blocks and clothespegs

 The guitar now has its top and bottom blocks- normally mahogany, but these are Kauri. The top block sits flush with the top of the ribs, but is not as deep as they are, and has an angle planed onto it's bottom edge to accommodate the slope of the back which reduces the depth of the instrument at the neck.

One set of linings are fitted for attaching the soundboard, and here I've used my violin lining clamps made from shortened clothes pegs, also turbo-charged with rubber bands for extra squeeze. It looks a bit untidy, but this is much better than I can do with clothes on a line...

What is interesting, after resisting fretted instruments for so long, but feeling a bit dull and defensive about the effects of global factors on the violin business, is that the energy I'm bringing to this different work is making the workshop sizzle again. It is so important to keep doing something a bit unfamiliar and challenging. Something to make the brain uncomfortable and at the same time happy to be stretched. This is part of the underlying psychology of working creatively alone, and being the only person who brings energy to the business. If I'm not excited by the work, no-one else is going to be excited for me.