Category Archives: Alpha

Alpha Revisited 2017

      Alpha, Construction, Evolution

Time to revisit the Alpha and replace Alpha’s pickups with what else but Nus and XRs! Dimarzios out, Nu and XRs in… Ehmm, OK I suppose I’d refret the guitar as well.

In case you have no idea what Alpha is, check out this link. Alpha is a thru-Neck Carbon Fiber over Bamboo with a Carbon Fiber Body I designed and built a few years ago. I’ll have more of Alpha in the coming days. Stay tuned. I am highly considering building a few of these sexy Carbon Fiber guitars with even crazier ideas brewing in my mind over the years, perhaps in collaboration with a fine luthier in the U.S. or in Europe (To my luthier friends: send me an email if you are interested and let us talk). You want the bleeding edge, this is it! It will be a complete multichannel system with the Nu, Nexus and Infinity all standard features, just as I envisioned it when this all started a few years ago. Yes, Infinity! My holy grail is now within reach with recent breakthroughs!

Watch out!

“Sustain” Myth and Science

      Alpha, Construction, Infinity, Myths, Sustain

Question: Which solid body guitar has better sustain, the Fender Stratocaster or the Gibson Les Paul? If you were like me, you’d probably pick the Les Paul. I’ve taken it as plain truth that there’s no competition: Gibson Les Paul = incredible sustain. Boy, was I so wrong!

Nigel’s Guitar Room

Nigel’s Guitar Room

An article by Mottola, R.M. “Sustain and Electric Guitar Neck Joint Type”, piqued my interest. Mottola, in his experiments performed power analysis, spectral analysis, and listening evaluation on three types of solid body electric guitars with 1) Bolt-on neck construction 2) Neck-thru construction and 3) Set-neck (glued-in) construction.

Continue reading

Wake up call

      Alpha, Events

This thread on “Alternate Matarials” has been a wake up call. I need to be more active with this project. Two years ago, I was quite enthusiastic to get this project going into (at least) limited production. Yet, building a prototype is one thing and going into production is another thing. It has always been like one more month and it’ll be ready. But months go by and more hurdles come my way. Not to mention that I only do this project on the side and my main occupation as a C++ developer takes the most of my time.

To those who expressed interest in this project, thank you very much! The project is very much still alive. It’s just taking more time than I initially anticipated. I’ve learned so much now than when I started embarking on this project with its rather optimistic goals. Hopefully, I can devote more time and attention to this project and push it beyond the prototype stage, and along the way, share my thoughts and experiences.


      Alpha, Prototype

From concept to reality…

Presenting the Carbon Fiber-Bamboo Guitar prototype.

I still have to write more documentation. I am terribly lagging behind. Anyway, for now, here are some high resolution pictures. You should compare these against the original 3D images. I am immensely having fun playing the final prototype. Now I am focusing on production.

If you got here from nowhere, you’ll be missing out if you don’t check out the project in full. Nevertheless, pretty images are always nice to see.

(Click images to zoom)

Pearl Inlays

      Alpha, Construction, Mother of Pearl

I find the iridescence of Mother of Pearl simply irresistible. The original design as seen in the 3D CAD model had a stainless-steel Cycfi logo. Well, chrome and stainless steel is classy, no doubt about that. The 3D rendering is indeed gorgeous. Nevertheless, it can’t compare to Mother of Pearl. So now, I am starting to deviate from the original plan. The logo will be inlaid Mother of Pearl. The original design also had simple triangular LED fret markers. For the final prototype, the markers are inlaid Mother of Pearl with a motif reminiscent of reversed white-on-black pipe organ keys with small white LED dots in the middle. The truss-rod cover will also be Mother of Pearl.

Here are a couple of snapshots:

The Fret Markers. The motif is the reverse (white on black) pipe-organ keyboard.

Next: Pearl Inlays next

Zooming in a bit on the fret markers. Mother of Pearl is just so elegant!

Testing the LED lights. Small white LEDs are inlaid in the middle of each fret marker.

The logo. The real thing looks even better than the original 3D rendering.

Zooming in on the logo. The logo is hand crafted. For production, it might be better to have it cut using laser or water-jet.

One more snapshot. The gloss is just to protect the inlay. We haven't even buffed yet. The final result will have a mirror finish!

The Craft

Mother of Pearl Blanks

Shell inlays (not the cheap plastic substitutes) add value to an instrument. You can find real shell inlays only on priced high-end or custom-made instruments. Guitars endowed with shell inlays, from the simplest to the most elaborate, are works of art akin to fine jewelry.

