Yet another Sale item is coming my way.

[Cliff Rogers]

Thanks for the tip on sealing the binding, I have some of the water based poly. 👍

[DarkMark]

I want to see the binding first hand, but I have never played with binding and don't even know how to attach it.....and I was thinking about shaping the headstock and then curling some more binding around the edge of that design to match the binding already along the neck.

I think that the binding will need to be cut on an angle to sit in along the edge of the headstock at the nut. Then also cut and bevelled to meet the edges I may cut in. That will be fun too.

Honestly binding did scare the crap out of me. But since the poly thing I am fine with taking my time and sealing it up first.

The fitting of binding is something I have never done. I bought a stewmac router fitting to cut the groove for it and have never used it.



A bit of careful chisel work, a bit of sanding on the purfling and you’ll get there. This is on my ES-3.
Personally I use acetone to adhere it to the wood but I know others have used super glues.

[McCreed]

I'm not convinced that the veneer tops are quite as fragile as we are led to believe. The top on the violin bass is also thin veneer and had no issues when sanding it. I think that people are working too hard. The paper will do the work without needing to use massive amounts of pressure.

I agree with you Rabbit. A healthy dose of caution is not a bad thing, but it seems many treat the veneer like it was rice paper.

Admittedly I have only done one PBG kit with veneer, but during my pre-dye prep, post-dye de-nibbing and clear coat process, I was never concerned about burning through it. Mostly because it required very little prep work or between coat sanding and the paper grades needed were light enough that you'd almost have to try to sand through it.

I would definitely avoid using power tools though .

[ozzbike]

A bit of careful chisel work, a bit of sanding on the purfling and you’ll get there. This is on my ES-3.
Personally I use acetone to adhere it to the wood but I know others have used super glues.

I have seen the recommendation to use Acetone.....I have some wax and grease remover....same stuff isn't it?

It is a clear liquid not much removed from water in consistency. I would rather run a little of that up the back edge of the binding/purfling then run the risk of creating glue spots with CA glue.

Mark, did you just brush it / dribble it / squirt it onto the binding and then tape it in place? Or was there some other magic involved?

The track your parcel thing had the guitar in Sydney yesterday.....I reckon Fri or Mon for delivery here.

I am waiting to see the nature and size of the binding used on the body and neck, and also the colour of the dots on the fretboard. The listing stated they were mother of pearl...maybe they are real or black pearl, as the photos have them nearly abelone in colour.

The luthier supply place on the Gold Coast has a tortoiseshell plastic binding and heaps of different styles of dots from plastic to abelone.

Really keen to just see this one.

[Dave Sloan]

The first guitar kit I built was an LP from Artist Guitars and it has a flame maple veneer and I followed what big d did in his youtube vid and am very happy with the way it turned out.
I struggle to upload pics on the forum but here is the post with pics of the finished guitar.

https://www.buildyourownguitar.com.a...ad.php?t=11182

[ozzbike]

I agree with you Rabbit. A healthy dose of caution is not a bad thing, but it seems many treat the veneer like it was rice paper.

Admittedly I have only done one PBG kit with veneer, but during my pre-dye prep, post-dye de-nibbing and clear coat process, I was never concerned about burning through it. Mostly because it required very little prep work or between coat sanding and the paper grades needed were light enough that you'd almost have to try to sand through it.

I would definitely avoid using power tools though .

Yeah....I am waiting to see how the veneer is upon arrival. But, I am still keen to level it a little.....maybe just some 320/360 grit before the stain.....then 400 to rip the colour out...then some 600 after the last yellow coat.

I have been looking at the photos and I do like the finish Big D achieved in his Nuclear Burst....thanks for that idea Dave Sloan.

I am thinking Nuclear Burst on the top.....a wooden colour not mahogany on the side to try and pull a colour to meet or match the spalt on the headstock....and then the back in straight RED. (The Angelus Red gets some amazing respect for BIG D and others on YouTube and the net.)

Maybe the back of the neck in the same colour as the the side and the headstock.

Some many choices....so nervy.

[Dave Sloan]

Have a look at some of his other youtube videos on hand rubbed bursts, you can blend the colours in really well, I have just finished a burst on the PB tele that I am nearly finished building
and an happy with the result.
The place in D Bay is well priced and as you say nice and local. I live on Mt mee.

[Dave Sloan]

https://scontent.fbne5-1.fna.fbcdn.n...c8&oe=606C463C


Hopefully this opens, this was a quick mock up of the burst before spraying the clear.
The neck looks really good, I will try and put up a few pics as soon as its all togeter.

[Rabbit]

lI would definitely avoid using power tools though .

Are you suggeting that maybe a belt sander with 40 grit may not be the best tool for the job?

The luthier supply place on the Gold Coast has a tortoiseshell plastic binding and heaps of different styles of dots from plastic to abelone..

The bloke at the shed who does guitars showed me one with tortoiseshell binding. It looked way better than the usual plastic binding, which in my mind, makes a guitar look cheap. He was able to get it for a bargain because apparently hardly anyone uses the stuff.

[DarkMark]

I have seen the recommendation to use Acetone.....I have some wax and grease remover....same stuff isn't it?

It is a clear liquid not much removed from water in consistency. I would rather run a little of that up the back edge of the binding/purfling then run the risk of creating glue spots with CA glue.

Mark, did you just brush it / dribble it / squirt it onto the binding and then tape it in place? Or was there some other magic involved?

The track your parcel thing had the guitar in Sydney yesterday.....I reckon Fri or Mon for delivery here.

I am waiting to see the nature and size of the binding used on the body and neck, and also the colour of the dots on the fretboard. The listing stated they were mother of pearl...maybe they are real or black pearl, as the photos have them nearly abelone in colour.

The luthier supply place on the Gold Coast has a tortoiseshell plastic binding and heaps of different styles of dots from plastic to abelone.

Really keen to just see this one.

First of all acetone is very flammable and will absorb into the skin, use appropriate PPE and good ventilation.
I brush it on the wood and binding about three times with a small brush. If you’re prepared you can even dissolve a little binding in a GLASS jar with a bit of acetone into a slurry to have at hand if you feel you need it to fill a gap, cut it up small and give it time. Because I only have painters tape I used an alternative method to masking tape (painters tape doesn’t stick strong enough). I found a way to use my off cuts and wedges (about page 6 or 7 ES-3 diary).
I’m not sure what degreaser is, Xylene? Shellite? These aren’t acetone.
If you cut your channel so the binding sits a little proud of the wood you can sand down to level.

Edit: oh yeah, you may need to pre bend binding using heat depending on you headstock shape.