August 30 2011 Here are the two halves of the Adirondack Spruce Top we are going to use on this guitar. These pieces are a bookmatched set meaning that they were the successive pieces cut from a log. When they are opened up like the pages of a book they are symmetric around the center line.
August 30 2011 Here is a close up of the top. Adirondack spruce is a marvelous material. It is stiff and light and has a wonderful growth ring pattern. These pieces are quarter sawn not shown meaning that as the grain goes through the piece from front to back it is perpendicular to the surface. We like to use quarter sawn wood because it is stable and has an even visual presentation.
August 30 2011 The Indian Rosewood back and sides. This set has nice straight grain and is also quarter sawn.
August 30 2011 A close up of the back and sides.
September 2 2011 This is an inside view of my drum sander. I use this tool to sand wood to a prescribed thickness and to make the front and back surfaces parallel to each other. The platen has a conveyor belt that moves the wood underneath the rotating drum and I can precisely set the height of the platen.
September 2 2011 I am starting out by sanding the two halves of the Adirondack Spruce top plates to the same thickness.
September 2 2011 In this picture I am trimming the top plates to equal widths using the table saw.
September 2 2011 And next I use the belt sander to flatten out the joining edge of each top piece.
September 2 2011 I am sanding the back plates to equal thickness in this picture.
September 2 2011 And in this picture I am sanding the side pieces to 100 mils thickness. 1 mil is 1/1000 of an inch. The sides are going to be bent using heat and a form and I need to make them thin enough so that they bend easily but I want to leave them thick enough that I can sand the surfaces smooth. Eventually the sides will end up being about 90 mils thick.
September 2 2011 Hear I am sanding the joining edges of the back pieces straight.
September 2 2011 My objective is to glue the two halves of the top and back sets together so that the joining line is as unnoticeable as possible. To do this the two edges to be joined need to be perfectly straight and perpendicular to the top surface. I have built this tool to hold the pieces vertical while I pass them over a piece of sand paper that is attached to a piece of very flat Aluminum. I will keep working the edges of both pieces until I am happy with the fit.
September 2 2011 Here I am sanding the top pieces.
September 2 2011 I use a special luthier's glue to glue the two halves f the top together. This glue dries very hard and clear.
September 2 2011 I spread the glue out with my finger tip to make sure the glue is evenly dispersed. I never count on the glue to spread out evenly when the parts are pushed together.
September 2 2011 I built this tool to glue the two halves of the top and bottom together This tool holds the pieces flat and uses several wedges to push the pieces together.
September 2 2011 When I glue the two halves together I leave them slightly offset so I can find the center line. Sometimes the halves are so perfectly matched that it is impossible to see the joint.
September 2 2011 Here the two halves of the top are being joined together. The slats running across the top prevent it from buckling as they are squeezed together.
September 2 2011 After the glue sets up the joined top comes out of the tool.
September 2 2011 Here I am using a template to draw the outline of the top. I use the washer to give about 1/4 inch of excess. This will allow a little wiggle room when the top is glued to the sides. The excess will be trimmed off after the top is glued on to the sides.
September 2 2011 The same process is applied to the back pieces.
September 2 2011 Here the back pieces are being glued together in the joining tool.
OMX 1.2.51 Build Pictures
12-Sept-2011 I start working on the sides by trimming off about 3/4 of an inch from each side piece. I will use the trimmed pieces for the binding on another guitar.
12-Sept-2011 Here I am using a template to help orient the two side pieces.
12-Sept-2011 Here you can see the heating blanket I use to heat the side pieces. When wood is heated the lignins that bind the cells of the wood together becomes soft and pliable.
12-Sept-2011 I use a few pieces of aluminum flashing to sandwich the wood together with the heating blanket. The holes in the top piece of flashing let me squirt water onto the wood as it is being heated. The water helps to make the wood pliable and prevent the wood from being scorched.
12-Sept-2011 I place the heating blanket sandwich into the bending machine and place the bending shoe into the waist position.
12-Sept-2011 I turn the heater on and let the wood cook for a while. The water keeps the wood from exceeding 212 degrees. You can see that the wood is already becoming pliable as its own weight bends it over the form. The candy thermometer gives me a quick check on the temperature.
12-Sept-2011 After the wood has become soft I press the bending shoe into the waist.
12-Sept-2011 Then I put the upper bout roller in place. The springs pull the roller into the form.
