Day 7: Painstaking purfling and banding

Several aspects of guitar design combine aesthetic and functional purpose. The edges of the soundbox would be vulnerable to damage, particularly the relatively soft spruce top. Most guitar soundboxes are therefore trimmed with a harder material, generally plastic or wood. The hard edging not only protects the guitar but enhances the resonance by reflecting vibrations, thus increasing the length of time a note is sustained. More elaborate guitars often have ornamental strips of purfling adjacent to the binding. Thin strips of different colored woods are traditional although some high-end guitars have more intricate marquetry inlays or abalone shell.

Chuck's recent designs include an ebony banding strip and purfling made of thin laminated strips of contrasting ebony and maple for an elegant, traditional look.

Fitting the banding and purfling is painstaking work. First grooves of the required depth and profile are routed around the top and bottom of the soundbox. The first strip of purfling is then dry fitted and tacked with CA adhesive to hold it in place. The banding and the top strip of purfling are then dry fitted and taped in place. This involves some delicate work to ensure that the ends fit neatly, including some small miter joints where the horizontal purfling intersects the bands of purfling previously fitted alongside the tapered ebony end graft (double-click on the second from bottom photograph to see detail).

Once everything has been carefully fitted and taped, the trim is glued. Cleanup involves sanding and scraping the binding and purfling till it is flush with the sides, top and bottom of the body. Finishing will further enhance the appearance, however even in its unfinished state, the effect is pleasing. This is the most intricate piece of carpentry I have ever attempted.