Dakota PARLOR User manual

MUSICMAKER’S KITS, INC
PO Box 2117
Stillwater, MN 55082
651-439-9120
harpkit.com
DAKOTA PARLOR GUITAR KIT

WOOD PARTS:
A - Neck
B - Fretboard
C - Heel Block
D - Tail Block
E - 2 Heel Ribs
F - 2 Side Ribs
G - 2 Tail Ribs
H - 4 Corner Blocks
I - Back Panel
J - 3 Cross-Braces for Back
K - 2 Flat Braces for Back
L - Front (Soundboard)
M - 10 Braces for Front (Soundboard)
N - 6 Inner Kerfing Strips
O - Bridge with Saddle
P - Bridge Clamp, w/4 machine screws,
2 washers, 2 wing nuts
Q - Bridge Plate
R - 4 Clamping Wedges
S - Spacer Block
T - 6 Binding Strips, walnut
U - Heel Cap
V - Truss Rod Cover
HARDWARE:
W - 48 Inches Fretwire
X - 1 White Side Marker Rod 5/64”” X 2”
Y - 6 Black Geared Tuners
w/6 sleeves, 6 washers & 6 tiny screws
Z - Double Truss Rod, with allen wrench
1 - Heavy Fretwire, 2” long, for #0 fret
1 - Set of 6 Guitar Strings, light
1 - Black Wood Nut
1 - Hex Bolt, 1/4” X 2”, with washer
2 - Tiny Nails
1 - Drill Bit, 1/16” for tiny screws
1 - Drill Bit, 5/64” for Side Markers
1 - Drill Bit, 3/16” for bridge
Assembly Instructions
DAKOTA GUITAR KIT
A NOTE ABOUT GLUE
We recommend assembling this kit with standard woodworker’s glue (such as Elmer’s Carpenters Glue or Titebond Wood
Glue). Don’t use Hotmelt glue, Superglue, 5-minute Epoxy, or the plain white School Glue for assembling the major wood
parts -- they are not strong enough for a musical instrument. There is no need to look for any special violin-maker’s adhesive.
You may, however, see epoxy or superglue recommended occasionally for installing non-wood parts.
Every time you use wood glue on this project, it is wise to have a damp rag handy for cleaning up afterwards. It is always best
to scrub away any excess glue that squeezes out of the joints before it dries, especially on the outside of the instrument. Keep
your hands and workbench as clean as possible too. Glue smudges will show up vividly on the finished instrument.
ASSEMBLY INSTRUCTIONS
_____1. CAUTION: PLEASE DO NOT OPEN THE SEALED PLASTIC BAG CONTAINING THE FRONT
AND BACK PANELS UNTIL YOU REACH STEP #14. These two parts need to be kept very dry until you glue
the braces on them. Check over your kit parts to make sure you find everything listed (see fig. 1 above). Contact us
right away if you are missing anything so we can rectify the problem without causing too much delay for you. We
also recommend checking off each step in the directions as you finish it. You might be skipping forward to another
part of the assembly while waiting for something to dry, and it helps to keep track of where you left off.
2.
Fig 1
A
B
C
D
EE
FF
GG
HH
H
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
If you have any questions about the assembly of your
kit - please visit our online Builder’s Forum
www.harpkit.com/forum

