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Old 12-09-2019, 04:12 PM
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Mark Hatcher Mark Hatcher is offline
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Join Date: Jul 2011
Location: Green Mountains
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Quote:
Originally Posted by emmsone View Post
Mark,
This particular set of "The Tree" is just outrageous, even more so now you can see it as a box.
I'm pretty sure you've got it all planned out in advance but what were you planning to do with the binding? Do you have any "The Tree" binding? That with a simple black purfling line would look so cool and really let the wood do its thing. I find it interesting how much i'm liking how it's looking here without binding.

David
Quote:
Originally Posted by SJ VanSandt View Post
I agree with David about the binding. It's a shame you have to interrupt all of that with binding at all, though I suppose you have to for structural reasons. Something else highly figured like snakewood might keep the eye moving.
This body picture is a picture I often take right after I glue and trim the back. I often get comments at this stage saying how good the body looks without binding. I think it makes a good picture at this juncture but, once the neck is on and the guitar is finished I feel it ultimately looks better with the body shape framed out with a contrasting binding.

Then there is the fact that this is a really expensive back set and the old Redwood soundboard is as light as cedar and binding/purfling offers some protection against accidental bangs.

We are going with a hard Macassar Ebony binding which will blend in with the arm and cut away bevels. The hard Ebony helps fend off a hit. The purfling is softer woods which act as shock absorbers so a hit isn't just transferred into the back side and top woods. The more vulnerable top is typically protected by using even more purfling lines.



Here are the four book matched binding strips with the black-maple-black purfling lines that will be on the sides:



And the top gets seven purfling lines which are black-maple-black-mahogany-black-maple-black:



I like the color of the binding which goes well with and will bring out the streaking on the top.

All of the Macassar trim, bevels, rosette, the fretboard, and the bridge are cut from the same board.

The dark bevels/rosette will also serve as a contrasting background for the flourishes we have planned.

Thanks for following along!
Mark
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