Once the back, top and sides are prepared it is time to add the back and top to the sides. Whether you add the back first or the top is up to you. I put the top on first because I want to test the top and make any final adjustements from the inside. Many makers add the back first so they can clean up what is going to be visible through the soundhole. If you wish to apply a finish to the inside of the guitar, it is best if you put the back on first. Notches are cut in the linings so the braces can be locked in place. The label is usually glued to the top before the back is finally added.
Before the top and back can be glued in place, it is necessary to shape the sides to the
required contour to suit the curvature or doming. This doming is usually different on the
back than the top. The top has less dome than the back. The dome in the back and top add
strength and provide dimensional stability to minimise cracking during dry periods. The top
and the back are glued in place and then the rebates cut for the bindings and purfling. The
bindings and purfling are cut to size and bent to shape and then glued to the guitar. I am
using tape in these pictures as it is then possible to do all four corners at the one time.
Tape does not place the guitar under any pressure as does wrapping with ropes or tying down
with elastic bands.
After the bindings are in place and the glue has dried, the body is sanded and scraped and
the mortice is then cut to accept the neck. Very little pressure is actually placed on the
neck on classical guitars and a simple loose tenon is more than adequate for stability and
strength.
Most of the pressure is actually holding the neck to the body of the instrument. The hardest
join now is to put the curve on the back of the heel to match the curvature of the body and
to obtain the elevation of the neck to provide the correct action for the final instrument.
If the neck angle is not correct, it is not possible to set the action at the required height
and this will effect the playablilty and the sound of the finished instrument. The body is
now complete and all that is required is to fit the neck and bridge and to polish the instrument.
The body is now ready for the final stage of adding the neck. The neck must be prepared and
the along with it the fingerboard. Again there are many methods for achieving these particular
tasks and I am only showing you the way I do it. Again there is no correct way, just the
way that works best for what each maker is trying to achieve.
«The neck»