GLUING THE BODY FRAME
_____3. Carefully arrange the side pieces, corner blocks,
heel block and tail block on your plywood clamping board
to see how they fit together (Fig 3).
CAUTION: Orient all parts so the front edges face down-
ward on your flat clamping board. Notice that we have
marked each side piece, and heel & tail blocks, indicating
the proper orientation.
All front edges are marked “SB” for soundboard, and the
back edges are marked “B”.
The corner blocks do not have a front or back, but they are
numbered C-1 or C-2 to fit the corners with those numbers.
Please take the time to study this carefully so your parts will
fit properly.
ORIENT ALL PARTS WITH FRONT EDGES FACING DOWN
_____2. You will find it very helpful to make yourself a perfectly flat
work surface out of 3/4” thick plywood or particle board for use as a
flat clamping pad under the body of the instrument. If you cut it about
1” larger than the shape of the soundboard, you will be able to easily
fit clamps all the way around the perimeter of the instrument (fig 2a).
Another idea that works well is to use a rectangular piece about 22” X
28” (fig 2b) so you can clamp with bungee cords, as shown in steps 21
and 31. We use both types, as you will see in various photos. Just make
sure the clamping pads are good and flat.
It is smart to skim through the entire directions before beginning, just to get an overview of the project. You may need to gather
more tools or purchase a few optional decorations or accessories to enhance the finished instrument. Now is a good time to
make those plans so you can avoid delays later. Here are a few of the small items you’ll want to have on hand:
sharp chisel wire cutter 8 spring clamps 2 long-reach clamps for braces
masking tape (blue) clothes pins 8 small c-clamps 40 ft bungee cord (3/16” dia)
carpet tape razor knife triangle file router with flush-trim & inlay bits
straight-edge 6” rat tail file flat mill file wood filler (mahogany color)
_____4. Begin by gluing and clamp-
ing the four corner blocks to the two
side ribs, taking care to orient them
at the correct ends, as printed on the
wood (each side rib gets a C1 at one
end and a C2 at the other end).
CAUTION: The larger part of the
corner blocks will face the inside of
the body, as shown in fig 3. Don’t
glue them to the outside of the sides!
Fig 2a
Plywood
Clamping Board
3/4” thick
perfectly flat
about 22” X 28”
Fig 2b
Fig 3
Fig 4a
Fig 4b
Fig 4c
Clamping wedges are provided to help compensate for the angles of the
parts, as shown in fig 4b. HINT: If you cover the wedges with Scotch
tape, they won’t get stuck to the other parts when clamped.
Use either spring clamps or small c-clamps for this step (fig 4c), mak-
ing sure the parts are fully seated together and flat on the edges. Use a
wet rag to clean off excess glue that squeezes out. This helps you see
the joints clearly, as well as prevent messy glue spots on the instrument. Clean off excess glue
3.
CAUTION: IT IS POSSIBLE TO ASSEMBLE THE FRAME PARTS UPSIDE DOWN OR BACKWARDS!

_____5. While the corner blocks are drying, you can work on
the tail end of the body. Use tape to hold the tail ribs together
as shown in fig 5a.
Find the center of the tail block
and mark it clearly (fig 5b).
Smear glue on the flat face of
the tail block (fig 5c) and place
it inside the seam, as shown in
fig 5d. Find a scrap of wood
to use as a clamping pad for
the outside of the joint, and add
clamps, making sure the block
is oriented correctly and nicely
centered on the seam (fig 5e).
IMPORTANT: Make sure the free
ends of the tail ribs can be pushed down
to the work surface (fig 5e). If not, then
you may have to release the clamps and
slide the parts into better alignment.
Fig 5a
Inside surface
of tail block
Fig 5c Fig 5d Fig 5e
_____6. Now you can move to the heel
end of the instrument. Mark the center of
the heel block, on the end marked “Back”
(fig 6a).
Glue this heel block to one heel rib for
now, aligning it to the centerline, as shown
in fig 6b.
Clean up excess glue with a wet rag, as
usual.
IMPORTANT: Leave the other heel rib
for later. That will be the last step in clos-
ing the frame.
Fig 6a Fig 6b
4.
QUESTION
Have you checked to make sure you are still gluing the parts in the correct positions? If you nd a corner block
glued to the wrong end of a rib, you’ll need to correct it now, before proceeding further. You can soen the dried
glue by getting the seam wet to allow the parts to be separated without breaking anything. Be patient with this
process. It may take 10-20 minutes for water to penetrate far enough into the seam to soen the glue.
Fig 5b
Tail
Block

