The Nut, The Saddle, and Setting up the Guitar	Setup and Kit Components Work Area and Bench Vise The Mold Cutting the Braces Trimming the Sides of the Rim Gluing the Neck and Tail Blocks Center Reinforcement & Kerfing Pearl Inlay Dots Headstock & Lamination Sanding the Rim & Side Braces Bracing the Top & Back Finished Top & Back Gluing the Sound Board Closing the Sound Box Fingerboard Side Dots Tuner Holes End Graft Fretting The Lion & The Lamb Heel Cap Binding Pore Filling Finish Coats Polishing & Buffing Setting the Bridge Gluing the Neck Tuning Machines The Nut, Saddle, & Setup 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.