Binding the top

Actually, there's a little more to do on the back binding, so here we go. First, scraping the binding level.

Kirk uses this high-tech scraping tool.

And now, routing for the top binding. Kirk uses this router . . .

. . . very carefully.

Building up the layers of binding.

Here's a closeup. Kirk uses the same scheme as the soundhole ring- black/white/red, edged with Brazilian rosewood.

All bound up with no place to go. The cord (and the monster clamp) is to hold the binding in place while it dries.

Kirk will clean up the squeeze-out later.

More scraping . . .

And sanding . . .

Lookin' good.

Still more scraping, this time with a razor blade.

Done!

Next time- making the neck!

-Craig

Routing for binding

With the box completed, Kirk turns his attention to the binding. "I love binding when I am in the mood or groove for it," he says. "I am really into this one- it will be fun!"

First, routing for the back and side binding.

A careful pass around the entire body creates a channel for the binding.

I told Kirk I wanted red in the binding. My first Kirk Sand guitar has green trim in the Indian rosewood binding, so I wanted something a little different. (I also thought it would look nice against the lighter colored cypress.)  Kirk suggested a black/white/red scheme, bound with Brazilian rosewood to match the soundhole ring. Below are the binding strips, ready for gluing.

You can see how the binding matches the wedge on the back of the guitar.

Another view.

And another.

Both guitars bound.

A view of the access panel.

And a closeup. Says Kirk: "This was fun! I like this cypress/rosewood combo. It's new to me, so it's fresh and exciting."

Next time- binding the top!

-Craig

The box is done

"Hi Craig. Box is done. Ready for the Brazilian rosewood binding!"

When I got this short email from Kirk Sand, I couldn't wait to see the photos. So, without further ado, here they are...

Kirk's signature on the underside of the top, visible through the access panel:

View from the back side. (My best side, so I'm told. Actually, folks tell me the further away I get, the better I look...)

Love the figuring in that Brazilian rosewood! (Have I said that before?)

Closeup of the top. The Brazilian rosewood binding will match the soundhole ring (and the back wedge).

Here's a closeup of the soundhole ring again (before Kirk cut the soundhole), with black/white/red accenting the rosewood. The top will have the same binding scheme.

The top of my guitar, and the back of its twin.

Next time, the binding!

-Craig

Making the rosette

The Kirk Sand electric classical guitar I've been playing since 1996 doesn't have a sound hole, but my signature model guitar will. For it, I told Kirk I wanted something other than a standard classical guitar rosette (as shown below). 

Rather than marquetry, I suggested a simple Brazilian rosewood ring, to match the rosewood accents on the guitar. Kirk's response (as always) was "I can do that!" As you will see, "a simple Brazilian rosewood ring" is not such a simple process.

First, Kirk carefully drew the pattern onto the template with a compass.

Then, he glued up two lengths of Brazilian rosewood.

Ready to go.

Using a Dremel tool to cut the ring. Notice the dowel to guide the Dremel.

First one is finished.

Both done. (Remember, Kirk is making two guitars- my personal guitar and the first order.)

The rosewood ring will be double bound in black, white, and red.

Bound and finished.

Checking against the template before cutting a channel for the ring.

Ready to go. Notice the razor blade and the serial number of the guitar penciled on the top.

Ring inlaid into the top. Perfection!

Soundhole cut out. Notice the top is not yet cut to the template.

Both rings done.

Next time: finishing the top!

-Craig