Here's the English Walnut wood.

The top is jointed and glued up using hot hide glue.

The back is joined in a similar fashion.

The neck and tail blocks are made from the English Walnut neck wood off-cuts as are the reverse-kerfed linings. The tail block has the end wedge of Pear wood glued on - this will be flanked by black/pear/black purfling mitred into the same side purflings.

The central rosette ring is cut from a book-matched piece of Pear wood.

Here's the result.

The top is cut close to final shape and initially thicknessed. Then the rosette channel is routed out.

The rosette is the Pear ring flanked by black/pear/black purflings. Here they are test fit.

The back is also is cut close to final shape and initially thicknessed. Here's the top and back together.

The guitar will have a "porthole-soundport" on the bass side on the flat section between the waist and upper bout curve. The work for this needs to be done before bending the side. the first job is to route a circle for the black/ pear/ black purfling and glue in a ring.

Next the inner core is routed out.

Using the Pear wood left over from making the rosette the inner core is routed . . .

. . . with this result.

The Pear wood core is tested for fit.

The Pear wood core then glued to the Pear wood back plate using hot hide glue.

The central hole is then routed out.

The "porthole" is then tested for fit.

The bass side is then bent in the Fox-style bender.

The "porthole" is then glued in using hot hide glue.

The treble side is then bent.

The bent sides are then trimmed and clamped in the mould.

The sides are glued to the tail-block together with the black/ pear/ black side purflings using hot hide glue.

The sides are then glued to the neck-block - this is a trickier procedure and I use fish glue to give me more time.

Here's the rim-set in the mould.

The next job is to profile the sides to match the back's curvature.

The English walnut reverse-kerfed linings are bent to shape in the Fox-bender and the back linings glued on using fish glue . . .

. . . followed by the top linings.

Then the English walnut side braces are notched into the linings and glued in using hot hide glue.

Next the carbon fibre flying-buttress braces are glued in using fish glue completing the rim-set.

Next the neck is glued up using fish glue. This is a five piece neck with book-matched English walnut with a central sandwich of Pear flanked by black dyed poplar veneers. It proves the saying that you can never have too many clamps !!

The English Walnut soundhole patch is glued on using hot-hide glue.

Then the soundhole is routed out.

Here's the result.

The English Walnut back centre strip is glued in using hot hide glue.

The European spruce back X braces are profiled to a 10' radius, notched and then the first one is glued in using hot hide glue . . .

. . . followed by the second.

Next the lower bout ladder brace is glued on . . .

. . . followed by the upper bout ladder brace.

Then the Bog Oak X brace cap is glued on using hot-hide glue.

The braces are then carved and the back "voiced".

Notches are cut in the linings for the back brace ends, the back cut to final shape and the back glued to the rim-set using fish glue.

Here's the inside view.

The A Frame braces are glued on the top using hot-hide glue . . .

. . . followed by the transverse brace after it has been profiled to a 13' radius, notched to fit over the A Frame braces and the central hole drilled to allow access to the truss rod.

The European spruce X braces are profiled to a 10' radius, notched and then the first one is glued in using hot hide glue . . .

. . . followed by the second.

The Bog oak bridge-plate is glued on in the go-bar deck using hot-hide glue and a clamping caul.

Next two thin European spruce caps are glued on using hot-hide glue over the X brace open joint and on the upper brace above the truss-rod access hole.

Then the "voicing" process starts - the braces are profiled to give the top response I am looking for. Next the brace behind the bridge plate is glued on using hot-hide glue.

Next comes the first lower brace . . .

. . . followed by the split one.

Then the finger braces go on - the treble side first . . .

. . . followed by the bass side.

When the top has been "voiced" to my satisfaction I sign and date it.

Here's the voiced top.

The top is then glued to the rim-set using fish glue.

When the glue has dried the sides are scraped level and true with the box in the Troji.

Then the neck extension slot is cut from the top and the edges of the top sanded a little thinner.

The neck has been tidied up and the headstock angles cut. Then the truss rod slot is routed out.

The two way adjustable truss rod is tested for fit.

Then the English Walnut cap is glued onto the top of the truss rod using fish glue.

When the glue is dry the English Walnut cap is trimmed flush and the slots for the two carbon-fibre rods routed.

The rods are glued in with fish glue and clamped while the glue dries.

The pear bindings and black / pear/ black side purflings are bent in the Fox-bender.

Next the binding channels are cut using the binding jig to the depth of the bindings plus side purflings.

The channels are stopped just short of the end-graft. Purfling pieces are stuck using double-sided tape over the end-graft. The binding channel is then cut over the end graft with the jig riding on these so that the depth cut is just that of the binding. The end graft side purflings can then be mitred using a chisel.

The bindings and side purflings are checked for fit and adjustments made as necessary.

The process is repeated on the back.

Next the top and back purfling channels are cut.

The top bindings and purflings are then glued on using fish glue . . .

. . . followed by the back.

The bindings on the completed box are scraped and sanded flush. Then the neck has had the heel and fingerboard extension roughly shaped and this is then fitted to the body at the correct angle and so that the heel cheeks fit the sides perfectly.

Then the threaded inserts are fitted and the neck bolted on.

The Bog oak headstock veneer together with black/pear/black veneers are glued onto the headstock using fish glue.

The edge of the nut slot is cut on the headstock veneer using a saw and a jig to guide the saw so that the cut is perpendicular to the fretboard. The cut is just to the depth of the Bog oak veneer.

The jig guide has two magnets inlet to hold the saw against the edge.

The the rest of the slot is routed out in the same plane as the headstock veneer using the other end of the jig guide as a stop. Again the depth of the headstock veneer is routed out leaving the black/ pear / black veneers.

The Bog oak back veneer is bent to the shape of the volute and glued on together with black/ pear / black veneers using fish glue.

Next the holes for the tuners are drilled using this jig . . .

. . . with this result.

Then the slots are routed . . .

. . . and the initial string ramping done.

The Bog oak fingerboard binding has the side black/ pear / black purflings glued on.

Next the fret slots are marked on the Bog oak fretboard and cut with the fretsaw in this jig.

Here's the result.

The fretboard is then tapered.

The end of the fretboard is cut to match the soundhole using the circle cutting jig.

A piece of binding is bent to shape on the hot-pipe and then glued to the fingerboard using hot hide glue.

When the glue is dry the binding edges are trimmed flush and the rest of the fretboard bindings glued on using fish glue.

The 2mm holes for the side dot markers are then drilled and the markers glued in.

The fretboard is then glued onto the neck using fish glue.

The neck is then carved to shape . . .

. . . and the fretboard radiused.

Then the Gold EVO fretwire is pressed in and seated using hot hide glue.

With all the frets in place . . .

. . . it looks more like a guitar.

The holes are drilled for the 6mm carbon fibre rod stiffeners.

These are glued in using fish glue.

Then the after contouring it to meet the back the heel-cap is glued on using hide glue. This is a neck off-cut that continues the neck and stripe. The bottom of the heel will be bound with pear matching the back binding and with black / pear/ black purflings to match the side purflings.

The heel cap is then sanded flush with the neck and to match the arc of the back.

The binding channel is then routed using the binding jig . . .

. . . and the binding strip glued in using fish glue.

When the glue is dry the heel cap is sanded flush again. Here’s the bass side view showing how the side purfling and binding match with the heel-cap . . .

. . . and here’s the treble side view.

Here’s how it joins the back.