STEVE MCCREARY: So you saw on the other room where we're bending the sides, and we saw that Jim had cut in the sides out to put his neck block and tail block in, and we are going to line it with curfing, which is this material that we've -- it's Spanish Cedar. We buy 2" planks and we mill it down and slot it to make our curfing. This gives us a surface that we're going to top and a back on too.

While this gentleman is doing that, we've got bracing going on.

PATRICK OGLE: Two-inch braces are on. This is the back with two different [INDISCERNIBLE] braces. I was -- do you brace pretty much all of your guitars this way?

STEVE MCCREARY: Everything has the same pattern. Of course, we'll do different thicknesses for small bodies and large bodies and stuff, and most of our tuning is done actually with the [SOUNDS LIKE] fitnessing the top, not so much as carving individual braces in every guitar because it's kind of once you get off the road map kind of thing, you know, so we don't really do much individual carving of braces. We mostly do everything with fitnessing the top depending on the stiffness, the weight, the flex, the tap, what is going on, what kind of wood is being matched up with it. Most of our tuning for our instruments is done with -- every one of these tops is a different thickness with all very [INDISCERNIBLE], and we'll actually fetter the edges a bit with a little orbital sander and all that fitness varies around the edges, so it's that we just are fortunate that we're a small enough company we can take the time to make every top, the best you can be for that particular guitar that's going on.

The bracing and carving, he was fitting it back to the ends of the braces and will tuck it into the curfing, so we fashioned out the curfing. You'll see notches here for the top and braces and the curfing where the ends of the top braces will notch in. It's a carved top. This will be a cutaway which of course is not cut off yet you can see. Also I have 10 braces shortened. Thank you. Then when it's all put in and it's all ready to go, you'll see the clamps against the wall, they'll put the top and the back on and make a body, we'll ride out the binding ledge, and we'll do the binding now. The next day, we'll pull the tape, scrape the excess binding, sand it, and it will go in to the Finish Department. I'll spend a few days there to get the finish on and then we'll come back on here.

If your body's got finish, it will come out and route out a mortise in it. And next we have a -- it's a mortise and tenon joint. It's not a dovetail, it's not a butt joint. We got a 3/4" deep mortise and tenon with anchor bolts. Inside this tenon in the heel, there's a 1/2" birch dowel that's countersunk into this tenon so these anchor bolts are going into that birch down, not just ingrained into the mahogany.

PATRICK OGLE: Why? What is the reason behind this [INDISCERNIBLE]?

STEVE MCCREARY: Birch is a very dense and it just -- it's just for stability and structure. It's much stronger than just going in and ingrained into the mahogany, and the mortise and tenon kind of gives us better transfer into the actual body of the guitar so it's got a nice joint. There will be no glue in this joint. There'll just be glue under the fretboard tongue. So, if you have to remove a neck or do any neck set, it's a process that's just going to be easy. Pulling the bolts out on it, you can see inside there, my fingers may be in the way, pull the bolts out, heat up the tongue of the fretboard, into the fretboard, and the neck will be easier to work on.

PATRICK OGLE: Which is something that everybody has ever had to have the neck reset on the guitar.

STEVE MCCREARY: Yeah. We didn't see any reason to keep every repairman busy for the rest of his life doing neck resets, you know, so we're trying to make the job easier.