12-Sept-2011 I carefully pull the roller over the form working the wood into shape. If everything works according to plan I won't hear any cracking sounds. Cracking sounds are very bad!
12-Sept-2011 I pull the roller completely over the upper bout.
12-Sept-2011 After the upper bout I do the same thing for the lower bout. Here you can see me squirting water onto the wood.
12-Sept-2011 Forcing the wood into shape.
12-Sept-2011 And the lower bout takes shape.
12-Sept-2011 After the wood has taken shape I remove the top piece of flashing to allow the wood to dry out. I will cook the wood at a moderate temperature for about an hour until it has completely dried out and has set into shape.
12-Sept-2011 When I take the wood out of the form it holds it shape.
12-Sept-2011 I put the bent wood into its side form and repeat the bending process for the second side.
12-Sept-2011 I use the side form as a guide to mark the outline of the side onto the bent piece of wood. In this picture I am using rolling spacer to add a little extra width to the side.
12-Sept-2011 After I have very carefully outlined the side onto the bent pieces of wood I trim off the excess using my bandsaw  I love my bandsaw . The elevated anvil helps support the wood as I cut this very funny shaped piece of wood.
12-Sept-2011 After trimming both side pieces to shape I sand the inside surfaces.
12-Sept-2011 The trimmed side pieces then go back into the side forms and I mark off where the edges of the heel and tail blocks will fall.
12-Sept-2011 I mask off the area for the heal and tail blocks. When I glue the kerfing into place the masking tape will make it easy to remove the kerfing in these areas.
12-Sept-2011 I bend the kerfing using the same process that I used for the side pieces.
12-Sept-2011 I use a glue roller to spread the glue on the inside surface of the kerfing.
12-Sept-2011 I then install the kerfing onto the side piece using lots of clamps. The C-clamps allowing me to apply a bit of extra pressure to help assure the kerfing makes good contact with the sides. Since the kerfing is made from a straight piece of mahogany and the edges of the side pieces are anything but straight I have to bend the kerfing a bit to make it follow the outline of the sides.
12-Sept-2011 I do the same thing for the second piece of kerfing. I have lots and lots of clamps.
12-Sept-2011 As the kerfing is pressed into place the excess glue gets squeezed out so I use a toothbrush to clean it up.
12-Sept-2011 Finally I use my air gun to blow out the excess glue from in between the kerfing blocks.
12-Sept-2011 I repeat the process for the second side and then let the assemblies dry over night.
12-Sept-2011 And in the morning I remove all of the clamps and pop the sides out of their forms.
12-Sept-2011 Here is a close up view of the installed kerfing. I use a reverse kerfing in my guitars. This means that a solid piece of wood is situated on the outer side of the kerfing blocks. This creates a gunnel structure that results in a very strong and stiff side piece.
OMX 1.2.51 Build Pictures
12-Sept-2011 I use my bandsaw did I mention that I love my bandsaw to cut out the neck blank from the raw block. By nesting the pieces I get two neck blanks from each raw block. I will use the excess wood to make the heel blocks. I try to never waste any wood if I can help it. I feel that I have a duty to respect the wood and the forests that it come from by using every piece possible.
OMX 1.2.51 Build Pictures
15-Nov-2011 To glue the two halves of the sides together I need a heel block and a tail block. In this picture I am cutting one of the pieces that I will use for the heel block.
15-Nov-2011 And here I am trimming another piece using my table saw.
15-Nov-2011 The heel blocks I use allow the neck to be adjusted to change the action of the neck. When I make one I like to make a lot at once to save time in setting up the cuts.
15-Nov-2011 Back to the miter saw to trim another piece.
15-Nov-2011 Now the heel block is starting to take shape.
15-Nov-2011 I use the belt sander to trim the sides after they are glued together.
15-Nov-2011 I use the router table to round off the edges.
15-Nov-2011 After the router table operation.
15-Nov-2011 In this picture I am using my milling machine to drill the hole that will be used to bolt the neck to the body.
15-Nov-2011 The main bolt hole in several heel blocks.
15-Nov-2011 Again I use the milling machine to drill the holes for the set screw holes.
15-Nov-2011 And the band saw trims the end into an arc.
15-Nov-2011 A look at a finished heel block.
15-Nov-2011 Now I am turning my attention to the sides again. Here I am sand the kerfing.
15-Nov-2011 And I use a Dremel tool to sand the kerfing shelf.
15-Nov-2011 And finally a little hand sanding to finish up the job. I want everything inside the guitar to look as nice as the outside.
