Timbuck
Well-known member
It's just right for a dovetail joint :music:
Next Up: The Curly Twins
- Thread starter saltytri
- Start date
True, but what would I do with my stock of titanium bolts?
Back to work after a few days at the beach.
The top braces below the sound hole are radiused by sanding the bases in the dish. They are then glued to the tops in the dish. The newspaper is there to protect the faces from the 80 grit sandpaper.
The top of the upper bout is flat so that the fretboard can lay flat as it comes off the neck onto the top. Therefore, the upper brace isn't radiused and is glued with the top on a flat surface.
The top braces below the sound hole are radiused by sanding the bases in the dish. They are then glued to the tops in the dish. The newspaper is there to protect the faces from the 80 grit sandpaper.
The top of the upper bout is flat so that the fretboard can lay flat as it comes off the neck onto the top. Therefore, the upper brace isn't radiused and is glued with the top on a flat surface.
While the braces are drying, work can be done on the necks. This one is for the Mango Twin and is laminated from two pieces of Port Orford cedar with a stringer of walnut. After rough profiling on the band saw, the top surface is machined flat on the mill.
The heel is then squared up. It might take a bit of adjustment later to get the angle of the fret board just right but an exact 90 degree angle is a good place to start.
The top surface of the peg head is then cut at 15 degrees from the top.
The heel is then squared up. It might take a bit of adjustment later to get the angle of the fret board just right but an exact 90 degree angle is a good place to start.
The top surface of the peg head is then cut at 15 degrees from the top.
More progress....
The tops are braced and glued in place.
The backs are ready to go on after the braces are profiled.
The original intent was to use Spanish cedar for the necks but as things went along, the Maple Twin wanted mahogany and the Mango Twin was crying out for Port Orford cedar. Except for aesthetics, there really isn't any measurable difference. Of course, both necks will get carbon fiber stringers.
The bindings are bent and ready to go. The Mango Twin gets curly maple and the Maple Twin gets mahogany.
The tops are braced and glued in place.
The backs are ready to go on after the braces are profiled.
The original intent was to use Spanish cedar for the necks but as things went along, the Maple Twin wanted mahogany and the Mango Twin was crying out for Port Orford cedar. Except for aesthetics, there really isn't any measurable difference. Of course, both necks will get carbon fiber stringers.
The bindings are bent and ready to go. The Mango Twin gets curly maple and the Maple Twin gets mahogany.
Freeda
Well-known member
This is fascinating!
luluwrites
Well-known member
buddhuu
Super Moderator (Retired)
H
Hippie Dribble
Guest
Wow David. Love the POC neck on the mango, great choice...same goes for the maple twin. Amazing detail in your progress pics and explanations...these threads should seriously be turned into a book.
Wow, I love watching the process of making an ukulele. It kind of reminds me of Picture Picture on "Mr. Rodger's Neighborhood" where you could see how things like crayons and saxophones were made. Please post more as you finish these amazing instruments!
Now for some elbow grease. The box is slapped on the vacuum vise so it can be positioned however allows the best angle for working on a given portion of the sides. I promise to clean up the bench right away. Really.
A cabinet scraper is very useful for fairing and smoothing the sides. A good edge is required, especially when working on highly figured wood.
This step is done before routing the binding channels. If the bindings are installed before the sides are close to their final finish, they will end up being of uneven thickness because it is inevitable that more material will be removed in some spots than in others. Varying thickness is especially noticeable when the bindings are thin to start with, as is often the case on ukes.
A cabinet scraper is very useful for fairing and smoothing the sides. A good edge is required, especially when working on highly figured wood.
This step is done before routing the binding channels. If the bindings are installed before the sides are close to their final finish, they will end up being of uneven thickness because it is inevitable that more material will be removed in some spots than in others. Varying thickness is especially noticeable when the bindings are thin to start with, as is often the case on ukes.
luluwrites
Well-known member
Holy moly, that mango is looking sweeter and sweeter every day.
I had to go out of town unexpectedly for all of this past week, so progress was nil until this morning when the binding channels were routed. This is done with a laminate trimmer that is mounted on an articulating arm. The trimmer also rides up and down on a set of ball bearing drawer slides. This arrangement allows the trimmer to remain level and follow the edge of the ukulele box. The box is held down with vacuum clamps that are connected to a small vacuum pump.
The result is an even and cleanly cut channel.
The bindings are bent pretty much to shape but will be touched up on a hot pipe so that they match the channel as closely as reasonably possible. This makes gluing them in place much easier because gaps are mostly eliminated or are small enough that the binding can be pulled tightly into place with tape, as will be shown in the next installment.
The result is an even and cleanly cut channel.
The bindings are bent pretty much to shape but will be touched up on a hot pipe so that they match the channel as closely as reasonably possible. This makes gluing them in place much easier because gaps are mostly eliminated or are small enough that the binding can be pulled tightly into place with tape, as will be shown in the next installment.
Last edited:
The bindings on the top are simple to install because they need to be well-fitted only at the tail end. As long as the butt joint there is tight and lined up with the center line, all is well because the joint at the other end gets covered by the fretboard and need not be even close to good. It's trickier to do the bottom bindings because both joints remain exposed and need to be just right to avoid a case of the uglies. One side is done first with the ends of the binding finished square and ending on the center line. After the glue sets, the other side is dry fit...
...and trimmed to be just a hair too long.
The binding is then fit closely at the tail end and gluing and taping proceeds toward the heel end. The vacuum vise is a big help because it holds the box firmly while both hands are used to make sure that the binding is firmly seated without gaps.
...and trimmed to be just a hair too long.
The binding is then fit closely at the tail end and gluing and taping proceeds toward the heel end. The vacuum vise is a big help because it holds the box firmly while both hands are used to make sure that the binding is firmly seated without gaps.
If the binding was properly trimmed to length, it will be just a bit too long after it is tightly in the routed channel for all but the last two or three inches. The end is then carefully trimmed to fit tightly against the end of the other binding.
If there is a way to cut the second binding to length perfectly before gluing it in place, it hasn't occurred to me yet.
The gluing and taping is finished and the piece put aside to dry.
If there is a way to cut the second binding to length perfectly before gluing it in place, it hasn't occurred to me yet.
The gluing and taping is finished and the piece put aside to dry.
Last edited:
dofthesea
Well-known member
I'm liking the vacuum set up. I keep thinking I want to get a set up for bridges. But know I see it's capable of so much more.
Timbuck
Well-known member
Caution with vacuum vises...Do not clamp it over the sound hole :rulez:...ask "Sven" what happens if you do 
