|Gluing the binding and purfling to the top|
I've already described the process, so I won't go into much detail. It's simply a process of fitting sections of binding and purfling into the ledges I routed around the top and bottom. The pieces have to be bent to shape and fit very precisely because the finished product won't hide many imperfections. It's one of the parts of the process that really separates a well made guitar from one that's not. The binding and purfling are both made of wood and are very thin (the purfling, in particular) so they're very delicate, and fitting them precisely without breaking them is no simple task.
|Trimming the binding and purfling|
I should also mention that there is a special thrill in getting the binding attached. When working on the top of the guitar early in the process, it's a very resonate piece of wood. You can really sense how it can turn into a beautiful sounding instrument. But once that top is attached to the sides, it becomes just a stiff piece of wood again and its resonant properties are really diminished. That is until the binding is attached. With that simple step, all of the wood pieces become one and they begin to resonate as one unit, and all of the work carefully carving the braces and fitting the pieces so carefully together pays off. There is still work to do to get the box to its full potential, but adding the binding is an important and satisfying step.
|After sanding the binding|