The sides have been trimmed down to the approximate height to simulate a 15′ radius.  I used my wee little finger planer which served well.  Before using the radius sanding dish, the kerf for the back was installed.

Additionally, side supports were glued in.  These serve to keep the integrity of the sides and avoid cracks along the grain.

The box is ready to be radiussed.  Using a 15′ radius dish mounted with sandpaper, the kerfed sides are dimensioned to a dome shape, tapering down from the butt end to the neck end.  Once this is done, the back can be installed.  I will use spool clamps with the box on the workboard to secure the back to the sides.

Well, the repaired crack didn’t survive.  What I’ve done is attach the sides to the top and join the cracked section with a piece of engleman spruce backing.  After the box is constructed, with both the top and the back attached to the sides, I will trim out the ragged edges, down to the spruce backing, and insert a binding bordered patch.  Patch is the wrong word; inlay is better.  The binding will match the body binding and the inlay will mimic the end graft, which I believe is rosewood.

The kerf for the top is installed, and once this dries, along with the spruce backing on the cutaway, I can begin to trim the sides in preparation for installing the back.

As mentioned previously, the cutaway bend probably cracked.  I let the bent sides sit in the bender overnight so as to allow the bends to settle, then opened the bender carefully.

The underside of the sandwich was held in place with a bit of wire to keep it from springing up and pushing against the bent side.  After removing from the machine, the crack was evident.

Two cracks, on either side of the outer bend can be repaired with CA glue, then the bend can be rounded on the hand bending heater before attaching to the guitar top.  This piece is salvageable and will be fine.  After aggressive sanding and fairing, there should be no evidence of the crack.  I might consider gluing a small spruce caul into the inside of the bend to provide stability.

I began installing the non-cutaway side.  First I increased the bends on the hand bender, determined the position of the cut for each end to shorten the side piece, applied glue to the butt block, neck slot and joint between the side and the top.  It slipped into the workboard easily, and followed the trace of the joint nicely, so I was able, on the first pass, to clamp down.

I finally bit the bullet and went headlong into the cutaway bend.  First I needed to locate the pivot point for the cutaway ram to be mounted on the bending machine.  After several dry runs, I committed to a hole location for the ram pivot. I drilled the holes, installed the ram and placed the side sandwich in the bender and cranked up the heat.  I bent the butt end first then took a deep breath.

The concern is that the bend is severe, and the side wood tends to crack.  The ram is screwed down tight into the vee between the waist and the rise in the upper bout.

As the ram is pulled away from the waist, it must be released to follow the rise of the upper bout.  Just at the point the bend starts down, the ram must be pulled while advancing the press screw then immediately start to push the ram as it travels down the cutaway until it reaches the bottom of the cutaway.

The waist press, up to this point, has only been advanced to an eighth of an inch from bottom.  Finally, the waist press is clamped down to push the waist down and pull the sides “in” onto the bouts.  A quick inspection from the side of the sandwich showed the tight bend did indeed crack, but to what extent, and knowing if it is useable will only be discovered when the package is opened.  A spring bar was draped over the upper bout at the cutaway bend to add pressure at the bend.  One more round of cranking up the heating blanket then a cool down may very well improve the roundness of the side bend at the cutaway peak.

I finished detailing the bracing on the top and trimmed back the ends to make room for the attachment of the sides to the top.  The butt block was radiused and trimmed to length (about 1/8″ longer than actual) and glued to the top.

I also trimmed the sides to the same width as the butt block height then proceeded to bend the non-cutaway side.

After heating and bending, the side is allowed to cool, then the heat is turned back on for 15 minutes, then the side will sit in the mold overnight.  After removal, it will need more hand bending to bring it to the desired curve to avoid having to spring the side into the workboard, which puts stress at the butt block and neck joint points which can cause splitting.

The cutaway side remains to be bent, but first I have to devise where the cutaway ram will be mounted on the bending machine.  Hope I get it right.  I’ve been avoiding this bend for months, and I am fully prepared to order new sides if I muck this up.  So much for practicing on throwaway stock.

I built this workboard several months ago.  It’s adapted from the workboard I used for the ukes and examples I’ve seen at luthier suppliers.  The next step is to shape and dimension the butt block then glue it in place in preparation for the attachment of the sides.

The neck was notched on the router table to accept the top.  The center lines were aligned, pilot holes drilled, and the neck has been glued to the top.  After drying, the neck and top will be mounted to the workboard in preparation for attaching the butt block and joining the sides to the top.

Let’s start with the Lava Light.