_____7. When the corner
blocks are dry, you can re-
move the clamps and glue
the C2 blocks to the tail ribs,
as shown in fig 7a.
Make sure you can press
the C1 corner blocks down
against the work surface
when the side ribs are
clamped to the tail ribs. This
ensures a flat frame for glu-
ing the front (soundboard)
in place later.
Leave the clamps on these C2 joints while you glue the remaining heel rib to
the open C1 corner, as shown in fig 7b. Leave clamps in place for several
hours to make sure the glue has cured to full strength.
Check for straightness
by pressing sides down
against clamping board.
Fig 7a
C2 Corner Blocks
Tail end
Check for straightness
by pressing sides down
against clamping board.
C1 Corner
Block
Fig 7b
Fig 8b
Fig 8a
_____8. When the four
corner joints have dried
fully, use tape to pull the last
heel rib into place at the heel
block as shown in fig 8a.
Remove the tape so you can
apply glue, and then tape the
parts together again as you
clamp this last joint together
permanently (fig 8b).
_____9. Once the frame is closed and the glue is dry, you can install
the long spacer block between the heel and tail blocks as shown in fig 9.
This piece will be removed later, but you need it now to hold the frame to
the correct size. Note that the ends of the spacer will fit into the pre-cut
grooves of the heel and tail blocks. Use a clamp at each end to make sure
the heel and tail blocks are held firmly in alignment.
Fig 9
Spacer block
5.
PAUSE AND DOUBLE-CHECK
Before going further, double-check to make sure your parts are still in the correct positions. Do you see “Back”
written on the same edge of all the parts around the frame? If you find something oriented upside-down or back-
wards, you’ll need to correct it now, before proceeding further. You can soften the dried glue by getting the seam
wet to allow the parts to be separated without breaking anything. If the glue is fully cured, it may take 10-20 min-
utes for water to penetrate far enough into the seam to soften the adhesive.

Fig 10a Fig 10b
_____10. Flip the instrument over (soundboard edge up) so you can fit kerfing inside the frame. Cut a length of kerfing to fit
between the corners and blocks inside each rib (fig 10a & 10b). We like to cut these strips a little oversize and then sand them
to fit nicely into the corners, as shown in fig 10c and 10d. CAUTION: Be sure to orient the kerfing with the flat side up. level
with the top edge of the ribs.
We use spring-type clothes pins to clamp the kerfing in place
(fig 10e), but you may find some other small clamps to pinch
the parts together while you glue these kerfing strips in place.
If necessary, you can increase the clamping pressure by wrap-
ping rubber bands around the clamps as we have.
Work your way around the soundboard edge of the frame
with the kerfing, but don’t do the back edge yet -- that will
be easier to do later.
Fig 10d
Fig 10e
Fig 10c
_____11. OPTIONAL: You can reduce the weight of your guitar a little by trimming off the large inside corners of the corner
blocks, as shown in fig 11a. This step is optional, but it is recommended.
The illustration shows a chisel, but we use a power drum sander to do this job more quickly. You’ll want the corners to be
trimmed so they blend in with the thickness of the kerfing, as shown in fig 11b.
NOTE: If you decide to leave the corner blocks full size, you should at least bevel the tops of the inside corners by sand-
ing them at an angle so they
won’t touch the soundboard
(fig 11c). This helps prevent
cracks in the soundboard
later, and allows for a little
more vibration in the top.
Fig 11a
6.
CHECK-POINT: You should be installing the kerfing on
the soundboard edge of the frame. You should see “S.B.”
written on the ribs at this edge of the frame all around.
Fig 11b Fig 11c
bevel

_____13. Make yourself a long sanding block now, us-
ing a flat board about 2-3” wide and at least 16” long.
Apply double-stick carpet tape to the flat face of the
sanding block, covering the face the full 16” length (fig
13a).
Cut coarse sandpaper (60 grit) to match the width of
the board and press the clean side down against the tape
(fig 13b). You can add to the length of the sandpaper by
pressing a second piece in place at the end of the first.
Fig 13b
Fig 13a
_____12. This is a good time to open up the slot for the tenon
in the heel block so it looks like fig 12a below. You could do
this by hand with a sharp chisel and/or razor knife, but we use a
router with a flush trim bit (fig 12b). The goal is to trim away
all rib material that covers the pre-cut slot in the heel block.
Pencil hash-marks on the kerfing around body, as shown
in fig 13c.
Then use your flat sander to level the entire front edge of the
frame. Keep the sanding block flat by always having both ends
resting across the instrument, as shown in fig 13d.
The pencil marks should all be cleaned off by this sanding work.
Keep sanding until they are all removed.
Fig 13c Fig 13d
7.
Fig 12a Fig 12b