15-Nov-2011 Back to the heel block. Here I am using a special jig to sand the front face to match the contour of the sides.
15-Nov-2011 And the tail block gets its contour also.
15-Nov-2011 After mounting the sides into their forms I saw off the excess.
15-Nov-2011 And then I can put the two halves of the form together with the sides in place.
15-Nov-2011 To mount the heel block and the tail block I need to remove the kerfing were they will go.
15-Nov-2011 I use the guide blocks to make sure the saw cuts are precise.
15-Nov-2011 The kerfing channel where the heel block will go.
15-Nov-2011 The heel block fits perfectly.
15-Nov-2011 The same process is used to make room for the tail block.
15-Nov-2011 Perfect.
15-Nov-2011 Before gluing the sides together I dry fit everything to make sure I will be happy with the outcome.
15-Nov-2011 I bevel the edges of the tail block to match the kefing height. It just looks right even though no one will ever see it.
15-Nov-2011 A bit of glue.
15-Nov-2011 And the heel and tail block get glued in place.
15-Nov-2011 While the glue is still wet I clean up the excess.
15-Nov-2011 And after the glue has dried over night I pull the sides out of the form. It is starting to look like a guitar.
15-Nov-2011 Back into the form to sand the top and bottom surfaces to shape.
15-Nov-2011 The first thing I do is trim the heel block to the correct angle.
15-Nov-2011 And then I mark all the surfaces. When all the marks are gone I know I am finished.
15-Nov-2011 I use a few weight to evenly press the sides into the sanding form. The sanding forms have the shapes of the top and bottom. By passing the sides over the forms with sandpaper between them the sides will take on the shape of the form and thus the shape of the top and back respectively.
15-Nov-2011 I use this fixture to ensure the heel block has the right angle.
15-Nov-2011 And I bevel the tail block to the height of the kerfing.
15-Nov-2011 A little bit of hand sanding to clean thing up.
15-Nov-2011 And the sides are almost finished at this stage.
15-Nov-2011 I am going to rout out the channel for the neck attachment. In this image I am measuring the perpendicular and center line.
15-Nov-2011 I attach the rim to a special fixture I have created that helps in the routing process.
15-Nov-2011 I use this vertical router bit to follow the template and rout out a channel for the neck.
15-Nov-2011 A very nice clean cut channel in the heal block.
15-Nov-2011 I use the same fixture for the tail graft.
OMX 1.2.51 Build Pictures
15-Dec-2011 The heal of the neck will slip into this channel and will be supported by two set screws and an adjustment bolt. Here I am using my drill press to drill the holes for the mounting hardware.
15-Dec-2011 A view of the hole pattern. The center hole is for the bolt that holds the neck in place.
15-Dec-2011 I use long set screws to make sure the system is stable.
15-Dec-2011 Here I am installing the wood insert that is used for the adjustment bolt.
15-Dec-2011 And the final set up. This system provides three very well defined points of contact for the neck attachment. This results in a stable yet adjustable neck.
15-Dec-2011 I next turn my attention to creating the rosette and contra-rosette. Finding inspiration in Islamic art I have designed an eight pointed star for the rosette. Here I am using some of the tools of the trade to lay out the design.
15-Dec-2011 I start out by creating a cartoon template to help in the lay out.
15-Dec-2011 I carefully trace out each individual piece onto a piece of veneer using an exacto knife as a scribe. The exacto blade scores the surface with a line that is about 1/4 of the thickness of a pencil lead. This is very precise work where the variation of each piece from the ideal quickly adds up. I have to fit each piece individually adding a little here taking a little there to get a satisfactory whole.
15-Dec-2011 I rough out each piece with one of my band saws
15-Dec-2011 And then use the sanding disk to trim the piece to its final shape.
15-Dec-2011 I make a copy of the template and lay out all of the pieces before gluing anything down.
15-Dec-2011 I glue the pieces right onto the paper template.
15-Dec-2011 I use one template for the rosette and one for the contra-rosette. Each piece is individually marked trimmed to fit together with its neighbors.
15-Dec-2011 After they are glued up I sand everything flush and smooth and then cut out the completed sets.
15-Dec-2011 A view of the rosettes.
15-Dec-2011 Now that I have the rosette set completed I need to route out a channel in the top plate. Here I am laying out the position of the rosette and sound hole on the top plate.
15-Dec-2011 I use my milling machine to create the rosette channel.
