Weissenborn layout on timber.jpg
Gluing centre braces.jpg
Thinning centre line brace.jpg
Gluing back braces.jpg
Weissenborn binding headstock 2.jpg
Weissenborn binding headstock.jpg
Weissenborn binding in progress.jpg
Weissenborn reaming hole for bridge pins.jpg
30 year cut Ziricote ready for resaw.jpg
Rosette making 3.jpg
Rosette making 5.jpg
Rosette making 7.jpg
Rosette making 8.jpg
Rosette making 12.jpg
Sound hole routed.jpg
Sound hole finished.jpg
Top cut to shape.jpg
Start with a lot of bracing.jpg
Chcking bracing deflection for strength.jpg
Weighing each brace for strength to weight ratio.jpg
3 sets of X braces ready to match up with a suitable top.jpg
Cutting X brace box joint.jpg
A and X braces glued_.jpg
Finger braces glued_.jpg
All braces glued_.jpg
All braces on and glue cleaned up.jpg
Trimming and feathering the X brace ends.jpg
Bridgeplate glued in.jpg
3 lamination tailpiece block glued in.jpg
Guitar rim assembly. Ziricote and mahogany laminated.jpg
Kitchen plate warmer keeps lining warm ready for glue.jpg
Gluing lining.jpg
Cutting the neck block transverse brace dovetail.jpg
Transverse brace ready to glue.jpg
Guitar rim assembly finish glued.jpg
Glue on top joint ready for rim.jpg
Rim assembly on to top glueing.jpg
Top clamped on, gently warming joint for maximum glue squeezeout.jpg
Top and sides assembly final clamp and glue onspecial work pedestal.jpg
Top and rim assembly ready for final voicing of braces.jpg
Sanding radius for back braces.jpg
Cutting back lining for braces.jpg
Slots for braces cut. warming the back for the hide glue.jpg
First brace glued on.jpg
Last scalloped brace being trimmed on back braces.jpg
Guitar back interior shellac finishing.jpg
Gluing on the back.jpg
Back in place.jpg
Back on rotating the clamping frame.jpg
Back glued on, all clamped up. Top up so glue doesn't rundown the sides.jpg
Back glued on, top up so glue doesn't run down the sides.jpg
Back in place with locating pins clamping caul.jpg
OMvr sound box complete.jpg
Koa awaiting selection.jpg
Steam bending highly figured koa for headstock volute_.jpg
Gluing bent koa to headstock back needssome inventiveness.jpg
Guitar neck back with Koa backplate.jpg
Fingerboard template neck width.jpg
Cutting neck shape.jpg
Rough carving neck.jpg
Rough carving neck 2.jpg
Carving heel with a small yarri kanna.jpg
Cutting guitar heel.jpg
Guitar headstock template.jpg
Carving guitar headstock.jpg
Rough carving neck volute.jpg
Shaping neck volute.jpg
Bevelling the edge of the headstock back.jpg
Routing top binding.jpg
Crisp edges for binding and purfling. 4mm laminated sides show strong joint.jpg
Binding slot finish cut by hand.jpg
Gluing gorgeous koa with black and white binding.jpg
Making Koa binding.jpg
Koa binding ready for steam bending.jpg
Wood binding is strong. String and rubber bands required to hold in place while glue sets.jpg
Clamps required to glue back binding on.jpg
Levelling the binding.jpg
Endgraft channel cleaned to inner lamination.jpg
Endgraft purfling clean mitre.jpg
Endgraft purfling glued in.jpg
Koa endgraft glued in before trimming.jpg
Body in neck mortise jig.jpg
Cutting neck tenon.jpg
Cutting neck tenon cheeks.jpg
Drilling 2nd hole for neck bolts. Tenon cheeks laminated for strength and tone.jpg
Headstock back.jpg
Gluing graphite rods in neck.jpg
Fingerboard on the warming plate with glue. Tape to remove so glue won't get on truss rod.jpg
Gluing ebony binding and double purfling to fingerboard.jpg
Gluing mitred curved ebony binding.jpg
Gluing mitred holly purfling on curve.jpg
Curve routed ready for cleanup.jpg
Neck and top with hide glue_.jpg
Preheated fingerboard located in place with 3 pins.jpg
Super flat clamping caul makes sure fingerboard squeezes out all excess glue.jpg
Carving the uniqique centre edge to headstock. The line matches the grain of the headplate.jpg
Setting the bridge thickness.jpg
Bridge template.jpg
Milling bridge saddle slot.jpg
Bridge blank before final carving.jpg
Bridge final shaping.jpg
Finished 30 year old Ziricote bridge. Only 32 gram.jpg
Drilling glue location pin holes.jpg
Bridge location custom jig.jpg
Ready for fretting.jpg
Ready for finishing.jpg
French polish first coat.jpg
French polish early bodying.jpg
French polishing back.jpg
French polished Ziricote is stunning.jpg
Tuners bushes fitted.jpg
French polishing truss rod cover.jpg
Cleaning out nut slot.jpg
Cutting nut slot.jpg
English sycamore back and adirondack spruce top for mandolin.jpg
European spruce mandolin top glue up.jpg
Some 25 year old Adirondac spruce glued up.jpg
F5 Mandolin bent rim pieces before trimming.jpg
Gluing the lower f mandolin point.jpg
Glue up jig for A and F style mandolins.jpg
Making the inside plug for mandolin glue up jig.jpg
An F mandolin rim takes shape before trimming.jpg
F5 rim glued up in jig.jpg
Mandolin top and back carving jig.jpg
Rougfing out mandolin top with carving axe.jpg
Some shape to the top.jpg
F5 top almost finished carved.jpg
F5 top shape finished. Next the scroll.jpg
F5 Mandolin levelling the lining.jpg
F5 top glued to rim.jpg
Cutting an f4 and f5 neck out of nice figured sycamore.jpg
F4 and f5 neck routed for truss rod.jpg
F4 neck rough carved.jpg
F5 neck rough shaping.jpg
F4 and f5 neck headstock cheeks glued on.jpg
F5 Mandolin cutting neck dovetail.jpg
F5 Mandolin neck dovetail cut.jpg
F5 Mandolin neck joint squared.jpg
F5 Mandolin squaring the neck joint.jpg
F5 ready for neck and back to be glued on.jpg
Levelling lining Dobro body.jpg
Dobro body.jpg
Lining glue up Dobro body.jpg
Dobro in the white ready for binding and finish.jpg