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Matching binding with a nice purfling would be very cool indeed... Or you could always play it safe and get some ebony for binding.... You know what they say, black matches with everything... I think the black binding would really make those 'spots' stand out even more... Bob C's ebony bindings are gorgeous... I'll be using mine with that redwood top I won and some crazy figured EIR I got from the Zootman... Can't wait to takle no.3 ... Alain Desforges38861.6955324074

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I'd like to be able to prove, just for once, that money wouldn't make me happy...

[QUOTE=old man] [QUOTE=PaulB]

James, this is Tasmanian Myrtle (Nothofagus cunninghamii) also called Myrtle Beech. It's not at all related to your northern hemisphere myrtle as far as I am aware.[/QUOTE]



I've been to Myrtle Beach, it is in the northern hemisphere.

Ron [/QUOTE]

Ron, I just knew somebody was going to say that

Tasmanian Myrtle is part of the Fagaceae family. Similar to European Beech (Fagus Sylvatica)

KiwiCraig

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CRAIG LAWRENCE of AUSTRALIA
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[QUOTE=John K] I think I would pick the darkest color in that wood and
find a solid binding of that hue. Maybe a dark rosewood would be nice
with an interesting purfling to match.[/QUOTE]

I wouldn't contrast this. I would use as exact of a match as possible with
no purfling. I think simply using side cut offs with absolutely no purfling
would yield an unbelievable, raw, look. I'd keep this as unadorned as
possible if I were the artist. No inlay in the board or headstock, just big
bold solids.

I like to hold off on the appoitments until the box begins to come together, I think then it will lend it self to what binding scheme, fretboard and bridge will look best. It seems that every time I go into one with everything picked out, I end up changing it in the end.

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Lance@LuthiersForum.com

Keep in mind that by not having to pore fill the back and sides, it would be a PITA to have to pore fill the bindings.

I try to have the entire scheme in mind before I start to build. Especially useful if there is a center joint in the back that could match the binding. But, I will bet that there is no center joint on this back. Seems like it would interfere with the dramatic book match. However, I'm standing by my dark Brazilian binding scheme, or perhaps cocobolo to return some of the orange. Here's a question, do you want a burst on the top!

John K38862.3406481482

Does anybody know what the tap tone is like?

I like the idea of brazilian bindings John...
and I too try to get a sense of what my scheme is going to be before the build starts.

Tiger Myrtle tone:

Tonally, it's the next Brazilian Rosewood.



Kidding...

It seems to be like a cross between maple and mahogany, from my limited experience tapping it. It is more dense than you might think, and very hard to cut and sand.

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Only badly."

Thanks Don
Sounds like I may need a set of that.