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Diane Kauffmds wrote:I'm a biochemist. I should have known better. Luckily, I keep my 3M, full face respirator right by the bench. I have no intention of using the ca glue again as a pore filled again. There are too many safer, viable alternatives.

I think it is pretty common to compartmentalize the various pieces of your life, such that they don't interact even when they should. I know I have done it. Bits of knowledge I have picked up from one domain will be completely overlooked in another domain, until I do what you just did, which is to facepalm and say "I should have known better".

But hey, if they'll let you take pieces of guitar to work, I bet the industrial safety equipment there would be more than adequate for using CA glue as a finish!

I can see using ca glue as a pore filler on guitars with a lot of figure that checks. But, I'll stick with a filler without fumes for everything else.

I've done a lot since my last update. I've inlaid the Martin torch on the headstock and I've inlaid my nephews initials. My sister-in-law has requested more inlay, with the dates of the birth and death of Wills grandfather, with whom he was close. So, I've ordered the inlay. I'm going to inlay "grandpa" between the last 2 frets and the dates on the fretboard extension.

In the meantime, I've set the neck, without gluing and I've prepped the neck and box for finishing. I used wenge and curly maple for the end cap. I've been spraying nitro. I'm satisfied with the box and neck, but the soundboard needs a couple more coats. I'll finish it today.

I won't glue the neck before putting the new inlay in.

I've bought a fretting caul, which I used in the drill press. After slotting, radiusing, leveling, and cutting out the board, I fretted it. The caul worked beautifully for me.

That neck is beyond fantastic. I have a fondness for great inlay work, especially when the inlay material itself has complexity to it.

ᴇᴅɪᴛ: Someone commenting on this build said abalone on a guitar is like salt in food, it's easy to overdo. I think I am inclined to agree with that person. I bring this up only to say you have the perfect balance of salt. :)

Mal-2 wrote:That neck is beyond fantastic. I have a fondness for great inlay work, especially when the inlay material itself has complexity to it.

ᴇᴅɪᴛ: Someone commenting on this build said abalone on a guitar is like salt in food, it's easy to overdo. I think I am inclined to agree with that person. I bring this up only to say you have the perfect balance of salt. :)

Thank You. Lol! Personally, I wouldn't want the initials or the further inlay at the bottom of the fretboard. My sister in law requested it.

Yesterday, I added the word "Grandpa", and the dates of his birth and death at the bottom of the fretboard extension. Apparently, Will puts this on a lot of his stuff. I had to remove 3 frets and hold the neck under my arm while inlaying it upside down. It would have been a lot neater, if the fretboard had been unattached and without frets. I couldn't say no to her.

I'm putting a vine inlay on the Panama rosewood build. When there is an extensive fretboard inlay, I like to keep the headstock inlay very simple. I'll be designing a floral vine type inlay for the Honduran rosewood build, so again, the headstock will be simple.

I did the additional inlay yesterday. I made the bridge and I set the neck and the bridge. A special thank you to Mainegeezer for making the aluminum bridge clamp for me!

Wow! Looks pretty amazing. It's fun to see the mini block plane in action.

I've leveled, crowned, and dressed the frets. I made the nut and saddle, adjusting the height of each string at frets 1 and 12. It didn't take much to level the frets, sobi know the fretboard is properly leveled. I had no high frets or buzz, so the frets are nice and level.

I'll check intonation today. I don't expect any problems. I did a quick check yesterday as I adjusted string height and the intonation sounded good.