Cutaway to neck block
 

Dry clamping the Brazilian Rosewood cutaway side to the Honduran Mahogany neck block. This is done to align the side to the neck block. Once it’s where Mark wants it to be, he installs two small indexing pins next to the clamp. You can see the convexity in the side that matches the neck block curvature.

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Mark glues the Brazilian Cutaway cutaway side to the neck block with slow set structural epoxy. This is done out of the mold so that he can apply clamps more easily. The pins maintain alignment. This will stay clamped for 24 hours.

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Rims bent together with blocks
 

Mark completed the neck block and glued in a three-ply (0.200”/0.125”/0.200”) Honduran Mahogany end block. He also installed side polyester twill reinforcement tapes. The continuous concave contour of Mark’s cutaway can be seen clearly now that he has trimmed back the Brazilian Rosewood side. The sides are still left much deeper than the guitar at this point.

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Top Linings
 

Mark with the aid of his adjustable body mold glued in the guitar’s kerfed Spanish Cedar top linings.

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Commission of the month,,stay tuned!

Love the squeeze-out mirror!!! What a good idea :)

I noticed that as well Burton...:up: Mark is full of practical, inventive ideas...:)

Reverse Kerfed Linings
 

This is Mark’s new lining design. It’s a two piece, “reverse” kerfed lining designed for increased rim stiffness. The kerfed piece is glued on first (Yesterday’s photo). The second piece is a 0.040” thick strip that is glued over the kerfed portion to provide additional stiffness. Because the strip is about 3 times thicker than it is on one piece reversed kerf lining, this design is much stiffer and stronger.

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The wood is 40 year old Alder that he salvaged from some discarded restaurant tables. Mark will use the same design made from Spanish Cedar for the back linings.

Cutting a top radius
 

The Alder/Spanish Cedar reverse kerfed top linings, polyester reinforcement ribbons, Honduran Mahogany neck and end blocks are installed on the rims. Mark now cuts a 47’ radius to the top of the lined rims using the X, Y rails of his fixture.

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Congratulations on a super cool new build. That brazilian is really really special. Straight grain quarter sawn just doesn't pop up much these days. Should be an amazing instrument!

I’m sorry, Bob, but I only do east coast builders . . .

Tourette syndrome is treatable. Inquire with your primary care physician.

Thanks Woody...:up:. Luthiers who have been building for decades seem to still have some. This set is honestly not been in Mark’s wood locker that long compared to some that I have seen. I believe he acquired it only about a decade ago. It is not beautifully figured like much of the stump wood we see of late, but it likely offers the benefit of physical stability. I tend to look for this in glassy, higher movement hardwood sets.

It is funny how that works. Forgetting your European and California instruments; I see Brondel, Fairbanks and Slobod (sounds like a law firm from New England :)) I actually, if I think about it, I have worked with builders in Europe (France), East (Maine, New York, Pennsylvania and North Carolina); Mountains (Colorado) and West (California, Oregon and Washington State).

Ahh, lovely! I first heard of Mark's guitars through Larry Pattis' playing. I eventually came across one in Guitar Gallery well over a decade ago. I cant recall the body size (pretty sure somewhere in the middle).

It probably remains the single greatest ziricote back and sides guitar I've come across. It was fab. I think that might've been the first time I played a guitar with a seamless cutaway to neck heel transition, too. Everything about that guitar was fantastic. Congrats on this one!!

Thanks Brian...:)

Another stunning guitar Mr. Fancy Chord. Congratulations.

I really like Mark's guitars and, though I first saw it a couple of decades ago, still marvel at that crazy neck block/cutaway/neck joint.

Thanks for sharing this with us. I look forward to many more posts in this thread and to playing the guitar someday.