Just took possession of a new batch of custom headplates for sMg Guitars.

Row 1 – Curly Sycamore and Koa

Row 2 – Pau Ferro and Cocobolo

Row 3 – Rosewood and Ebony

I just wasn’t happy.  The binding on the front of the guitar, the binding everyone will see and admire, was just not right.  Too thin in places, poorly fitted around the cutaway, and even a few cracks that needed repair.  I ordered additional rosewood binding strips, which arrived yesterday, and set out on removing the first application of binding and installing it again.

I routed out a binding channel for the top binding with a depth considerably deeper than the original.  The first pass at installing this binding included thinning of the binding strips to assure a clean bend around the cutaway.  What I discovered was that I could tightly bend even full width binding if I got my iron hot enough and patiently bent the binding strip a wee bit at a time.  Bending, then checking, bending then checking, until I had a nice tight bend with no cracks or pullaway of wood fiber on the outside of the bend.  (What I did find is that my insulated gloves don’t work as well as I would like, and my fingers are a bit crispy).

A good tight bent binding and purfling make for a spectacularly easy application of the binding with binding tape.

This will be way better.  I am no longer afraid of the tight bend of the cutaway.

The fretboard is attached, and the long slog of finish sanding lies ahead.  Here’s a little comparison of this Macafee style guitar next to an OM (which happens to be a Rob Girdis guitar).

All binding is on and trimmed.  I decided to install a rosewood heel cap and did so by routing out the heel cap material to allow installation of a maple veneer topped with rosewood cap.  The heel cap will be flush with the body.

Side dots were inserted onto the fretboard, it was trimmed to match the profile of the neck, then indexing pins were located to hold the fretboard in position while it was glued and held in place with the amazing 40 foot rubber band.

The binding, heel cap and fretboard all meet up in various spots around the guitar.  Next steps will be to flush up all the joints and prepare for detailed finishing of all the surfaces.

The binding is installed (save one small section on the neck heel).  It’s been trimmed close to the body and now the scraping begins.  Using a cabinet scraper, nicely burnished, I’ll draw down the binding flush to the sides, top and back.  I enjoy this process, yet it takes a long time to do it right.

The Palo Escrito looks fine treated with naptha.  The blotchy parts still need further sanding to remove the glaze of wood glue still on the surface.

An hour here, an hour there, then some more here and there, and the fretboard goes on.

I’ve attached the cutaway side binding after hand bending.  I’m pleased with the process, and am no longer flummoxed by tight binding bends.  All went swimmingly, and installation was straightforward.  A few minor gaps which can be filled with rosewood shims.

I still need to install binding and purfling around the heel cap area.

I like this part.  The binding puts the real finishing touches on the body.  This one is more complicated due to the cutaway and the heel shape.  I’ve taken the first “easy” steps of binding the non-cutaway side.

The binding, pre-bent, and a purfling strip are glued into the channel, secured with binding tape.  I like to glue the crap out of it, which makes the cleanup more labor intensive, but these puppies need to be secure.

After the tape is removed, it almost looks like a guitar.  I will trim back the excess with a cabinet scraper before the final sanding.  The cutaway side is next, but I will need to hand bend the binding and purfling strip for the severe bend around the bout at the cutaway.

The binding process for this cutaway is quite a bit more complicated.  I’ve got some tricky executions especially around the neck.

First I installed the butt graft, and had to recover from oversanding after I installed and trimmed.  I almost sanded through the sides around the butt block and had to go inside and reinforce with resin to restore the thickness and strength of the sidewalls.  After that recovery, I routed out the channels for the binding on the top and back, having to pull short as I approached the neck.

The continuation of the channels was achieved with a chisel and saw, but I still have some decisions to make around the end graft for the neck.

Through a Google search, I was contacted by a gent from Guemes Island who was in possession of an unfinished Rob Girdis parlor guitar.  After discussing my background and having studied with Rob, we agreed that I would take on the job of finishing the guitar.  It’s a koa parlor with snakewood binding.

I’m looking forward to this project, as I can still learn from Rob by examining and analyzing the construction of this guitar while I proceed with the finish.  It needs the shaping and installing of a snakewood bridge, bone nut and saddle, tuning machines, and end pin.  The guitar needs to be prepped for finish, then the application of a lacquer finish.  Finally, strings and setup.

I’ll carefully document the dimensions and materials, and take a few iPhone photos of inside the box.  It’s koa all around with an interesting trilaminate neck of mahogany and ??

The headstock treatment uses a backing laminate of the same wood in the neck, which may be boxwood.

One thing Rob was proud of was his binding and purfling work which really shows on this guitar.  I remember showing him progress on one of my earlier guitars where he commented, “Nice work, but, you still have a way to go on improving your binding.”  I do possess now, the example to work toward.

I have access to an extensive photo library of Rob’s guitars.  I should be able to replicate tuners and bridge design to ensure the finishing of this guitar matches his design.

The top and back scarf was removed using a router.  It looks like a guitar and thumps like a guitar.  This is the first moment one can test the resonance of the box.  Thumb thumps on the lower bout, front and back, give a bold timpani like sound.