_____14. Now you can open the sealed bag and begin working on
the soundboard. First thing is to outline the inside of the frame on the
inside face of the soundboard so you know how to trim the braces.
We have marked the location of most of the braces in pencil, but
there are a few things you need to draw. Begin with making a line 4”
from the sound hole and perpendicular to the center line, as shown
in fig 14a.
Center the frame of the guitar on the centerline of the soundboard,
lining up the heel end with your pencil mark (fig 14b).
Then draw a pencil line around the inside of the frame to show where
the kerfing touches the soundboard (fig 14c).
Fig 14a
draw line to mark
heel end of frame
Fig 14b Fig 14c
WRONG RIGHT
_____15. Find the two X braces and connect them together in the middle. Note that there is a wrong orientation for these
braces (fig 15a). When properly oriented, the X will match the outline on the soundboard, as shown in fig 15b. Center the X
on the soundboard and mark where the ends of the braces cross your outline of the frame.
POINT OF INTEREST
Some purists will leave these
braces long enough to fit into
“pockets” that they cut into the
kerfing. This is difficult to do
well, but helps prevent a brace
from breaking free at one end
due to future abuse. We pro-
vide bracing long enough to al-
low you to choose this method
if you wish, but it will increase
your working time a bit.
Fig 15a Fig 15b
8.
PREPARING THE SOUNDBOARD

Mark and trim these
braces to the pencil
line, as shown in
fig 15c and 15d.
(or cut them a little
longer if you plan to
cut pockets for them
in the kerfing)
Fig 15c Fig 15d
_____16. Before gluing the X braces in place, test your clamp-
ing system without glue to make sure you have sufficient pressure
everywhere. You want even pressure across the full length of the
braces. Make sure that the ends will be pressed fully against the
soundboard. You don’t want these braces to come loose!
When all is ready, glue and clamp them in place to the sound-
board, pressing them against your flat clamping board. NOTE:
be sure to put glue in the notch where the two braces intersect.
Use the spacer block (or other long scrap) across the soundboard
to press the intersection firmly (fig 16).
Wipe off excess glue and leave the clamps in place for 3-4 hours
until dry.
Fig 16
_____17. When the braces are dry, use a chisel to clip a 1/4” end of the
thin flat back bracing material to use for a patch across the intersection of
the X braces, as shown below (fig 17a).
Glue and clamp this patch across the intersection forming a “bridge” to tie
the bracing together firmly (fig 17b).
Fig 17a Fig 17b
9.

_____18. Mark and trim all but the
three shortest braces, and glue them
in place where they are marked on the
soundboard (fig 18).
NOTE: Hold off on the three short
soundhole braces for now. It is easier
to shape and sand the larger braces be-
fore installing the short ones.
_____19. Use a sharp chisel to round over tops of braces
and to taper ends to about 1/8” high around the perimeter
of the soundboard (fig 19a).
Switch to medium sandpaper (150 grit) to smooth the
tops of all braces (fig 19b).
Fig 18
1/8” high
at end
bridge plate
finger braces
transverse
brace
additional
top brace
Fig 19a Fig 19b
_____20. Fit and glue the three short-
est braces around soundhole, as shown
in fig 20.
soundhole
braces
Fig 20
10.

GLUING THE SOUNDBOARD
_____21. Be sure to keep the spac-
er block firmly clamped to the frame
for this operation! This will help
hold the shape of the body as you
apply clamps.
Test-fit the frame on top of the
soundboard without glue first, to see
how the braces fit inside the kerfing.
Trim the braces as necessary.
NOTE: If you plan to cut pockets
into the kerfing for the ends of the
main X braces, this will take some
time for trial and error fitting.
Plan out your clamping method and
assemble enough clamps (or Bun-
gee cording) to do the job before
you begin.
We show two ways to clamp the
body down against the soundboard:
20 clamps, as shown in fig 21a, or 20 feet of light bungee cord-
ing (available from Musicmakers), as shown in fig 21b.
If using the Bungee cord method, put screws around your flat
work surface at an angle, about 2-3” apart, for wrapping the
cord. If you didn’t make a 22” X 28” clamping board, you can
put the screws in the edge of your smaller plywood instead of
4” away from the guitar as shown.
Fig 21a
spacer block
Fig 21b
When ready, spread glue all around the edge of the guitar frame
(including the kerfing), and put the frame back on the sound-
board, making sure there are no obstructions preventing a nice
flat fit.
If using Bungee cord, tie a loop at
one end, hook it on a nail and work
your away cross the instrument in
spider web fashion to press the
entire frame down firmly against
the soundboard (fig 21b).
_____22. When the soundboard is dry, remove the clamps and
turn the instrument over so you can start working on kerfing
for the back edge. Begin by leveling the edges of the ribs and
corner blocks, using your long flat sanding block (fig 22).
The goal is to eliminate glue blobs and other irregularities that
will interfere with a good fit of the back panel. You’ll be sand-
ing more after the kerfing is installed, but you’ll use a curved
sanding block next time.
HINT: Leave the spacer block in to stablize the frame as you
sand, until you get to the heel and tail blocks. You’ll need to
remove the clamps in order to sand those areas.
PREPARING THE BACK
Fig 22
11.

