Rocky,Multi-layer binding doesn't bother me much. It invites a closer look to see the craftsmanship. Abalone, like on a -41 or -42 becomes a little much. Where it really gets bad is when the abalone goes around the fingerboard, like a -45.
My favorite binding is the combination of white and tortoise shell on my D18 David Crosby Signature. Bling done just right!Rocky,
Agree about the Abalone on the -41, -42, and -45.
For me, the binding on my Martin D-28 is in the "Goldilocks zone".
Neither too much, nor too little. But just right.
RBSinTo
I'd say it is, but undoubtedly, others will disagree.How's this for overbound?
It's too wide for the thickness of the L-5S. Particularly in the cutaway. Beautiful guitar otherwise.I'd say it is, but undoubtedly, others will disagree.
RBSinTo
Waitaminnit.......He wraps his thumb and his forefinger over the top of the fretboard?!?!?How's this for overbound?
Jorma will always get a pass from me though!
Looks like it gets deliberately thicker there as well!It's too wide for the thickness of the L-5S. Particularly in the cutaway. Beautiful guitar otherwise.
adorshki,Waitaminnit.......He wraps his thumb and his forefinger over the top of the fretboard?!?!?
Must be the infamous "H" chord, secret of the Piedmont.....
Well, IIRC, the 'inside' of the top and bottom binding are parallel to each other. It gets thicker in the cutaway due to the arch in the top (and back?) of the body. That's true of 1968 and later Les Pauls (non-historic), but not to such an exaggerated degree.Looks like it gets deliberately thicker there as well!