KMG Ditson - Walnut and Sitka Spruce

[Kevin in California]

Coming right along Daniel. You'll be pickin and a grinnin in no time.

[Daniel P]

Progress continues.

Glueing of the ebony head plate, and shaping of the peghead/heastock (is one term more appropriate for acoustic instruments?).

Here the ebony plate is just sitting on the neck. I've marked the top edge of the fretboard, as well as a parallel line that is slightly less that my final nut width away from the fretboard. I'll make sure the head plate overlaps this line, allowing for a clean cut / channel for the nut.



For the taper of the headstock I prefer to use a plane, as I can ease right up to the dimensions I want, and have a beautiful smooth finish. For the final few passes I check that the sides are square with the face of the headstock, as well I keep a close eye that I don't plane through the wings.

[Daniel P]

Some Pau Abalone from Luthier Supply



And the router base / downcut carbide bits for the inlay work. I'll use 1/8" for clearing the larger areas, and a 3/64 for the detail. I also use a few smaller bits that I picked up at the dentist.

[Daniel P]

Test fitting some of the torch inlay.



And after the first application of black CA glue, and a quick scrape/sanding. The triplets of dots still need to be inlayed left right and bottom of the torch.

[Daniel P]

In preparing for inlay on the fretboard, I first mark the center points of section (3rd, 5th, 7th and so on), lightly glue the inlay pieces down with TItebond, and trace before the glue fully cures. I then carefully pop the inlay piece off with a marking knife, and being routing the pocket.

[Daniel P]

So tough to decide on a pickguard. Fortunately I have at least a few more weeks before I'll need to decide.

[Dave Bagwill]

That is some really nice work, Dan.
Have you considered using a clear pickguard?