Carving the neck, bridge, and fretting

After the fingerboard is glued on, the neck can be carved.  The number of tasks remaining is dwindling as the guitar's final form becomes apparent.  I can almost start to hear the music it will soon make.

Using a spokeshave to trim the neck down to the edges of the fingerboard.

I cut flat surfaces first, before rounding them off.

Rasps, files, chisel, spokeshave, scraper, sanding block.  They all have a role to play.

The rectangular bridge blank is first radiused to a slight curve on the underside, then the wings are cut and shaped.  It's taken from the same piece of Indian Rosewood as the headplate and bindings.

The saddle slot is cut using an endmill in the drill press.

Going for a novel design on the tie block.

Gluing it up.

The bridge (mostly) finished.

This is another very precise and important step.  Laying out the bridge position accurately is crucial for proper intonation.  It's very difficult to describe what's going on here, but a picture is worth a thousand words.

The lie of the strings is determined and measured out, and the holes are drilled.

Gluing the bridge.  Once again, small wooden locator pins are used to keep the bridge exactly in place.

The frets are cut and ready to hammer in.

Cathartic, but somewhat nerve-wracking, especially over the soundboard (a special technique is used there).

Dressing the frets with files.