Official Luthiers Forum!

Howard, is that Madrone? Sure looks pretty! I do like the floating box.

Looks like Cocobolo, bound in Wenge, with a Madrone burl end graft. Now that is a unique combo!

Dennis

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Dennis Leahy
Duluth, MN, USA
7th Sense Multimedia

Good eye, Dennis, except it's redwood burl. Next time I use it, I'll oil it to make the grain pop more.

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Howard Klepper
http://www.klepperguitars.com

When all else fails, clean the shop.

Here's a link to the side purfling photo.........

So how do I actually get the photos to appear on the screen??

http://picasaweb.google.com/d28swdlp/UntitledAlbum/photo?aut hkey=HUglpMrfclg#5114260393587214082

Here are the bindings with their side purflings, rosette and back strip. 

 

That is really nice, Dave.  Such eye catching design and contrast, without being over the top. 

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Sorry to all for the false starts..!!.....Thanks Mike and Steve for your offers to post these but I figured it was high time that I learned how to do this!

Anyway to recap, top photo is the cypress sides with their center meander pattern inlay in Brazilian rosewood and maple.

Bottom photo is the rosette with center figures in meander pattern and black MOP with herringbone inner and outer rings, meander back strip and bindings prepared with with half herringbone side purflings.  

David...wow! Really nice work.
First Joshua, and now you!
I suppose when Colin gets his archlute done, complete with an OLF slide show, a lot of us will feel like quitting. (I'll say it before Matt does.)

Steve

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From Nacogdoches...the oldest town in Texas.

http://www.stephenkinnaird.com

Gorgeous work, David!!

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now known around here as Pat Foster
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http://www.patfosterguitars.com

That is very cool, DP.

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Howard Klepper
http://www.klepperguitars.com

When all else fails, clean the shop.

I love the rosette!!!!!

Nice dave!
See ya sat. in Toga!
mc

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Mike Collins

Thanks to all for the fine examples and diverse views. For a striving
builder, this thread, along with many if not most, not only sets the bar
high, but speaks of the true artistry of lutherie.

But I have a few questions ....
Is purfling only ornamental and binding a separate issue altogether? The
form of the purfling, ranging from from minimal to elaborate, is an
artistic expression of the maker, but I would like to know more about the
function of the binding. (if these are two completely different things -
maybe my questions don't belong in this thread). nonetheless, here
goes-

For example, the Cumpiano/Netelson book says that the binding "seals
the unfinished seams but also protects the edges of the guitar". The
protection part is obvious, but I'm not sure I understand the sealing of
unfinished seams part.

The Kinkead book also says that bindings "offer a degree of protection to
the body edges". But also - "bindings are fitted to guitar bodies to
reduce moisture loss through the end grain".

If the guitar is finished with anything from shellac to polyester what are
the unfinished seams to be sealed &/or is there moisture loss thru the
end grains still?

I remember reading also somewhere, but don't remember the source, that
the bindings make for a stronger union between the top and sides.

Could some of you share your insights?

john

John,

The reasons that you've mentioned are certainly why binding is installed on most guitars.

The end grain issue is well illustrated if you go to the lumber yard and see the predominance of cracks near the ends of the boards where the moisture loss has been accelerated and mechanical protection as you have cited as well is obvious. 

True, there are many guitars which do not have bindings (I'm thinking of the old style 17 Martins) and have held up quite well despite that fact.

Ultimately though, I think that people predominantly hear with their eyes. And given that, we as makers are obliged to provide something worth looking at. The beauty and contrast provided by well done bindings and purlflings provides that as well as an outlet for the creativity of the maker. 

 

David - great work! I love your take on the meander/greek key.

I'm trying to work an FE08 copy in somehow.

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Instagram: @jfrenchluthier
Web: https://www.jfrenchguitars.com/

Thanks Joshua and all!

Wow....an FE08 copy really is the "climbing Everest without oxygen" project......

My current project is certainly inspired by that guitar (thus the mid side inlays and the MOP in the rosette) as well as FE17 though I'm trying to have it be as modern as possible by avoiding making the borders too wide which would give it a more archaic look. 

Joshua, you should know that Joan Pellisa was slated to document that guitar at the Barcelona museum shortly after the Siguenza course ( I just sent him a packet of info on SE 151A which I discovered here in Albany). If he did get a chance to work with SE08, perhaps he has additional information...................................?  & nbsp; 

DP...that is very cool...!

Howard, that end graft is just one more reason why I admire your work so much.


Oh...I'm very big on side purflings, especially the really thin double maple ones. I think they add an element of class to a guitar.

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"I want to know what kind of pickups Vince Gill uses in his Tele, because if I had those, as good of a player as I am, I'm sure I could make it sound like that.
Only badly."

[QUOTE=DP LaPlante]

Thanks Joshua and all!

Wow....an FE08 copy really is the "climbing Everest without oxygen" project......

My current project is certainly inspired by that guitar (thus the mid side inlays and the MOP in the rosette) as well as FE17 though I'm trying to have it be as modern as possible by avoiding making the borders too wide which would give it a more archaic look. 

Joshua, you should know that Joan Pellisa was slated to document that guitar at the Barcelona museum shortly after the Siguenza course ( I just sent him a packet of info on SE 151A which I discovered here in Albany). If he did get a chance to work with SE08, perhaps he has additional information...................................?  & nbsp; 

[/QUOTE]

David: I like that, a modern approach with mid 19th century inlays. Let us know how it comes out, should look great!

The FE08 copy is going to be a definite challenge, I agree. I may do a copy of FE17 first. I've been wanting to do this for a long time. There's a lot I want to do, come to think of it. Enough things that I've stopped taking any new orders and once I'm caught up I'm going to have at it.

I'll give Joan a call or an email, thanks.

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Instagram: @jfrenchluthier
Web: https://www.jfrenchguitars.com/