_____23. Now you need to install kerfing all around the back
edge of frame, just as you did on the front edge earlier (fig 23).
CAUTION: Don’t sand this kerfing with the flat sanding
block. You will make a curved block for this because the
back is arched (see step #30).
Fig 23
_____24. Turn the body over onto the inside of the back
panel and center it carefully on the centerline. Draw around
the outside of the frame with a pencil, as shown in fig 24. Fig 24
_____25. Set a com-
pass to match thick-
ness of the back
edge with kerfing, as
shown in fig 25a.
Then use that setting
to draw the inside
outline on the back
panel, as in fig 25b.
Fig 25a Fig 25b
_____26. Measure where the heel block and tail
block will fit on the back panel.
The heel block extends 1-3/4” (44.5mm) in from
the outer edge of the frame, as shown in fig 26a.
The tail block extends just 3/4” (19mm) in from
the outer edge at the tail end of the frame, as in
fig 26b.
These two lines will help you place the the flat
back bracing that goes down the centerline to re-
inforce the glue seam in the back panel.
Fig 26a Fig 26b
12.

_____27. Notice that only one brace is outlined on the back panel, but there are little circles drawn to show the ends of the other
two braces. Connect those circles with a straight edge to mark the location of the other two braces, as shown in fig 27a.
Find the three back braces and mark where to trim them so they don’t
interfere with the back kerfing (step 27b).
Fig 27a Fig 27b
Trim braces
to length (or
fit the ends
into the back
kerfing), as
before.
_____28. Notice how the underside of
the back braces are curved. This curve
matches the 15’ (4.57m) radius curve
on one edge of the spacer block (fig
28a).
This means you can use the spacer
block to support the clamping pressure
when gluing each brace in place, thus
forming an arched back panel.
Make sure you have at least one clamp
that will reach to the middle of the
brace, as shown in fig 28b.
When ready, glue each brace in place
separately, being careful to center it on
the centerline over the outline you drew
for that brace in the previous step, and
supporting it with the curved side of
the spacer block underneath.
Fig 28a
Fig 28b
_____29. When all three back braces
are dry, find the flat back braces and
mark and cut them to fit between the
other braces, to cover the center seam,
as shown in fig 29a.
It is best to sand these parts before
gluing them in place. They look best
when the top surface is sanded smooth
and the top edges are rounded over
gently (fig 29b). Fig 29a Fig 29b
13.

Balance the back panel on a long flat board beneath the centerline to support this pressure. Use long clamps or weights to press
these braces in place with glue (fig 29c). Add scrap wood under the clamps to distribute the pressure evenly over this flexible
flat bracing. Notice the end braces are cut just short of the pencil line marking the heel and tail blocks (fig 29d).
Fig 29c Fig 29d
Use this curved sanding block to shape and smooth the back
edge of the instrument frame, as shown in fig 30c.
PLEASE NOTE: Keep the sanding block oriented across
the frame as shown, perpendicular to the centerline of the
body. This is the direction of the curve in the back panel,
and it will give you nice firm glue joints around the perim-
eter of the frame when clamping the back in place.
Turn the frame over on top of the back panel and check carefully
to see that the braces do not interfere with the kerfing (fig 30d).
Take your time with this. Trim any braces that are too long to
fit inside the frame. If you end up applying clamping pressure
to an area where the braces are in the way of the kerfing, you
might break something!
_____30. Put double-stick carpet tape on the curved edge of
the large spacer block that was holding the frame (fig 30a).
Fig 30a Fig 30b
Fig 30c
Fig 30d
14.
Then cut strips of coarse (60 grit) sandpaper to fit along the
edge and press the paper against the adhesive tape (fig 30b).
You may need to butt two strips end-to-end.

