The best binding ledge cutter design
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- Опубликовано: 30 июл 2022
- I've designed, built and used several jigs to cut binding/purfling ledges on guitar bodies. This is the one I currently use. It uses the sides as the main reference and relies on bearings to set the depth of cut. It has the least possibility of damage but still requires some skill to get the best results. When that skill is honed, this jig allows consistent even ledges with minimal work and worry.
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I know you say you try not to do video of actual machine use, I too would love to see you in action with this little gem of a device. I don't necessarily need to be told what direction of travel to take, but I believe watching you cut a binding channel would inform me as to how to become proficient at its use in less practice time. Would still need to practice and develop that "feel", but starting from a more informed beginning point would be helpful (at least for me)
Makes you marvel at Torres using hand tools to cut channels for his large binding and purling s. He'd be astounded by this innovation.
It does make you respect the craftsmanship of luthiers living before the 20th century, to be sure.
Great build. Thanks
awesome, thanks so much for your videos, super helpful!
Very clever design. It is like a hybrid between the tower type jigs that use interchangeable bearings and the Elevate design that moves the bearings completely off the router onto a moveable "dumbbell" arrangement to make depth of cut changes. If you prefer to change bearings but still register on the side of the guitar instead of relying on a cradle to keep it at 90 degrees, then this would give the best of both jig types! Very unique! I bet you would get plenty of takers if you wanted to make and sell these!
yup, a decent summary. I don't know how much of a market there is, but for me the challenge is the design, not production or marketing. There are still some fine points to be perfected, but I think it's a useful design as it.
Absolutely the most dreaded and scary. I tend it put off the longest.
thank you
Great design. I am building a classical guitar and is approaching the "dreaded stage." I will make a copy of yours and try it out. Thanks.
Make sure you test it many times before you try it on the guitar. This (actually, any) style cutter takes a fair amount of attention to make sure it's aligned correctly while in use. The bearings must always be in direct contact with the sides. And keep your fingers well away from the cutter blades.
What do you use to hold the secondary bearing? Is it simply a nut and bolt or is it something you made? I’d appreciate any more insight into making your jig. It’s the best design I’ve seen being the best combination of simple, accurate and compact
wow that's remarkably close to my solution, which also took about 5 or 6 other designs. I used uhmw plastic for the contact surface - slides nicer
Great minds think alike I guess :-). I can't claim the basic concept is original, although I think I can claim some of the details. Yes, plastic on the top surface would glide better. I may modify it for that.
I like the design. It's sorta like the elevate design, but without all the adjustments. I suspect you could clamp the router in a vice, then have your hands on the guitar for some control..?
Yes, that's the name I couldn't remember when I referenced it in a previous comment. I like their design, but I've had issues with constantly adjusting the depth on ones I've built that are similar. Using the bearing sets for depth instead works better for me. You certainly could use the jig clamped stationary. It's personal preference either way..
Thank you Chuck. That was very informative. In regards to the router, are you using a laminate/trimmer router with a 1/4” collet? If so, what brand do you recommend? Appreciate the help as I’m looking to purchase a small router for this procedure. Thank you.
yes, a laminate trimmer type of router is the only practical device for this unless you can find something even smaller/lighter. A dremel tool is not powerful enough and can't handle 1/4" bits. A good base is important for this kind of setup, so that eliminates most of the cheaper alternatives with plastic bases. The one I show in the video is a Bosch, and I've also used an older Rockwell. I've heard of people using Dewalts.
@@chuckmorrison Thank you Chuck! That was helpful!
What is the advantage of a spherical top and back and doesn’t that reduce the low frequency response? Thanks!
I'm not sure why you ask these questions on this video, but no matter ...
The top and back arching increases the structural integrity of the body, reducing the potential for (or at least the amount of) deformation on either side of the soundhole (bridge and neck/fretboard). Put another way, it reduces the likelyhood of collapse into the soundhole by the neck/fretboard and dishing of the top between the bridge and soundhole transverse bar (brace).
It also reduces the destructive effects of humidity, which when too dry causes sinking of both top and back. When top and/or back are built flat, this sinking will be more likely to cause cracking as the wood is pulled apart. When arched, the sinking top/back will be compressed as it sinks, which counteracts the shrinking of the wood as it dries.
Two things about low frequency response. The first is that on Classical guitars it is not low frequency response that is difficult, but rather the higher (fundamental) frequencies. So reducing the strength of the lower frequency response is not necessarily a negative effect if you want a balanced instrument. Second, whether the frequency response is reduced (compared to the flatter top) depends oh how you build the top. For example. If a double top (nomex sandwich) style is formed as an arch, the arch does not add tension and doesn't increase the pitch of the top, That depends on the specifics of the build of course, but if you test during building you can arrange the frequency response(s) the way you want it. Being in control of the build to accomplish the desired end is the point.
@@chuckmorrison thank you for sharing this insight 🙏🏽
is there a way to make that safer for people with motor skill issues? i know both your hands are in use away from the blade but would you be able to mount some kind of shield to prevent the blade hitting any part of the user in the event of something going wrong with either the workpiece, router or user?
In case you've described the best solution will be dremel setup for mandolin binding - it closes every access to blade. I cannot say tho if it will cut "guitar-size" purfling channel.
When in use there is very little exposure of the bit outside of the body of the instrument or the jig itself. However, that doesn't mean that you can't hurt yourself on it, so like all power tools, be really careful.
A similar design exists commercially with an aluminum body, but it doesn't rely on bearing size for depth adjustment. That one is shown mounted in a vise and the instrument body is moved over the jig. That keeps the hands well away from the blade and it would be really difficult to injure yourself using that technique. That technique can be used with my design as well. I find it clumsy and difficult to see everything well that way, so I move the jig around the guitar, not the guitar around the jig. I don't expect everyone to do things like I do them.
@@chuckmorrison thanks Mr Morrison, great content as always
Chuck, do you use a rolling pin sander or any kind of special tool to ensure your sides are flat?
Just a scraper and a flat sanding block. Although if I'm not doing a fully lined side I may leave in a bit of a ripple as the sides are 2mm or less to begin with. Too much sanding and it's unstable or just too thin.
I do have a roller sander which I used primarily for shaping necks and heels years ago. It kicks up too much sawdust though and since I'm sensitized to rosewood(s) and mahogany, I stopped using it.
With all due respect Chuck, yes we do........ watching you use the cutter is vital to understanding the working aspects of it. The ramps you mention?? again what do they do? why not sit flat, yes you need to adjust for the "angle" but 90% of the guitar is "flat" with respect to the binding??
Well maybe I'll do a short video of noise as I run this thing around a body. Personally I skip over parts of videos that show a machine being used. In order to get a real understanding of how to use something like this experience is the only teacher. The bearings must be held firmly against the side and the "ramps" must touch the top/back edge on each side of the cutter. It takes skill and paying attention.
The ramps, one on each side of the cutter provide a stop on the top or back. They are angled so as to only touch at the edge. This allows for it's use on arch top/back instruments. If your instruments are actually built with 90% (right) angles then you certainly don't need this. None of my instruments, at least for several decades, have a 90 degree top/side or back/side angle.