15-Dec-2011 With a little care the rosette drops right into the channel. To create an outlining border for the rosette I route out a channel for a strip of black/white/black pin stripping.
15-Dec-2011 And then I cut out the sound hole .
15-Dec-2011 And here is a view of the rosette and contra-rosette pair.
OMX 1.2.51 Build Pictures
31-Dec-2011 In preparation to make the braces I lay out the outline of the rim om the top plate.
31-Dec-2011 I draw the profile of the top plate onto brace blank.
31-Dec-2011 And use the bandsaw to cut the braces out.
31-Dec-2011 I use a piece of sandpaper on the top bowl to make sure the brace profile is an exact match.
31-Dec-2011 Making the main cross brace for the top I drill out the holes.
31-Dec-2011 And the bandsaw is used to cut out the basic shape.
31-Dec-2011 The disk sander finishes up the profile.
31-Dec-2011 I use the router table to cut the channel into the brace blank to yield the I beam profile.
31-Dec-2011 The cross section of the main cross brace.
31-Dec-2011 And finally I use the disk sander to put a taper on the brace. I strive to give the braces sleek and sophisticated shape while embedding all of the structural and acoustic properties required of them.
31-Dec-2011 One last operation is to sand the inside of each hole.
31-Dec-2011 I am creating the bridge plate out of a piece of Indian Rosewood.
31-Dec-2011 My small disk sander is used to put a bevel on the bridge plate.
31-Dec-2011 I use the leftover pieces of the top blank to create the sound hole reinforcing ring. I try not to waste any material if I can.
31-Dec-2011 I lay out the sound hole reinforcing ring to find out the areas I need to trim away.
31-Dec-2011 In the processes of assembling the guitar I will need to align the top and the sides exactly several times. To do this I install a couple fiducial buttons and holes. Here I am drill the fiducial holes in the rim.
31-Dec-2011 I place a small plug into the hole and then place a small drop of glue on the top of the plug.
31-Dec-2011 When I place the rim on the top exactly where I want it the plug gets glued to the top and I now have a fiducial button. By lining up the hole and the button I can now repeatedly place the rim on the top in to the exact same position.
31-Dec-2011 I use the router again to create the main A braces.
31-Dec-2011 And cut them out on the band saw.
31-Dec-2011 I lay the A braces out on the top and place the rim over them so I can draw a line where I will cut them. I want these braces to fit flush up against the rim.
31-Dec-2011 I use the oscillating sander to trim the braces.
31-Dec-2011 And then all of the braces get laid out before they are glued in place.
31-Dec-2011 I lay the top plate in the go-box on the top form. All of the braces have the same shape as the form so when I am finished the top will have the same shape as the form.
31-Dec-2011 Then lots of go-sticks are used to press the braces into place.
31-Dec-2011 When the top comes out of the box I sand the inside edge of the sound hole.
OMX 1.2.51 Build Pictures
31-Dec-2011 I have decided to install a decorative back strip. I use this small router to route out a channel.
31-Dec-2011 And then glue in this zipper pattern back strip.
31-Dec-2011 Now I lay out the back brace patterns on the brace blanks.
31-Dec-2011 And use the bandsaw to cut them out.
31-Dec-2011 A piece of sandpaper on the back form matches the bottom of the braces to the form.
31-Dec-2011 And I drill out the holes.
31-Dec-2011 And the router table to create the I beam profile.
31-Dec-2011 To check for positioning I lay out the back braces on the back plate.
31-Dec-2011 After drawing the outline of the rim on the back plate I cut it out with the band saw.
31-Dec-2011 And the go-box is used to glue the braces in place.
31-Dec-2011 I will use this reinforcing strip to straddle the center line of the back plate.
31-Dec-2011 And glue it and the contra-rosette in the go-box.
31-Dec-2011 The back plate with its braces glued in place. I will go over the whole thing with sandpaper before assembling the box.
31-Dec-2011 But first I need to install the tail graft. Here I am installing a couple pieces of pin-striping.
31-Dec-2011 I have decided to use Koa for the binding so I am installing a Koa tail graft to match.
31-Dec-2011 After it is glued in place I use the belt sander to sand everything flush.
31-Dec-2011 I install these vertical reinforcing braces on the sides to help prevent the side from splitting.
31-Dec-2011 Now I am ready to glue the back onto the rim. I mount the rim in the side form and lay down a bead of glue on the rim's edge.
31-Dec-2011 The back gets put in place and is pressed home with this compression flange.
