"Treebeard" - regeneration of a Baritone guitar

Francis - no, the fingerboard extension just rests on the neck block support.

The neck is cut to fit the top fingerboard extension slot and the heel sanded to fit the body with the neck in correct alignment and angle in relation to the top. Then the positions for the threaded inserts are marked, the holes drilled and the inserts fitted:



Here’s the neck bolted to the body for the first time:



The neck will have a slight elevation on the fretboard over the body and two mahogany strips are attached to the body with double sided tape and sanded flush. These strips will be glued under the fingerboard later:

Next the Macassar Ebony fretboard is thicknessed, the fret positions marked out and the fret slots cut in this jig:



Then the sound-hole end of the fretboard is cut to match the soundhole (after allowing for binding) using my circle cutter jig:





A piece of the Macassar Ebony binding with b/w/b/ purfling is bent on the hot pipe to follow the soundhole curve and is then glued to the fretboard using hot hide glue:



The Macassar Ebony bindings and bwb purflings are then glued on using fish glue:

Love the fret-slotting jig, binding will add panache to the fretboard - gold wire? really set things off.

Leo - it's on track to go with me to Halsway Manor on the first weekend in July.

Francis - yes I'll be using my standar EVO fretwire.

Rob - it's a great jig I copied from its Australian inventor Jeremy Fullerton via the ANZLF Forum.

The 2mm white side dot markers are then installed:



The fingerboard is then glued to the neck using fish glue:

Holes are drilled in the neck heel for two 6mm carbon-fibre rods which are then glued in using fish glue:





The Macassar Ebony heel cap with bwb veneers is then glued on using hot hide glue:



The neck is then carved:



The fingerboard is radiused:



Then the gold EVO frets are pressed in:



The two mahogany wedges are then glued to the underside of the fingerboard to form the elevated portion of the neck:



Here’s the fretted neck tested for fit on the body:

It's an attempt to stiffen the neck in an important area as explained by Roger Bucknall here.

The Rio Rosewood bridge blank is sanded on the top to match the top’s curvature:



The saddle slots are then routed using this jig:





The rear of the bridge is ramped and the bridge-pin holes drilled:



The bridge-pin holes are then counter-sunk:



The rest of the bridge is shaped:



The bridge is carefully positioned on the top and the outer two bridge-pin holes are drilled through:





The bridge is temporarily held on with two bridge pins through these holes: