Bindings and Fingerboard

Once the guitar is removed from the workboard, the overhanging edges are trimmed down, and the next step is installing the bindings and purflings.

First a channel is cut for the tail stripe.

Tail stripe inlaid.

Veneer strips are cut and glued up for the purflings.

Side purflings are glued to a strip of Indian Rosewood binding material.  This sandwich is sawn into strips that are thicknessed to 2 mm.

Binding channels are routed on the top and back.  A piece of wood is used to divert the router around the tail strip as the side purflings will be mitered into it.

The channels are cut in a "staircase" on both sides.

Detailing and completing the channels is done by hand.  Here the reflection in the chisel is used to miter the purflings to 45 degrees.

Bindings are bent using the same method as the sides.

Strapping tape works wonders, providing plenty of gluing pressure.  Glue is painted into the channels with a brush.

Scraping down the bindings.

The miters came out perfectly.

The slotted fingerboard is planed to the correct taper.

The curve of the soundhole is marked, cut and sanded.

This is an important step.  The thickness of the fingerboard has to be determined in order to allow for the proper string height at the bridge.  The action is modeled using different blocks until the taper is determined, in this case it's 6.5 mm at the nut and 5.25 mm at the soundhole.

A graduated wedge gives me the number I'm looking for: 8 mm string height at the bridge.

Stacks of veneer and tape of decreasing heights ensure that the board will receive the correct taper when run through the drum sander.

The gluing surfaces are sanded and prepared, and the fingerboard is glued on using high quality Epoxy.  Water-based glues have a tendency to cause some warping on a joint of this size.