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Electric Guitars

Zebrawood OM
Curly Mango OM

Padauk OM


The Nut, The Saddle, and Setting up the Guitar
  1. Setup and Kit Components
  2. Work Area and Bench Vise
  3. The Mold
  4. Cutting the Braces
  5. Trimming the Sides of the Rim
  6. Gluing the Neck and Tail Blocks
  7. Center Reinforcement & Kerfing
  8. Pearl Inlay Dots
  9. Headstock & Lamination
  10. Sanding the Rim & Side Braces
  11. Bracing the Top & Back
  12. Finished Top & Back
  13. Gluing the Sound Board
  14. Closing the Sound Box
  15. Fingerboard Side Dots
  16. Tuner Holes
  17. End Graft
  18. Fretting
  19. The Lion & The Lamb
  20. Heel Cap
  21. Binding
  22. Pore Filling
  23. Finish Coats
  24. Polishing & Buffing
  25. Setting the Bridge
  26. Gluing the Neck
  27. Tuning Machines
  28. The Nut, Saddle, & Setup
  29. The Final Product
Mark's guitar had come with a white bone nut and saddle, but I had some that were natural colored.  Personally, I liked them better.  I set them in place, shot some photos to send to Mark, who then decided to go with the natural over the white.  Oddly enough, it fit in with the Koa binding scheme much better than the white did.  I went through the procedure of fitting the nut and the saddle to the guitar its self, then laid out the string spacing.  Once I had that where I wanted it, I used Dan Erlewine's Guitar Player Repair Guide to perform the same sort of setup a pro shop would do on a new guitar.  Mark liked his action low, so I set it where I was comfortable, and left it there for a little while.  I let it play in a little, let the neck set and curve as it will after stringing it up, then set it up again, this time lowering the action slightly at the nut, and again very slightly at the saddle.  The neck seemed to be curved just right, so I left it alone.  
 

 

 

Recordings 
Established 2006
Email:  nocturnalguitars@comcast.net
Nocturnal Guitars
www.nocturnalguitars.com
Wilmette, IL
www.nocturnalguitars.blogspot.com