_____31. Turn the frame back-side-up and arrange it on
your work surface. Apply glue to the back edge, all the way
around the circumference, including the kerfing, heel, tail,
and corner blocks.
Carefully position the back panel on top, nicely centered at
each end, and apply clamping pressure. If using individual
clamps, we recommend placing clamps at the heel and tail
ends first to hold the back on the centerline, then work your
way around the circumference with more clamps. Check the
seams by looking under the overhang of the back to make
sure it is fully pressed down all the way around.
Fig 31a
If using the Bungee cord clamping system, put screws all
around the frame, about 4” away from the body, and spaced
about 2-3 inches apart, as shown in fig 31a.
Place the back panel carefully centered on the frame and
begin pulling Bungee cording across, making sure the back
does not slide out of position as you work. We show two
20-ft lengths of Bungee cords, 40 feet (10 m) total, in the
photo at right (fig 31b).
Be sure to check around the entire glue seam, looking under
the overhang and pressing down to see if there is any sec-
tion that is not held firmly. Watch for glue squeezing out of
the joint -- that’s a good sign of sufficient pressure.
Fig 31b
_____32. When dry, trim off the excess overhang
of the soundboard and back flush with the outside
of the body.
We like using a flush-cutting router bit (fig 32a)
for this step. Move the router clockwise around
the instrument (this is called “climb cutting”) to
minimize the chance of chipping the thin spruce
top and mahogany back panels (fig 32b).
You can achieve the same results more slowly us-
ing a coping saw to cut close to the sides, and then
a sanding block to sand it flush.
flush-cutting
router bit
The corner blocks protrude a little beyond the sides, so you’ll want to sand those flush too.
A spindle sander or attachment to a drill press works well for this (fig 32c), but you can also
make a curved sanding block using a tin can or other round object to wrap your sandpaper
around (fig. 32d). Always watch closely to make
sure you don’t distort the shape of the corners.
This is an important step for achieving a nice-look-
ing guitar. The corner blocks and sides should meet
seamlessly and smoothly.
If you find gaps in the joints, fill them with mahoga-
ny colored wood filler, available from most hardware
stores. Or make your own paste of mahogany sand-
ing dust and Superglue.
Fig 32b
Fig 32a
Fig 32c Fig 32d
14.

_____33. OPTIONAL DECORATING: If you have a router, you can install
binding around edges of the guitar. This is not a necessary step, but it adds
a lot to the appearance of the finished instrument. Use our Inlay Router Bit
with the smaller bearing for this operation. Set the depth of cut to match the
width of the binding strip, as shown in fig 33a.
Use the router to cut a ledge all the way around the top and bottom of
the instrument for inlay strips, working clockwise around the perim-
eter, as before (fig 33c). The roller bearing will prevent the router bit
from cutting too deeply. You may need to go around the instrument
twice, just to make sure the ledges are cut to full depth.
Fig 33a
Fig 33b
Be careful not to
“fall” into the
slot for the tenon
Fig 33c
cutter height matches
width of inlay strip
Wet the wood binding in a tub of warm water for just
1-2 minutes before bending it around the guitar.
Fig 33d
Fig 33e
16.
BINDING STRIP
CHISEL
Fig 33f
SANDING
BLOCK Fig 33g
Make a test cut in a
scrap of wood, and
check the fit of the
binding strip (fig 33b).
Then test-fit again using a sanding block to make small adjustments to the ends until they
are just the way you want them (fig 33g). We like to make mitered joints in the binding
at each corner block (fig 33h), but that can take some extra time. An easier option is to
make “lap” joints instead (fig 33i).
For lap joints you would install the first piece a little longer than necessary and trim it
off after the glue dries, sanding the end to match the next ledge. Then your next piece
can also be longer than
needed, so you just
trim it off and sand it
flush with the outside
edge of the first bind-
ing piece.
MITERED
JOINT
Fig 33h
LAP
JOINT
Fig 33i
Bend one long strip
around the tail end
of the instrument,
holding it in place
with a few pieces
of tape.
Mark the length and
trim it close with a
chisel or razor knife
(figs 33e & 33f).

