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

Back, preamp, and access panel

Here's the finished back, almost ready to glue to the sides.

But first, Kirk cuts the access panel for the preamp (because this is an electric nylon string guitar, don't you know). You can see the tracing for the cutout below.

My guitar will be amplified with a Prismatone II pickup. My friend Sam Kennedy has re-created the Prismatone, as used by Jerry Reed and Chet Atkins. Paul Yandell said he thought it was the most balanced sounding pickup he ever heard. Sam has also designed a special preamp for my guitar which incorporates the original circuitry, plus volume control and 3-band EQ. The preamp will be accessed through- you guessed it- the access panel, and the slider controls will be on the top of the guitar.

Back to the access panel, after Kirk cuts the opening, he reinforces it with rosewood.

Two sides completed...

Gluing up the other two sides.

My guitar drying...

Both guitars done.

Looking good.

View from the outside. The wood Kirk removed will become the door for the panel, which will rest on the rosewood supports.

Finished and ready to join!

Well, maybe next time we'll glue the back!

-Craig

Gluing the top

Now Kirk attaches the top to the sides- or is it the sides to the top? Anyway, here's a view from inside. That Brazilian rosewood lining looks great!

The three-piece back (Mediterranean cypress/Brazilian rosewood) is braced and ready to go.

Here's a view from the outside.

And one more from the inside.

Both backs are done, and join the other backs waiting their turn.

Looks like it's ready to be glued! (That's my personal guitar, #642.)

Next time- gluing the back!

-Craig

Finishing the top

With the soundhole ring inlaid, Kirk turns his attention to bracing the top. First, the wood is trimmed to the template (notice it now has the cutaway). Then Kirk installs the bracing.

The reinforcement patch on the upper right is where the channels for the slider controls will be cut.

Our mutual friend John Knowles stopped by Kirk's shop while the top was being finished. Here John is conducting olfactory testing of the soundhole. (He assured me that the top smells as good as it looks.)

photo by Kirk Sand, courtesy of John Knowles

Here's a closeup of the completed top. Check out the grain of the Brazilian rosewood ring.

photo by John Knowles

The top is inlaid, trimmed, braced, and ready to glue to the sides.

photo by John Knowles

Next, gluing the top!

-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