Here, we are fitting the sides in the jig. We will be gluing the sides together after the water has evaporated and everything has had a chance to set over the next three days. Even though the glue will ensure that the double sides will maintain their shape after being clamped in the jig, we still need to be sure that the natural shape of the sides is as close as possible after the bending. This way we do not have to introduce unnecessary stress in the woods by forcing it to shape with glue clamps. Stress in materials always robs tone.
Really taking the time with these processes and giving the wood ample time to rest is one of the advantages of a handbuilt instrument over the high-volume factory built guitars.
When we are satisfied, we clamp both sides in the jig and let it dry and sit and relax for the next three days.
Now we have to thickness the rosette using the thicknessing sander. Here you see the result of it being rough-sanded. Things will look much better once it has been finish sanded to a much finer grit.
Now that the bending iron is hot, we also bend our koa bindings to the shape of the fretboard.
Then we mark off the shape of the headstock and roughly cut it to size. We're still not quite there yet but getting closer.
Just for fun, I put some of the pieces together. There's still a lot to be done.
Finally, it was time to join the top. I have been soaking the hide glue in water since the evening before, and had it heating up for the last few hours, so the hide glue was really at its strongest. Hide glue also needs time and patience to prepare and then speed and two sets of hands when you use it, because it gels fast. Here you see the top all clamped down.
