This photo shows a neck blank comprised of three 26" by 3" layers, a 3/8" center thickness sandwiched between
1" thick outer layers.
Three 3/4" layers could also be used. Allow a little extra width to permit surfacing the glued edges.
The three boards are laminated together using Titebond. Cut them a little longer than needed and drill
through the excess at each end with a 1/4" brad point drill bit to allow a dowel to be inserted during glue-up.
This will prevent the boards from slipping as they are clamped. The waste area below the neck between peghead
and heel can also be cut away before glue-up. After sitting overnight, clamps are removed and the two uneven
surfaces are planed on each side until they are perfectly flat. Draw the profile on one side and bandsaw away
the excess above the top of the peghead.
Plan out the location of the reinforcing bar carefully. It tapers from 3/8" at the nut
to 5/8" about 2" from the heel end of the neck. It is covered with a filler strip about 1/8" thick between
it's top and the actual fretboard. The filler strip is glued over the bar somewhat tall,
and then planed off even with the surface of the neck.
Lay out a tapered channel 1/2" deep at the nut end and increasing to a 3/4" depth at the heel end of the neck.
Cut a tapered wedge slightly narrower than the neck width and the full length of the neck.
It will taper from 1/2" to 1/4" in thickness.
Glue this over the area where the channel will be routed using 3 or 4 spots of glue along each side of the channel.
This wedge will support the neck blank properly to produce the required tapered channel when the blank is
passed over a 1/4" inverted router bit. Make a reference mark on the table to indicate the proper position
to stop the cut at the nut end. Feed the blank from the heel end, stopping at the reference mark and allowing
the router to stop before lifting the blank to begin the next pass. Check the fit of the 1/4" aluminum
reinforcement bar in the channel. If it is snug, widen the channel by placing a strip of masking tape
on the fence and taking another light pass.
There must be sufficient clearance to permit the glue to squeeze out.
Here the proceedure is being performed on a mandolin neck blank.
Remove the wedge supports and cut a 3" X 1/4" X 5/8" piece to fill in the excess length at the end of the channel.
Cut a 1/4" X 1/2" piece the entire length of the channel and test fit to make certain it will fit without being forced.
Lightly sand the aluminum bar and remove any residue.
Coat the channel and the aluminum with glue, insert the aluminum into the channel,
glue and insert the filler piece at the end of the bar at the heel end. Apply glue to the filler strip, place
over the aluminum bar, and clamp down in several places along the length of the channel.
Begin at the nut end and work towards the heel to permit excess glue to be forced out at the heel end.
After drying overnight, remove the clamps and plane the excess filler strip even with the neck surface.
Rear view showing layers...
Neck as glued up composed of three 26" by 3" layers, a 3/8" center thickness and two 1" outer pieces.
Three 3/4" pieces could also be used.
Now's a good time to start the fretboard...
Form the fretboard blank from a sufficiently large piece of hardwood (in this case, Walnut)
to yield a finished dimension of 1/4" X 2" X 20".
Trim the nut end square and draw a centerline down the length of the blank.
Trace the fretboard profile onto the blank,
being careful to match up to a centerline drawn down the length of the blank.
Cut out the basic shape of the side with the fifth string protrusion.
This will save on effort which would be required to cut fret slots in material which will later be trimmed away.
Do not trim the other side of the fretboard, as it will be used as a referance when the slots are being cut.
This will ensure the slots are cut 90 degrees to the fretboard's centerline.
The roughed out fretboard will now be used to position the nut and peghead overlay.
Gluing on the peghead overlay
Here the fretboard has been roughly profiled on the fifth string side and the nut end cut square.
The nut end of the fingerboard serves as a stop to position the nut against.
The peghead overlay is cut from a scrap of figured cherry 6" by 2-3/4" by 3/32" thick.
The front edge of the overlay is then sanded to an angle that will match the face of the nut...about 10 degrees.
When the peghead overlay is butted tightly against the nut, small holes are drilled in the waste areas
of the peghead to hold matching pins of the same diameter when the overlay is glued on.
This prevents the overlay from shifting it's position when glued.
Cutting the fret slots
Using the square cut at the nut end of the blank as a starting point,
lay out the fret locations and draw them across the width of the blank perpendicular to the centerline.
A chart for the 25-1/2" scale used can be found on the plan view.
Use a small dovetail saw in a mitre box to cut the fret slots.
You may choose to purchase the appropriate saw from the supplier of your fret material.
This will ensure a properly sized slot is cut to hold the fret tang securely.
Use a stop on the top rails of the mitre box as necessary to limit the saw's cutting depth to slightly
deeper than the height of the fret tang.
After the slots are cut, trim the excess material from the side opposite the fifth string
and finish the outer edges of the fretboard to the finished dimensions drawn on the blank.
A touch of tradition...
The peghead is shaped by first bandsawing the outlines of the curves with the back of the neck
(still unprofiled) held against a riser block. This permits the outline to be cut at right angles
to the fretboard, as is done traditionally. Use the same technique at the drill press to drum sand
the top profile with a 3/4" sanding drum and a 2" sanding drum at the peghead to nut transition area.
Gluing the fretboard to the neck
After the peghead overlay is glued in place, the nut is used as a spacer to position the fretboard
in its appropriate position.
Drill a 1/16" hole through the first and the last fret slot and insert a matching brad to prevent
the fretboard from shifting when the clamps are applied.
Drilling tuning machine post holes, etc.
The tuner holes are layed out and drilled in the proper locations.
The drill bit is sized for a loose fit of the tuner shaft to prevent binding.
Drill the 1/16" holes for the mounting screws while you're at it.
Shaping the thumb stop
The thumb stop area below the nut is carefully shaped with a 2" 80 grit drum sander held in an electric drill.
Continuing neck profiling past the 5th string tuner
More shaping with the drum sander.
I've found this to be a efficient way to shape the neck, but you need to draw reference lines to work to.
Remember, it's far easier to remove material than to replace it, so work slowly and cautiously.
Leveling the rear area where 5th string tuner will mount
Use a sharp chisel for removal of material where the fifth string tuner will be mounted.
Fitting 5th string tuner
Fit the fifth string tuner carefully and drill the 1/16" holes for the mounting screws.
This photo shows a neck blank comprised of three 26" by 3" layers, a 3/8" center thickness sandwiched between
1" thick outer layers.
Three 3/4" layers could also be used. Allow a little extra width to permit surfacing the glued edges.
The three boards are laminated together using Titebond. Cut them a little longer than needed and drill
through the excess at each end with a 1/4" brad point drill bit to allow a dowel to be inserted during glue-up.
This will prevent the boards from slipping as they are clamped. The waste area below the neck between peghead
and heel can also be cut away before glue-up. After sitting overnight, clamps are removed and the two uneven
surfaces are planed on each side until they are perfectly flat. Draw the profile on one side and bandsaw away
the excess above the top of the peghead.
