Well, it’s been a while since the last update, and lots has happened in the intervening period. First thing (and the reason for the good news/bad news tagline) was the body binding:
The good news: I finally got the hang of bending wooden binding around a tight radius:
The bad news: I only got the hang after breaking all but 3 of my binding strips, for a guitar which needs 4 binding strips….*sigh*
Anyhow, this required a change of plan, since I had no more pau ferro for binding, so after experimenting with different combinations I settled on wenge binding with a curly maple and pau ferro veneer purfling. I laminated the binding out of .7mm veneer, which made the tight curve at the tip of each horn easier, but meant I had to ditch the flame maple side purfling on the body. It also meant re-binding the neck in wenge to match, but it was worth it to get a consistant theme throughout the guitar, and actually works better than the original plan, since it contrasts better by on the darker areas of mahogany endgrain.
That little saga took quite a while, but was eventually scraped flush and sanded smooth. After completing the binding, I had to build a router base for my dremel tool to do the inlays on the neck:
It got it’s first outing when I used it to inlay a pau ferro/curly maple/wenge accent strip in the back of the guitar, and across the tremolo spring cover:
After all that fussy detail work, it was time to grainfill and sand the body in preparation for spraying, which was delayed for a couple of days by the death of our air compressor. Fortunately, I had access to Dad’s impressive diagnostic abilties, which (coupled with a comprehensive dismantling and a brief trawl of the web) revealed the problem was a blown capacitor - £3.49 and 15 minutes of tinkering had it running again - thanks Dad! The forced interruption gave me a good chance to de-dustify the garge and thoroughly clean my little spraygun, which resulted in a nice smooth application of the lacquer (marred only by some wierd blistering in places which needed cutting back and respraying).
With the finish curing I worked on my inlay design, a variation on the Martin split diamonds and snowflakes pattern. I cut it out of paper to see how it looked, and so I could run it by John for approval. Then, with the OK from John, I cut the pieces from Mother Of Pearl (MOP). I cheated a bit and used a cut off wheel rather than a jewlers handsaw since the pieces were fairly geometric in shape. Mouting the cutoff wheel in the benchtop milling machine made it easy to keep the sizes and shapes consistent and accurate.
With all the pieces cut, I tacked them to the neck with small spots of superglue, and scribed around them. I routed the cavities with the dremel and a variety of small dental bits, then glued in the inlays with epoxy mixed with rosewood dust - pics tomorrow when it’s levelled and polished up.