Guitar Construction

Scraping sides

The sides are scraped to about 2.5mm thick, soaked in water, then bent using a bending iron at 150C.

Sides being bent

The bent sides are clamped into a bending form until dry.

Neck with trussrod

Laurie Guitars have a fixed truss rod - now carbon fibre - to provide stability and accurate tuning.

Head veneer

Having jointed the head to create the correct angle, the head is faced with a veneer before being drilled.

Head shaped

The head is shaped to the trademark shape and inlaid with the Laurie Guitars logo in mother-of-pearl.

Heel & Foot

Using the traditional Torres one-piece neck method, the heel and inner foot are shaped, with slots for the sides.

Willow linings

Linings of willow are kerfed, then glued using clothes pegs to enable gluing of sides to front and back

Neck & side assembly

The completed neck/sides assembly is ready for the soundboard to be glued in place.

Rosette & Soundhole

The soundboard is inlaid with a Paua shell rosette, then the soundhole is cut out.

Soundboard bracing

Spruce bracing bars are glued to the soundboard to stiffen and form the correct curvature.

Completed soundboard

The spruce bars are carved and sculpted to create the desired tone.

Joints in lining

The willow linings are cut away to fit the ends of the soundboard bracing.

Bog Oak back

The back comes as a book-matched pair, which are jointed to give a symmetrical grain pattern.

Gluing back bracing

Spruce bars are glued to the back to create the 3m radius curve of the back.

Back ready for gluing

This is the final view of the inside of the guitar before the back is glued on. The label is fitted at this point.

Gluing on back

Large rubber bands are a good tool for applying pressure whilst the soundboard and back are glued.

Purfling and banding

The end grain of the back/sides joint is covered by rebating and gluing in banding and purfling strips.

Scraping purfling

The best tool for removing the excess wood from the purfling is a steel hand scraper.

Purfling mitres

The purfling and banding wood is chosen to match the sides and is mitred at the joints.

Ebony fingerboard inlay

Laurie Guitars use side binding on the fingerboard to conceal the ends of the frets. Inlay is Paua or Mother-of-Pearl.

Installing frets

Frets are hammered in place and PVA glue applied to prevent loosening.

Shaping neck

Once the fingerboard has been glued on, the neck is shaped using microfiles to achieve the profile.

Ready for lacquer

After final sanding the bridge is masked before lacquering.

Gluing on bridge

The final task is the gluing of the bridge and creation of saddle and nut before set-up.