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Comment by Brian Thompson on February 9, 2019 at 5:26am

Exactly so Uncle John, these will be keepers, a present to myself for surviving my heart attack last year. Thanks for your kind as ever comment.

Thanks also to my friend Don for the 'like'.....always appreciated bud.

Dennis, I'm humbled, truly. I have a lot of respect for what you do.....simple, clean design and builds can be harder than 'fancy' to pull off as well as you do. As the great Woody Guthrie once said, 'Any fool can make something complicated. It takes a genius to make it simple.' Wise words eh.....I love that quote.

Here's some food for thought about patience too guys. Don't know if any of you have seen this before, and to be honest it's a million miles away from where we're coming from in just about every way.......but just marvel at what it took, both in terms of skill and mental strength, sheer will even, to pull this off.......the great inlay artist Larry Robinson's work on the 1,000,000th Martin will probably never be surpassed in my opinion......truly the pinnacle of the art, two years and one change in prescription eye wear (true!)......just imagine doing all those repeating patterns.....it is beyond my comprehension. Not really my taste, but it's a museum piece after all. Please do check out this link.....https://www.robinsoninlays.com/the-millionth-martin.html

Me.....? I'm just playing at it for a bit of fun......and having a great time. Can't tell you the pleasure I get from sharing it all with like minded souls like your good selves.....thanks for your interest guys, means a lot to me. :-)

Comment by Uncle John on February 9, 2019 at 3:36am

That is going to be one to keep, play and treasure.

Comment by Brian Thompson on February 9, 2019 at 2:39am

Hey Jeff....after typing all that gumph, just realised you were probably referring to the head stock inlay shape....!! I may as well add this too then.....!

As with my first build the shape I came up with is designed to echo the teardrop sound holes I've done in both boxes. Here's a few additional pics that I thought you might like to see. I produced the inlay template by starting with a vertical line then using french curves to draw one side of the shape. I then cut this out down the centre line and curved shape side, then drew another vertical line onto some card and positioned the template on the centre line and flipping it to get some symmetry. Once cut out, this gave me the template for both cutting the pearl and the routing....hence the two small windows in the card to see the centre line on the head stock. The inlay was positioned onto the head using the template, held in place with a small peice of blu tac, then very carefully scribed around with a scalpel and made visible with some chalk. The pics will hopefully make it all clear, and are from my previous build using the gold mother of pearl blank. I re-used it for this second build having planned ahead as I'm doing them as a pair. 

Anyways......hope members find these additional details and pics interesting and, I hope, helpful...!

Comment by Brian Thompson on February 9, 2019 at 1:44am

Thanks guys!

Dave.....thanks man, and yes......I admit it.....I just like rubbing! Pass me that 2000 grit and something just comes over me....ha!! I promise to try uploading a tune on here soon......after all, I've suffered for my music....now it's your turn....ha!!

Jeff......thanks again! I can't take credit for the head stock design....that belongs to Chickenbone John as I'm using another one of his 'basic parts' neck kits. I completely agree though, it's really nice and so simple but gives perfect back angle for the strings over the nut. I like to spend a hit of time getting the 'land' in front of the nut to just the right width so the strings 'just' clear it on their way to the tuners. It's also important to get the first (and following) tuner holes the right distance away too. Measure five times, cut once....as always!

Re the inlays, I do the holes for the dots by hand with a spur point bit and small hand drill. I find I get more control over the depth that way and kinda 'creep up on it'. If I go a fraction too low a pinch of walnut sawdust brings it back, adjusted with a wooden cocktail stick to flick out what isn't needed, then a drop of superglue before dropping in the dot. The idea is to leave the inlay 'just' proud of the surface.....otherwise, if it's too high you can lose some of the colour and patterning in the shell when you sand level. It's also important to take your time with the holes and drill straight!

Coming back to the neck, here's a couple of pics of what I started with. Chickenbone John also supplied the lovely black walnut fret board, which arrived oversized ready for trimming to the final overall length and width, as well as the nut end shaping, once it's glued onto the neck stick. It's given me a great head start with my first builds, as well as helping to source some choice wood (sapele in this case) at a very reasonable cost......highly recommended! I've sourced some parts from Ben Gitty too, but the postage can be high to here in the UK....well worth it though, and for some parts the only place you'll get 'em! I like to support Chickenbone John though....he's done so much to put cigar box guitars on the map here in the UK and great people to deal with, just like Ben Gitty and the gang are too.

Comment by Dave Lynas on February 9, 2019 at 12:58am

Beautiful Brian. You take finishing seriously. Beyond the pale. I can’t wait to hear her either.

Comment by Jeff 'Bones' Reilly on February 9, 2019 at 12:39am

Nice work good craftsmanship Brian very neat inlays , love the headstock shape .