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But since I’ve never done one and didn’t even conceive of doing it this time...
Would I be able to basically notch the black line from the purfling and make it into a 90deg?


Here’s the instrument in question btw

Padauk. The maple binding will go better with It over the long term I think as the padauk darkens


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It's too late now. Notching the purling is done so the end graft touches the binding, but you have cut the endgraft short of the binding. Next guitar you can plan ahead for this.

Yea I just tested it. Won’t work. Duh. Next time


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I did that all the time. Frankly couldn't see the additional work, and it is a bit of work. Did it that way for years and guess what?





No one cared...

Well it is just a small detail and probably added headache, but I think I do want to add it to my skill set (which right now is only about 2 bullet points haha)


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That's what I am saying...worry about it later. I did it on an 0-45, but tone is what is important AND, ideally, it's not important, except to you. It's good to know how to do it. Talk about miters, and in the abalone on an 0-45 plus the stripes...what you are doing is fine.
Don't worry about it...

Don't sweat it. Other than one photo to show to us, no one will see it. You should do one sometime just for the fun of it though. They are pretty to look at and it's a good feeling of satisfaction if you do it well.

One thing that I've done a couple of times is just use a couple of piece of your binding for the end graft,





Very easy to turn the corner with a 45 degree miter and it continues the binding theme. A slightly better choice would be to make the end graft twice as wide as the binding and again, do two 45 degree miters - that would get rid of the line up the middle

Or you could try something like this. The slot is cut after the bindings are installed. Certainly not as traditional as what Haans is doing, but I still personally like the look.

M

I just did one like Michael, but I did the end graft first and cut the bindings around it.

You could also just use taller bindings if you really wanted to do the miters.

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Pat

Yep - the only person who really cares about the mitred joins is the person who does them. So if it makes you feel good, go ahead and do it. But don't expect anyone else who picks up that guitar to even notice......

I mitered the purflings on my first 20 guitars and wanted a different look. I've got one of the edge clamps from Chris at Luthier tools. It holds acrylic templates that I cut on my cnc. This makes it much faster for me to bind, then cut the pocket. I can cut the channel, miter and install the purflings, install the end graft, glue and level in just a few minutes.

It's simple enough to chisel out the wedge and replace it with a maple one that matches your bindings, as long as you haven't glued your bindings yet.
It would make you feel better about the fit and finish of the instrument with a well executed mitred end graft and yes, a lot of people actually do notice these details on a hand made instrument.
Just my opinion
Cal

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Remember, there are no stupid questions, only stupid answers!

The binding material's pattern can influence how appropriate mitered corners look - curly maple always seems to me to look a bit nicer with a picture frame around the change in curl orientation, while tortoid and ivoroid look nicer to my eyes with miters. We install the tail trim first, trim to the plates, then use a side purfling thickness shim to rout the binding across the trim area to the right depth. A little chisel work finishes up and prepares the body for binding.

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A constellation only takes shape when one maps the whole.
- Beth Brower

We install the tail trim first, trim to the plates, then use a side purfling thickness shim to rout the binding across the trim area to the right depth.

That shoulda been mine..!

Great tip! Thanks!

I've done them both ways. The only people who notice are other builders.

Pat

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formerly known around here as burbank
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http://www.patfosterguitars.com

I agree with the comments regarding its the "builders" that notice. I'll add that dealers also notice. In Japan - they look at everything, and appreciate the tiny details that are handcrafted.

I'd suggest adding it to your skill set. For me, the most important tools for mitres - Japanese chisel and sandpaper (truth be told, my diamond stone gets it shiny enough). Once you do the first one, it becomes part of the process.
Note: credit Richard Hoover, via Frank Ford. I can't see the images, but Frank describes it well enough. Check the date on the article.
http://www.frets.com/FretsPages/Luthier ... iters.html

I've done a couple recently with Koa back & sides, Koa bindings and Koa engraft. At first it was a "test" as I thought it may seem too much. In the end, it's the small, simple mitres that pull this off.

"I agree with the comments regarding its the "builders" that notice. I'll add that dealers also notice."

And don't forget the all important "cork sniffers" As a prelude to sticking the mirror inside they want to make sure it has a good looking butt wedge.