Acoustic Guitar Construction

My first read-through of David Young's book (The Steel String Guitar: Construction and Repair) left me with a question about binding materials: Young suggests using maple for early binding projects due to its workability (my translation). Is maple much easier to work for binding than other species? If so, I'll go get some for my first binding project. I'd bought some Koa for bindings and I have no idea of its workability. Compared to other woods, how does Koa tend to perform, and more specifically, is maple sufficiently friendlier that I ought to store the Koa for future use and use maple?

Thanks for anyone's comments/suggestions/advice.

They both work well. Just remember to prebend before you glue. No need to be dead on accurate, though that does not hurt.

Second, if you are going to use purfling along the "bottom" between the binding and the sides, be sure to glue it on before you do any bending.

If you want something even "whiter" than maple, use holly.

I've used curly maple for about 4 guitars and one thing I like about it is after sanding it picks up a slight coloring in the curly grain from the B/S wood color (almost as if staining it). To me it is a nice match.

Moving right along, I noticed that John Link recommended gluing the purfling to the bottom of the binding before bending/attaching the binding. Is it 'safe' to use Titebond for that joint or will the moisture used in bending try to release the joint between the binding and purfling? Hate to use adhesives that will let me make a mess. I could use c/a, but that has a habit of wicking everywhere we don't want it to go, and it's very easy to use way too much of it.

Another question about binding/purfling. Is the total height of the binding/purfling array the same as binding alone, so that more binding material will be removed at the top of the channel if purfling is used? And the range of binding heights, is there a 'conventional' height or does each builder routinely suit himself?

Thanks again.

Yes, I have glued purfling to the bottom of wooden binding with Titebond, then bent it successfully.

Everyone suits themselves, of course. But you must not run out of lining to back it all up. Typically, most binding ledges will go through the sides into the lining. Eat up the lining, the top comes off. Best to keep a large margin of error.

Tim, another trick you can try, on a sample first, of course, when using rosewood is to wipe the rosewood with acetone. The acetone will dissolve a certain amount of the rosewood color and stain the soft part of the curly maple with it, bringing out the figure. Be sure to seal the top and its purfling with shellac, cut neatly up to the maple, before you try this. You would do this after all final scraping and shaping of the binding is finished.

Admittedly, it is living life on the edge of the envelope, a bit.