After William left for UW, several items which I coveted were left behind.  Lava Light (or Lamp)!

I mapped out a schedule for the completion of Uke 1101, and it is possible to complete before I go to Salt Lake for Thanksgiving.  It will be a bit tricky to continue working on the uke while the lacquer is curing.  Today, I finished the 8th coat of lacquer, with an intention of putting on 20 coats.  Tomorrow I’ll add 4 more coats.  Coincidentally, I am adding coats to the Bubinga uke, and after tomorrow’s application, it will have 24 coats.

This is the back of the Bubinga.

Between coats I attached the fret markers to the Hybrid’s fretboard and the Thorn and Vine to 1202 (Bob).  The shell is glued to the surface with white glue.  I will score a border around the glued shell, then pop off the shell in preparation for routing a channel.

The past year has gone by rapidly and I have engaged in many endeavors which little resembled guitar building.  I started and completed a program which garnered me a secondary teaching certificate.  I have accepted a job as a High School math teacher, and my first day with the students is September 7th.  All my concentration on becoming a math teacher has eaten into my time building guitars.  My 2011 output has been well below my previous years, yet I still continued to gain commissions for guitars and ukes and have created quite a backlog.

I realize that I need to analyze and prioritize my pending work and set out a semblance of a plan to organize.

Uke 1001 – Bubinga Tenor: This, my first uke, has been sitting with 12 coats of lacquer, waiting to accept more lacquer.  My original intention was to piggy back on the lacquer work for Uke 1101.  Once the lacquer has been applied and cured, I will be able to quickly finish with the following:  Install bridge, saddle, nut, end pin and tuning machines.  Level frets and do setup.

Uke 1101 – Koa Tenor: I have taken this uke on a grand tour, displaying it at a cousin reunion and guitar camp.  It needs minor filing of the binding, a bit more neck shaping, then aggressive final sanding before the sanding sealer, pore filling, and application of lacquer (together with Uke 1001).  This uke, for Cynthia, is priority number 1, and I intend to start back on Tuesday of this week.

New:  Uke 1201 – Koa Tenor 2: I have all components on hand to build another Koa Tenor Uke.  A man has to build himself a uke.  This lands as priority number 5.

Guitar 903 – Walnut OM: Devin’s guitar (my apprentice).  Devin took the summer off and only recently has returned to finish his guitar.  The bridge is mounted, and the remaining work includes saddle shaping, bridge shaping/notching/installing, fret leveling/polishing/truss rod tweaking culminating in stringing and setup.  He is days away from walking home with his finished guitar.

Guitar 1002 – Hybrid Cutaway: I have been ignoring the ukes by dabbling away with this Macaferri style nylon string cutaway for Jim.  I have been shaping the neck and heel and dreaming of bending the cutaway side for the past months.  Before I proceed I need to resolve the dimensions of the neck, and how the cutaway will join and transition into the neck heel.  The top and back are braced but still need further shaping/sanding before I’m ready to join the neck to the top for insertion into the new workboard.  This work is priority number 2.

New:  Guitar 1201 – Myrtle Parlor: I have a gorgeous piece of California Myrtle which will be the showcase for a new parlor for Rachel.  I already have an Engleman Spruce top which has been joined with rosette installed.  I have all components on hand and still need to decide appointments.  Priority number 3.

New:  Guitar 1202 – Indian Rosewood OM: This guitar has been commissioned by Susan as a gift for Bob.  Gonna get that name Bob into the fretboard inlay design somehow.  I always wanted to inlay the word Bob.  This, along with guitar 1203 are priority number 4.

New:  Guitar 1203 – Devil Parlor: I call this the Devil Parlor as it will have a double cutaway.  This is a commission for Emily and shares priority number 4 with Guitar 1202.  I’m using Peruvian Walnut and Engelman Spruce.  I’m considering a black lacquer back and sides and am going to attempt a sunburst top.  Ivroid binding.  Somebody tell me how I’m going to do that please.

I have numbered the new instruments with a 12 prefix, anticipating that these will be completed in 2012.

Still on hand, and available for future guitars:  Sitka Spruce, Bearclaw Sitka Spruce, Ziricote, Ovangkol, Master Grade Claro Walnut (2 sets).

Just a heads up on a few new jigs/techniques.  In order to keep dust and such out of the box during final sanding and prep, I blew up a balloon while dangled in the box, then tied it off.

I am now using a recently completed neck shaping jig.  It’s just a vise mounted platform that allows me access to shave and shape the neck.