Please click for larger images.
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I use a radiused caul in the drillpress to press each fret
into place. I have found that this gives me much cleaner results than
hammering the frets. |
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Installing the side position markers in the fretboard. When
the fretboard is complete it is glued to the neck. At this point the
instrument is completely assembled. |
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It takes me about nine days to sand four F5 mandolins.
That's a lot of sanding. I actually do a lot of it with scrapers, and
files and various other tools get in the nooks and crannies. This stage is
tedious, but the results are worth it. |
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Strong side lighting is important for visualizing the
contours during carving and sanding. |
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I finalize the shape of the soundholes at the very end,
because it's easy to chip the edges when you are sanding the top. |
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Hey, that's me!
I apply water-soluble stains by hand and darken some spots with an
airbrush or a jamb gun. Then I spray a sealer coat of shellac. In this
photo I'm scraping the stain off the binding. This is a tedious process,
but it is one of the steps where taking one's time and doing clean work
becomes very apparent in the completed product. In times like these I
often end up looking under my glasses instead of through them. My extreme nearsightedness
actually becomes a benefit, because it allows me to see more closely!
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I then spray a few more coats of shellac, and apply spirit
varnish by French-polishing, accompanied by lots of sanding. It takes
about a month to apply the varnish and allow it to cure. |
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While the varnish is curing, I make bridges, pickguards, and
other parts and accessories. I've bought some bridges in the past, but I
find that making my own is more cost-effective and ensures more consistent
quality. It also allows my to optimize the height range for my
instruments. Here are some drilled blanks for bridge bases and
saddles. |
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Here I am tapping the bases for the threaded posts. |
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These router templates allow me to cut both sides of the
base and saddle with a pattern bit on the router table. The bridge blanks
lock inside the templates, and they can be flipped vertically so I can
always be cutting with the grain to avoid tearout. |
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Here are some nearly completed bridges. These bridges have
smooth curves instead of the right angles that you see on traditional
bridges. Those right angles form weak points, where saddles and bases
often break. The curves help distribute stresses more evenly, allowing the
parts to flex rather than break. I will cut the saddle compensation when I
string up the mandolins, so it is optimized for each instrument.
When the varnish has cured and polished, the mandolins are ready for the nut,
bridge, and hardware. I usually keep instruments for a few days to
finalize the action and make adjustments to the setup. Unfortunately this
is the only time I have to play them! Please visit the gallery
for photos of finished instruments. |
