Hollow body II build

1bad914

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I had one of those back in ancient history for R/C planes, too.

Binding looks really nice!
It works really well for small bending and is great for heating up a bridge for removal. I covered a lot of planes with that iron. I have the matching heat gun that I use for guitar work also. Thx btw.
 

1bad914

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I can work with that. Lets have a Geometry lesson. First some assumptions. I'm going to assume your binding will be 1/4 inch and will go down to the seam between the top and body. That means your outside thickness of the top is 1/4. I'm going to assume the top of the binding is level all the way around, or at least the front at where the neck rests is level with the main body. I'm going to assume there is no overstand, your neck sits right on top of the binding at the front of the guitar. Last assumption is that your neck joint is at the 18 fret more or less LOL. Oh, and most ToM bridges are roughly 5/8 off the top at their lowest setting.

The fretboard in the center is 1/4 inch, frets are about 0.035 tall, so the fret plane is 0.285 above top and binding. That means that the top of the saddles relative to the top plane of the binding will be the thickness of the top plus the height of the bridge minus the thickness of fretboard and binding, 0.675 + 0.625 - 0.285, or 0.765.

For a 25 inch scale neck the 18th fret is 16.161 from the nut, therefore the distance from the body joint to uncompensated scale is 25.0 - 16.161, or 8.835 inches. That is a right triangle with rise of 0.765 over a base of 8.835, which is 0.0.866. Take the arc tangent of that any you get a calculated neck angle of 4.95 degrees.

That seems to agree very well with what has worked for me for carved topped guitars - here is a les paul body. The body is just a hair thinner than yours (0.625) and the neck joint is at the 16th fret which drops the angle by a hair (it moves the front edge of the guitar back about one inch. The neck angle on that guitar is 4.5, I would expect yours to be slightly more.

View attachment 1010192
Thanks for the geometry lesson. I guess I needed a couple more degrees. Still looked odd with that much angle. Some s players like that wrap around feel.
 

1bad914

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Finished the headstock binding this morning and glued on the fretboard. I use a caul I made from jarrah, it also happens to be the holder of my cut frets. Keeps them in order as I install them.
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gb Custom Shop

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The thing with nice flame, you can literally do just about anything to it and it'll still look good. I think the PRS northern lights finish is pretty cool, in the realm of blues
I used to always think for max contrast in the flame you had to dye black first. Not necessarily true. The more porous flame soaks in more dye and gets darker anyways, and it can drink up quite a lot, getting even darker with subsequent applications, thus creating more contrast.
Either way, I'm excited to see you get to that stage!

Will you do a faux binding?
 

1bad914

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The thing with nice flame, you can literally do just about anything to it and it'll still look good. I think the PRS northern lights finish is pretty cool, in the realm of blues
I used to always think for max contrast in the flame you had to dye black first. Not necessarily true. The more porous flame soaks in more dye and gets darker anyways, and it can drink up quite a lot, getting even darker with subsequent applications, thus creating more contrast.
Either way, I'm excited to see you get to that stage!

Will you do a faux binding?
Thinking about the faux binding, I don’t trust that the color will not bleed through. I have binding to go on it, but it will be a nightmare to install. Still thinking.
 

gb Custom Shop

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Thinking about the faux binding, I don’t trust that the color will not bleed through. I have binding to go on it, but it will be a nightmare to install. Still thinking.
I hear you, I have the same fears. There's the risk of stain bleeding thru into the faux binding where you don't want it, and conversely you risk your binding sealer seeping into the top , thus inhibiting stain absorption where you do want it!
Plus when you're countless hours into the build with top notch materials, that doesn't make it easier. On top of that, you have a carved top AND back, Lol.

Anyways, I've followed your build threads enough to bet you'll do a great job with whatever you choose to do.
 

corliss1

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If I'm remembering right, PRS applies some kind of blocker/sealer/something-er to the exposed edges before they do the stain to try and keep that from happening. I feel like it came up in one of their "shop floor" Youtube videos.
 

Freeman Keller

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If I'm remembering right, PRS applies some kind of blocker/sealer/something-er to the exposed edges before they do the stain to try and keep that from happening. I feel like it came up in one of their "shop floor" Youtube videos.
I've never done a faux binding because I prefer the real thing, but I did a test once where I was experimenting with some stain options. I simply masked the face of the board I was going to stain and brushed a couple of coats of vinyl sealer onto the edge before staining. The sealer did a very effective job of sealing the wood (duh) and by scraping it off I knew I could do the binding trick if I wanted. This is quick and sloppy but it tells me it would work if I was careful.

I do both wood and plastic binding and sometime will do the stain before routing the channels if I have light lines that will absorb the stain. I also routinely seal wood binding and purfling to keep colors from bleeding. Lastly is to put a couple of dark lines in the purfling and make the color stop at that point. Lots of little tricks, you just need to think about what you want to achieve.
 

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1bad914

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I have been thinking about the binding since I started this build. It has been driving me crazy. I started out with figured maple binding, then faux, then plastic now I am thinking about faux again. I just need to run some tests and make up my mind.
 

1bad914

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I've never done a faux binding because I prefer the real thing, but I did a test once where I was experimenting with some stain options. I simply masked the face of the board I was going to stain and brushed a couple of coats of vinyl sealer onto the edge before staining. The sealer did a very effective job of sealing the wood (duh) and by scraping it off I knew I could do the binding trick if I wanted. This is quick and sloppy but it tells me it would work if I was careful.

I do both wood and plastic binding and sometime will do the stain before routing the channels if I have light lines that will absorb the stain. I also routinely seal wood binding and purfling to keep colors from bleeding. Lastly is to put a couple of dark lines in the purfling and make the color stop at that point. Lots of little tricks, you just need to think about what you want to achieve.
That is about the blue I am thinking about. I will Most likely use Angelus Leather dye.
 

Freeman Keller

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I have been thinking about the binding since I started this build. It has been driving me crazy. I started out with figured maple binding, then faux, then plastic now I am thinking about faux again. I just need to run some tests and make up my mind.

That is about the blue I am thinking about. I will Most likely use Angelus Leather dye.

The blue dye is Colortone transtint, I'm experimenting with DNA and water as a solvent and trying the faux binding idea. DNA is closest in the picture. I ended up not using the blue after all but learned from the test.

I'll just kick out an idea for binding. You've already bound the head and fretboard, I would carry the same material to the body. If you are thinking of staining the body don't stain the binding (any of it). I would probably put one dark purfling line between the body wood and binding (plus it makes the staining easier). I'd probably use rosewood for that line to go along with the f/b and head. Just a thought.
 




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