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

Bending the cutaway

As Kirk promised last time, "As soon as I make the neck block, I'll be bending the cutaway." After choosing the wood, he numbers the blocks and draws a center line.

Carefully calculating the curve in the neck blocks. Kirk uses only the most advanced techniques and equipment:  "The more tape I use from that roll, the smaller the radius gets!"

Done. The neck block will be positioned at the top end of the body.

Next, bending the cutaway. The wood will be carefully bent around blocks to match the template.

Moistening the cypress allows Kirk to bend it to shape.

Now, the first bend. Kirk says, "One bad move and you are starting all over again."

So far, so good . . .

Now, another block is positioned.

A little more water to keep the wood moist, and the second bend.

Success!

Please don't break...

Now, the neck block is positioned.

Beautiful!

Is it just me, or is it starting to look like a guitar?

Choosing the wood

When we set about designing my signature model guitar, one of the first questions Kirk Sand asked was "What kind of wood?" I have always liked flamenco guitars, so I replied "What about cypress?" 

"I love cypress!" Kirk enthused, and we were off. He found some beautiful Mediterranean cypress, and I chose a set for the back and sides. (Kirk says it smells as good as it looks.)

Back in the 1980's, I owned a Martin D-35, which had a three-piece rosewood back. Borrowing the idea, I suggested a three-piece cypress back to Kirk. "Why don't we do a Brazilian rosewood wedge?" he asked. I agreed, and he selected a gorgeous wedge of Brazilian from his private stock. Here is the cypress/rosewood/cypress back, glued up and template traced.

We decided on a Sitka spruce top, and Kirk drew a template to my specs. I wanted a cutaway somewhere between Django Reinhardt's Selmer-Maccaferri and Jerry Reed's customized Baldwin electric classical.

Here's a closer view of the top template. The deep cutaway will allow plenty of access to "the dusty end of the fretboard" as Chet Atkins used to call it. 

The design also gives me an extra fret on the first string. Guess I'll have to work up a lick using that note.

-Craig