31-Dec-2011 Turning the assembly over there is a small amount glue squeeze out that I clean up before it drys.
31-Dec-2011 While the glue dries I install a small label to identify the guitar. I place the label in place that can be seen but is not intrusive to the art of the guitar. You don't need me to advertise to you through the sound hole.
31-Dec-2011 When the assembly dries and comes out of the form there is a small lip that needs to get routed off.
31-Dec-2011 I use a small router to remove the lip.
31-Dec-2011 Now I run a bead of glue on the top edge of the rim.
31-Dec-2011 And press the top plate into place.
31-Dec-2011 It comes out of the form with a small lip.
31-Dec-2011 And I use the router again to trim up the over hang.
31-Dec-2011 I have this special fixture set up to help guide the router in making the cantilever channel.
31-Dec-2011 The channel is necessary to allow space for the fretboard support plate. More on this later.
OMX 1.2.51 Build Pictures
OMX 1.2.51 Build Pictures
31-Jan-2012 The Universal Radiusator is essentially a two armed pendulum where the two arms are different lengths and are joined together by a rigid cross bar. Here I have attached the fretboard blank to the bottom of the cross bar.
OMX 1.2.51 Build Pictures
31-Jan-2012 The process creates a lot of saw dust.
31-Jan-2012 Here is a picture of the end of the fretboard after it has been through thr process.
31-Jan-2012 The fretboard blank gets a quick sanding to remove the tool marks.
31-Jan-2012 After the radius has been cut I sand the fretboard blank to about 1/4 inchm thick.
31-Jan-2012 To cut the fretwire slots at their correct position I have a machine with a set of templates that lets me index a Dremel Crosscut Saw along the length of the fretboard.
31-Jan-2012 I check the depth of each slot using a piece of fret wire. It is important that the slots are deep enough so that the fretwire doesn't bottom out.
31-Jan-2012 I use my bandsaw to trim the edges of the fretboard blank.
31-Jan-2012 And then I use the belt sander to finish up the dimensions.
31-Jan-2012 This fretboard will have Koa binding with a b/w pinstripe along its length. Here I am gluing on the binding and pinstripe.
31-Jan-2012 Before I install the fretwire I install the fretboard dots. I have made these from a marbled white acrylic block.
31-Jan-2012 Here is a close up of the fretboard before the wire is installed.
31-Jan-2012 The nut end of the fretboard get trimmed up using the disk sander.
31-Jan-2012 Now I am ready to install the fret wire. I first cut a piece of fretwire for each fret so that it is a bit longer than the board is wide.
31-Jan-2012 Since the fretboard is bound the fretwire slot stops at the binding. This means that the fretwire must have the tang removed from the ends of the wire. I have special jig to hold the wire at the correct angle so I can easily sand the tang off of the wire.
31-Jan-2012 Here you can see the end of a piece of fretwire with the tang removed.
31-Jan-2012 I use a brass hammer and an anvil to hammer the fretwire into place. I inspect each piece of wire to ensure that it is fully seated on the fretboard.
31-Jan-2012 Here is a picture of the fretboard with the wire installed.
31-Jan-2012 I place a small drop of thin cyanoacrylate glue on the end of each fret. The glue quickly wicks up into the fret slot and glues the free end of the fretwire to the binding.
31-Jan-2012 Finally I use the belt sander to sand the ends of the fretwire flush qith the binding. I will shape the ends of the fretwire later.
31-Jan-2012 Now I turn my attention to make the headstock veneer.
31-Jan-2012 I am binding the headstock with the same layout at the fretboard Koa and b/w pinstripe.
31-Jan-2012 The binding and purfling goes on each edge.
31-Jan-2012 Here is a close up of the headstock binding.
31-Jan-2012 The heal of the neck gets a few features routed into it. I include a channel on the edges that will help hide the joint between the top of the guitar and the fretboard.
31-Jan-2012 I also route out a channel for a cantilever support plate. The end of the fretboard floats free above the top of the guitar so the support plate helps to keep it stable.
31-Jan-2012 I use my milling machine to route out a truss rod access slot in the head plate.
31-Jan-2012 To create a b/w pinstripe along the edge of the fretboard and head plate I am gluing a piece of black and white fiberboard to the bottom of the fretboard.
31-Jan-2012 When I glue the fretboard to the neck blank I use a couple fiducial buttons to help position and constrain the fretboard. I use the bone blocks to help me position the fretboard when I glue the button in place.
