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Day Two/Three

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 Day Two/Three Work is proceeding on two distinctly different fronts. The body has been sanded and grain-filled to 1200 grit and given a coat of white acrylic primer/undercoat and lightly rubbed back with 1200 grit when properly dry. The actual locations of the backplate and the pickguard, jack connector socket and the aperture for the bridge/tremolo unit have been traced   in pencil. The apertures/cavities have been stuffed with tissue and paper towel then sealed with low tack masking tape. This has left the back and front of the body clear for the artist to attack! I've also screwed into the neck socket a rough wooden arm so the body can be easily manipulated. Finally, I've screwed a hook into the guide hole for the lower strap lug so the whole unit can be hung easily to dry. In the meantime, the neck's been finished to 1200grit smoothness and the headstock carved in the style we preferred. The length of the neck's been given three coats of satin light oak polyester v

Why another guitar?

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Why? And that's a sensible and logical place to start this, my third musical instrument building blog – after all, we don't aspire to be the Von Howells family musical group and even before Covid lockdown we didn't have a handy novice nun to get us going. This then is our third project and by slipping in the first person plural I've given you a clue to the 'why' – this is not a Philip Howells solo but a duet. In fact, while I shall endeavour to build the guitar itself to as high a standard as I can, my role is quite distinctly split into two parts. In between the two sections, preparation of the wood of the body and finishing of the fretboard and neck, on the one hand, and the assembly and finishing of the instrument, the production will be undertaken by my good lady wife, she of the graphic art skills and matching academic qualification. She will use the front, back and sides of the guitar body as blank canvases on which she is promising to exercise her talent