curly Ash. Looking in the other direction, something dark brown (but not with any reds), such as Wenge, Macassar Ebony....

[invguy921]

Count me in with those that say a dark brown to possibly black. Three "C's" to me are: Contrast, coordinate, complement...in that order. Guitars with binding woods that blend too much together tend to bore me. So contrast is first in my book...ie: make the woods pop against each other. Coordinate is the next element of finding ways to pull those binding colors out in other areas of the guitar so the theme carries throughout the entire project. Complement is the part of recognizing that there are times when you have to step out of the traditional molds and do something a bit "out there" that brings the visual experience to a new level...how people do this is a very individual skill.

I think there are a number of builders here on the forum that do a masterful job at all of this. I do have to say that one of the very best at all of this is Mark Hatcher. I think a study of his wood and trim choices is something any builder could spend some time with and learn from. Of course to do so means you better have a solid investment in wood inventory or plan to take lots of trips to the lumber yard .

For those who don't know Travis, he's a fine gentleman that I have had the privilege of getting to know through this forum. In fact, I've played one of his guitars very recently and I gotta tell you that this guy has a very good handle on getting tone and volume out of a wooden box. Very very impressive stuff! This one looks like it is going to be special Travis!

[TEK]

Originally Posted by The Bard Rocks

I would first think of something light in color, like Maple or curly Ash. Looking in the other direction, something dark brown (but not with any reds), such as Wenge, Macassar Ebony....

I have some curly Maple and held it in place and it just did not do it for me. Looks like I will be going the other direction.
Thanks

[TEK]

Originally Posted by invguy921

Count me in with those that say a dark brown to possibly black. Three "C's" to me are: Contrast, coordinate, complement...in that order. Guitars with binding woods that blend too much together tend to bore me. So contrast is first in my book...ie: make the woods pop against each other. Coordinate is the next element of finding ways to pull those binding colors out in other areas of the guitar so the theme carries throughout the entire project. Complement is the part of recognizing that there are times when you have to step out of the traditional molds and do something a bit "out there" that brings the visual experience to a new level...how people do this is a very individual skill.

I think there are a number of builders here on the forum that do a masterful job at all of this. I do have to say that one of the very best at all of this is Mark Hatcher. I think a study of his wood and trim choices is something any builder could spend some time with and learn from. Of course to do so means you better have a solid investment in wood inventory or plan to take lots of trips to the lumber yard .

For those who don't know Travis, he's a fine gentleman that I have had the privilege of getting to know through this forum. In fact, I've played one of his guitars very recently and I gotta tell you that this guy has a very good handle on getting tone and volume out of a wooden box. Very very impressive stuff! This one looks like it is going to be special Travis!

Mike,
I almost sent you a email to ask this same question but I know this is your busy time so I left you alone. Being the guy you are, you are here anyway. Thanks
You all have heard of WWJD .... well since Jesus was not a guitar builder I found myself asking WWMHD (what would Mark Hatcher do)
I did exactly as you said before I started this thread yesterday, I was on Mark Hatchers web site looking at his build trying to get some inspiration. Plenty was found, (hope you don't mind Mark)
My problem is just as you stated, My wood locker is not as full as the "real" luthiers here so I was a little stuck on which direction to go on this one.
What better place than on this forum to get opinions from everyone.
Monday morning I will be headed to the local hardwood supply up the road. I heard they started carrying a selection of exotic wood which will be great. Other than Walnut there is not much local dark wood.
Thanks for the kind words Mike.
Travis

[Mark Hatcher]

Thanks for the compliments! It is a lot of fun selecting wood combinations. I have to say that a number of the designs I've done have been guided by the vision of my clients. TEK don't worry about looking through my photos for ideas, many of my ideas are also inspired by other's guitars.

[jessupe]

I heard Mark was going to start charging for inspiration, oh noes', lol

[Neil K Walk]

East Indian rosewood would be my choice. As a hobby builder myself I found it easy to work with and it complimented and gave a nice outline between the mahogany back and sides and western red cedar top:

[dekutree64]

Purpleheart.

[TEK]

Originally Posted by jessupe

I heard Mark was going to start charging for inspiration, oh noes', lol

I am sure I am not the only one looking at Marks creations for inspiration, guess I better put some money in my Pay pal account.

Neil,
I had some Rosewood binding but it looked a little "purple" to me . Yours looks great, I wish mine were that color.

Originally Posted by dekutree64

Purpleheart.

Just when I am thinking my rosewood binding looks a little Purple and you go throw out Purpleheart out there. I guess you know how I feel about that. LOL
I have some Peruvian Walnut and some Wenge on the way so I will see how I like them when they get here.
Travis

[invguy921]

Originally Posted by TEK

Mike,
I almost sent you a email to ask this same question but I know this is your busy time so I left you alone. Being the guy you are, you are here anyway.
Thanks for the kind words Mike.
Travis

Travis, always happy to help out! I wouldn't hesitate to consider going even darker to possibly black. Here is a picture of guitar I had built quite a while ago. This is Honduran Rosewood, but at least you'll get a feel for how it might look. You can see the lighter colors in the black, but it was predominantly black...I don't recall if it was Ebony or blackwood...I think Ebony.

Personally I liked the darker contrast, and I got a ton of compliments on the guitar. You might not like it quite so dark, but thought I'd give you another tidbit to consider.

[TEK]

Mike,
That is a beautiful guitar and the ebony binding looks great!
Brucebubs brought up the current Strahm build and it had ebony binding also. Here it is


I will either be going with ebony or a very dark brown, almost black. I will know once I get them later this week. Thanks for the help.
Travis

[Glenn23]

Here's my take when it comes to artistic choices. Be fearless. Choose what excites you. There are no colors that don't "go" together. An E and an E flat played together sound dissonant, but when played together in an Emaj7 are beautiful.
Here's an example of one of my binding schemes where I break all sorts of rules but the end results turn me on. First of all I have two distinctly different figured woods playing against each other. The purfling doesn't seem to know if its purfling or binding, the bevel changes width like a brushstroke, The side laminations are exposed, and then there's an arbitrary reddish strip of bubinga. What's that all about?
Which is not to say that a traditional look isn't the most beautiful. Sometimes traditional is the most fearless choice of all. Think long and hard about the possibilities (as you obviously are) and I guarantee you can't make a mistake.

[TEK]

Glen,
I remember that guitar, Well done. You obviously think a little more out of the box than I do but I like it.
The main reason I asked to get opinions here is I am a hobby builder and I tend to build what I like. I cannot say I have built a ugly guitar but several are starting to look very similar so was trying to get outside of that box.

Thanks

Travis

[dekutree64]

Originally Posted by TEK

Just when I am thinking my rosewood binding looks a little Purple and you go throw out Purpleheart out there. I guess you know how I feel about that. LOL

It would be about as strong of a hue contrast as you can get, but I like it.


Another good option is movingui, keeping closer to the greenish hue of the back/sides.