Pat making the ukulele neckPat Hawley writes:
The simple jig I use for doing the neck mortise. The router base slides directly against the ukulele's body. It's the same one I use for guitars except I use a smaller bit and put a stop at the bottom to end up with a smaller mortise.
Here is gluing the neck block on (pieces marked 1 and 2). The other block of wood to the left is used to help hold the neck in place (not glued on).
The "screw" is a hanger bolt - a special screw that is wood screw on one end, and a machine screw stud on the other end. A knock-down fastener style T-nut screws over the stud. The T-nut is screwed onto the stud, through the neck block, from the inside of the instrument.
Many guitar makers don't even do a mortise and tenon. They just use a butt joint. However I feel that on a uke you need the tenon to provide wood for the hanger bolt. Otherwise, if you were to use a screw into a butt joint, you would have to make the heel too big and clunky.
...then run the neck on the guide board through my table saw up until
I get close to the end. The guide board is under the neck and
against the fence (not visible in this photo).
I have to finish off the cut on my band
saw so that I don't cut into the head area.
I bought one of those oscillating multi-tools, without having any particular use for it because it was on sale. Then I found it makes a great "power chisel". So I start the rough shaping of the heel with this tool. It goes through the wood like a knife through butter and I can shave off most of the wood with this but I am careful not to go too close.
I get the curve for the volute using my home made drum sander. I'm not going to final thickness at this point but getting close helps me in shaping the neck.
I thought I was close enough to pause with the neck carving in order to glue together the two halves of the head veneer. I may also get started on the fretboard prior to doing more carving of the neck.
Time to get the neck sitting properly on the body. The face of the heel was created on my table saw when I made the tenon.
Even just off the saw, the side to side alignment is pretty good.
Here I am "flossing" the heel against the body with sand paper. In this manner the heel takes on the contour of the body. Of course, when you take material away from one side of the heel face, it impacts the alignment of the neck.
At this point I've got a lot of fragile sharp edges on the neck that need to be treated carefully. If I put a ding along the top edge, that will show up under the fretboard. Similarly, if I ding the edges I just created on the face of the heel, that would show when I mount the neck to the body. So I'm now extra careful in my handling of the neck.
One of the last things on the neck I carve is the volute on the bottom of the back of the head. I like putting a volute for a few reasons: it looks good, it allows for a little thicker wood in the transition region from the head to the neck (a common place for guitar necks to break when dropped) and it makes a nice thumb stop for the player moving his or her hand up the neck.
Gluing a koa veneer to the front of the head and a black veneer to the back. I glue a veneer to the back to hide the line and abrupt grain pattern change resulting from the scarf joint. Besides, the black veneer makes the gold tuners visually pop. I use erasers as clamping cauls for the curved volute area on the back of the head.
Roughing up the surface between top coats. I have found that for the finish I am using, 5 or six coats of the top coat are usually enough to give me enough build.
See also: Matthias making the neck
Next : Pat making the fretboard