31-Jan-2012 Here are the fiducial buttons glued to the bottom of the fretboard.
31-Jan-2012 I lay the fretboard out on the neck blank to make sure everything lines up correctly.
31-Jan-2012 Now I use the milling machine to dimension the thickness of the neck blank and to create the volute.
31-Jan-2012 Here is a picture showing the volute as it is carved out of the neck blank. Since this neck is carved from a single block of Mahogany in this case the volute is purely a decorative feature. On a laminated neck the volute was historically included to reenforce the joint between the headstock and neck.
31-Jan-2012 I use the table saw to trim the heal to its proper length.
31-Jan-2012 And here is the first time the neck is inserted into the body of the guitar.
31-Jan-2012 I use a piece of purple heart to create the cantilever fretboard support. Purpleheart is a very stiff wood.
31-Jan-2012 When I glue the cantilever support in place I take pains to make sure the plate is level with the top of the neck blank. I glue the plate in place on my very flat granite table top.
31-Jan-2012 I use my compound miter saw to trim the end of the heal to a 3 deg angle. This will allow the neck to freely move in the neck channel.
31-Jan-2012 And finally I glue the fretboard to the neck blank. I use epoxy glue and lots of clamp.
31-Jan-2012 After the glue cures over night the fretboard is firmly attached to the neck blank.
31-Jan-2012 Here I am laying out the tuning peg slots on the head stock.
31-Jan-2012 And then I use my milling machine to route out the tuning machine slots.
31-Jan-2012 I use the bandsaw to trim away the edges of the neck blank.
31-Jan-2012 This is truly a case where I glue a couple different pieces of wood together and then sand away everything that doesn't look like a guitar neck. Here I am working on the head stock.
31-Jan-2012 It is very easy to make a mess of this operation so to make sure that I don't over do it I use masking tape to limit where I sand and where I don't. The masking tape provides a visual clue as to the out of bounds areas and if the sanding block should slip the masking tape provides a sacrificial grace layer.
31-Jan-2012 I use a variety of different tools to shape the neck but mostly I use sanding blocks and elbow grease.
31-Jan-2012 I am not in a hurry during this process. I have a couple of tools to help me measure the shape of the neck as I progress. The most import tool though is my sense of touch.
31-Jan-2012 Here I am filing a bevel into the end the the tuning machine slots.
31-Jan-2012 A close up of the tuning machine slots. The truss rod slot will be covered with a decorative plate.
31-Jan-2012 In this picture I have installed a marking point into the neck adjustment bolt insert. When I press the neck into the channel it will leave a small hole on the end of the heal indicating where I need to drill the bolt hole.
31-Jan-2012 Here I am drilling the bolt hole in the end of the heal.
31-Jan-2012 I use a hand drill to drill out the hole for the strap button / neck adjustment access hole.
31-Jan-2012 I install a wood insert into the access hole so the strap button can be securely screwed into place.
31-Jan-2012 The strap button bolt insert.
31-Jan-2012 The neck adjustment bolt is held in place with an oak retaining flange.
31-Jan-2012 A bit of glue goes on the flange.
31-Jan-2012 And then a clamp is used to press the flange into place as the glue dries.
31-Jan-2012 As a consequence of the string tension the retaining flange holding the neck adjustment bolt in place has a significant amount of force applied to it. To help hold the flange in place and prevent it from creeping over time I drive a couple of retaining posts through the flange and into the bulk of the heal. Here I am drilling the holes for the retaining posts.
31-Jan-2012 A 1/4 inch dowel goes into each hole.
31-Jan-2012 Here is a look at the ends of the retaining posts.
31-Jan-2012 I install two brass plugs in the end of the heal where the set screws in the body of the guitar make contact with the neck. TheUser Adjustsble Tilt Action Neckattachment scheme provides three very well defined places where the neck and body make contact.
31-Jan-2012 I use 1/4 inch brass bar stock for the plugs.
OMX 1.2.51 Build Pictures
31-Jan-2012 And now I can attach the neck to the body. These sticks I have glued together is starting to look like a guitar don't you think.
31-Jan-2012 The neck body interface.
31-Jan-2012 The neck.
OMX 1.2.51 Build Pictures
8-Mar-2012 Now that the slots for the tuning pegs have been routed out I have to drill the holes for them. Since I am mounting the individual pegs on a curve I have to carefully line up the drill to make sure the hole will run true.

OMX 1.2.51 Build Pictures