17.
Once you have planned your joint, you can apply glue to the
groove and use lots of masking tape to hold the binding in place
until dry (fig 33j). Be sure to pull the binding fully into the slot as
you tape it.
HINT: Think of the tape as being somewhat elastic (even though
it isn’t). That helps you use a pulling action as you install it.
Fig 33j
Cut binding to fit the next section of the guitar (fig 33k). Glue and
tape it as before.
When you get to the heel end of the top (soundboard), you can
leave the trim a little short because it will be covered (hidden) by
the neck and fingerboard (fig 33-l).
Fig 33k
Fig 33-l
The back binding is easier to install in a different sequence. It
is best to install one long piece of binding for the heel end just
as you do for the tail end (fig 33m). Notice that the binding at
heel end of the back will not be covered when you install the
neck, so you don’t want any gaps in the back binding.
Then you can fit the two side bindings in place last around
the back side.
Fig 33m
Once the binding is installed and dry, remove all the tape, being careful to
avoid lifting the grain of the spruce soundboard. HINT: Pull slowly, and
if you see any damage starting, pull in the other direction from the
opposite end of the tape.
When the tape is all off, do some sanding to eliminate all glue residue
around the instrument. The tape has a nasty tendency to smear excess
glue over wide areas, but it is relatively easy to sand off with medium
(100-150 grit) sandpaper.
We even use a hand orbital sander for some of this work (fig 33n), though
you need to be careful not to sand too deeply when you use power equip-
ment. Fig 33n

18.
_____34. ANOTHER OPTIONAL STEP: You can trim the width of your fretboard to
suit the grip of your left hand. Most production guitars measure about 1-3/4” (44-45mm)
wide at the narrow end (by the “nut”), and 2-1/4” (57mm) wide at the 12th fret. You’ll
notice that we supply slightly wider parts in this kit to allow someone to make the neck fit
a larger hand.
If you want to trim the width a little
bit, be sure to draw a straight line
along one or both edges to mark the
final desired width (fig 34a). Then
you can use a block plane or coarse
sanding block to remove the excess
material (fig 34b).
Fig 34a Fig 34b
_____35. YET ANOTHER OPTIONAL STEP: You may sand a small
radius into the top surface of the fretboard if you wish. Most production
steel-string guitars have about a 15” (38cm) radius on top of the fretboard.
This is quite easy to do with either a block plane or a coarse sanding block.
Begin by putting double-stick carpet tape at each end of the underside of
the fretboard, as shown in fig 35a.
Stick the fretboard to your work surface and use your block plane or sand-
ing block at a tilted angle to remove some material from each side along the
entire length of the fretboard (fig 35b).
Use a pencil on the end of a 15” string to draw the desired arc onto a stiff
notecard. Cut on the curved line and check your progress by holding the
card against the wood (fig 35c).
Fig 35b Fig 35c
Fig 35d
Hold a straight-edge against the fretboard to make sure the wood is still straight across the top from one end to the other (fig 35d).
You don’t want any depressions or high spots in the playing surface. Use a coarse sanding block to do the major leveling (fig 35e).
Fig 35e
_____36. OK, HERE’S ANOTHER OPTIONAL STEP: Many people like the appearance of having pearl inlay dots in cer-
tain spaces on the top of the fretboard to guide their playing. We have included white side markers for the fretboard, but you may
also purchase 1/4” diameter pearl dots from Musicmaker’s if you want to inlay them on the top surface as well. It is common to
see from 5 to 7 marking dots located in the spaces shown in fig 36a (numbering the spaces from the narrow end of the board).
PREPARING THE FRETBOARD
Fig 35a
POINT OF INTEREST
The fretboard radius can vary from 7.5” to 20”, depending on your playing preferences. The tighter radius is more comfortable
for the curvature of your hand, but a flatter radius is better for fingerpicking and for bending notes. In fact, classical guitars
(nylon strung) have flat fretboards, no radius at all. It is also possible to achieve a compound radius in which the fretboard
resembles a slice off a cone. This gives you a tighter radius at the nut and a flatter radius near the body of the instrument. Such
a shape actually fits the natural plane of the strings. So you can work your fretboard to suit your playing style.

19.
_____37. Use your coarse sanding block to level the dots with the wood. Then you can smooth the entire top surface of the
fretboard with progressively finer sandpaper in this approximate sequence: 100 grit, 180 grit, 240 grit, 320 grit, 400 grit, and
finally 600 grit.
Fig 36a
Draw a centerline down the fretboard and use an awl to punchmark the locations of the mark-
ing dots, as shown above.
Then use a 1/4” drill bit to bore shallow holes (1/16”, or 2mm deep) at each punch (fig 36b).
Glue each dot with a drop of 5-minute epoxy or Superglue (CA adhesive) (fig 36c), and press
or tap it down into the hole (fig 36d). A scrap of wood works well to pad the dot (and the
surrounding wood) from your hammer. Ideally, you can push it close to level with the top
surface, but it is fine to have the dots stand a little higher than the wood. You’ll sand them
down flush after they dry.
Fig 36c Fig 36d
_____38. Now you are ready to install the frets. IMPORTANT: Begin by finding the special #0 fret in your parts pack-
age. This short piece of fretwire has a little fatter bead than the rest, and it must be placed in the very first slot at the
narrow end of the fretboard to hold the strings at the proper height.
Clip that #0 fret slightly longer than necessary to reach across the narrow end of the board (fig 38a). Notice that the fretwire is
shaped with a rounded cap that stays on top of the wood, and a thin tang that will fit tightly down into the pre-cut slot.
Use a small hammer to tap one
end of the tang into the slot, and
work your way across to the
other end of the fret, checking
to see that it is fully seated along
the way. It should go easily, re-
quiring only 4-8 taps for each
fret (fig 38b).
Continue the same process
with the rest of the fretwire un-
til all of the frets are installed.
Double-check carefully, under
good lighting, to make sure the
frets are fully seated against the
wood. Tap them down further
as necessary.
POINT OF INTEREST
This final sanding should leave the fretboard silky smooth, almost as if it were finished and polished. Your fretboard is made
from Bolivian Rosewood which has natural oils that seal the pores, so there will be no need to apply a surface finish over the
top. Your sanding at this point will give you the final playing surface.
Fig 38b
Fig 36b
1/4” drill
2mm
deep
Fig 38a
#0 fret
The ends of the frets need to be sanded flush and smooth with the sides of the
fretboard. This goes quickly if you hold the fretboard up against a belt sander, but
you can also use a fine flat file or a sanding block with time and some effort. Once
the ends are flush with the wood, tip the file (or sandpaper) to bevel the ends of
the frets about 45 degrees, as shown here (fig 38c). Check how smooth it feels by
running your hand along the edges of the fretboard. Be sure to eliminate all sharp
points and roughness.
frets
Fig 38c
bevel

20.
Chamfer the edges of the slot in the heel of the body for the tenon to make sure
the sharp corners don’t interfere with the tenon fitting all the way into the slot. A
chisel or file works well for this task (fig 39e).
Test-fit the neck to the body. If the tenon is too tight for an easy fit, you can file it on
one or both sides, as necessary, but try to avoid making it too loose and sloppy in the
slot (fig 39f). Check for glue residue in the slot that might interfere with a good fit.
CAUTION: Be careful not to damage or remove the thin edges at the heel of the
neck. You can reduce their width to match your fingerboard, but leave them full
height to make it easier to fit the neck to the body.
In these directions, we will refer to the four corners of the heel as A, B, C, & D, as
shown in fig 39d, to help you plan your adjustments.
_____39. Temporarily clamp the fretboard to the neck, carefully centering it and
leaving enough flat space at the narrow end to allow for the ebony nut. Use a
pencil to outline the fretboard as shown in fig 39a. These lines will be helpful
reference points as you do more shaping on the neck to fit your grip.
Remove the temporary clamps and set the fretboard aside while you work on the
neck. We like to clamp the neck upside-down and hanging over the edge of our
work table, as shown in fig 39b. This allows you free use of both hands for doing
some shaping at the heel with a rasp and/or coarse sandpaper.
When the shape looks rounded enough for you, switch to medium (100-grit) sand-
paper to smooth out the surface (fig 39c). This area will be difficult to sand when
the guitar is assembled, so take the time to do it now.
PREPARING THE NECK
Fig 39a
Fig 39b Fig 39c
A
C
BD
Fig 39d
HEEL
Fig 39e
TENON
SLOT
TENON
Fig 39f