Inlaying decorative shells such as Mother of Pearl (MOP) and Abalone takes time, patience and perseverance to master. The craft involve:

  1. Cutting suitable shells into blanks
  2. Grinding the shell blanks down to a flat surface
  3. Cutting the blanks into the desired shape
  4. Routing the cavity from the wood
  5. Inlaying the shell into the routed-out cavity

I’m not about to delve into the fine details of the craft but I’ll provide various links below that you can find useful if you want to get serious about this craft. You can also buy books on the subject. My favorite is the definitive bible of pearl work: Pearl Inlay” book by James E. Patterson.

Jeweler's Saw

While the art of inlaying has changed little over the centuries (the craft began in East Asia during the Tang dynasty), it is a lot easier now than it was before. Modern tools certainly made inlaying easier. The versatile Dremel rotary tool is an indispensable tool for routing inlay cavities as well as for cutting, sanding, trimming and deburring shell pieces. You can buy precision jeweler tools that are well suited for fine shell work such as the Jeweler’s Saw with fine blades from 35 teeth per inch (size 5) to 84 teeth per inch (size 8/0). If you do not want to go through the messy trouble of cutting and grinding the raw shells, you can also buy rough-cut shell blanks ready for cutting your design (that’s what I do) or even pre-cut shells for typical designs such as Les Paul square or trapezoid fret markers, dots, diamonds, etc. Finally, if you have access to laser or water jet cutting services, you can get extremely accurate results with minimum effort —simply draw the design using a vector drawing software such as Inkscape, Corel Draw or Adobe Illustrator.

Cutting the Blanks

Skipping the laborious first step (preparing the blanks from raw shell), I start out with some nice Mother of Pearl blanks. You can buy either plain or figured blanks. There are various grades. Exhibition Grade is the most expensive. It is flawless in every respect with no discoloration, no wormholes, no growth fractures and no undesirable flaws. AAA Fancy Grade is like exhibition grade but with only one flawless side. A Grade is almost like AAA with one flawless side but with potentially small flaws that can easily be avoided. Standard Grade is the cheapest entry-level grade. I buy from an MOP supplier in ungraded bulk. I grade the blanks myself and choose only the highest grade. Some blanks may have rather nice features except for one or two flaws that can be avoided.

For the prototype, I manually cut the logo using a Jeweler’s saw. For production, it might be better to have the shapes cut using laser or water-jet. For most of the work, a medium size blade will suffice. For more intricate curves, I use a finer blade, but I never had the need for sizes finer than 1/0. It takes time to master the use of the saw and it is perfectly normal to break a few blades before becoming proficient.

Rule 1: be patient.

Rule 2: be patient.

Rule 3: be patient!

Rule 4: see rule 1 to 3

Shell cutting sawboard

So you know I love jigs. For cutting the shapes, I devised two jigs. For the fret markers, I needed a jig that will give me accurate and repeatable round corners. I built a jig with a small adjustable swinging clamp (see image below). The jig is positioned adjacent to a table mounted Dremel with a small drum sander. The distance from the pivot to the edge of the drum sander will be the round corner’s radius.

The other jig is a standard sawboard for cutting the pearl blanks. You can easily construct this jig from plans provided in the links below, or the easy route: just buy one from StewMac. I built mine from plans I got from Pearl Inlay” book by James E. Patterson (see picture at right). It is very similar to the one from StewMac. I use a small aquarium air pump and hose for the dust blower —a must if you want accurate results.

Cutting the logo with a jeweler's saw and a pearl cutting sawboard

Patience! Tons of patience!

Smoothing with a needle file

Shaping the fret markers using a round corner shaping jig and the Dremel table-mounted.

Smoothing the truss rod cover after cutting

The truss-rod cover ready to be placed

Routing the Cavities

I use four routers: a 1500-Watt Makita 3600H for heavy routing, a 1200-Watt Ryobi ERT241200 plunge router for moderate routing, another 400-Watt Ryobi EVT400K trimmer router for light duty routing and trimming and finally, a Dremel rotary tool for precision routing. The Dremel is not just a router. It is such a versatile tool; indispensable for intricate work, including, but not limited to, routing. I love this tool!

The Dremel is the perfect tool for routing out the inlay cavities. I use a Dremel router base and various small end-mill bits. I’m quite disappointed with the plastic Dremel router base. While it gets the job done, I’m not quite happy with the fine adjustment. I’d probably get a StewMac Precision Router Base soon or build one myself.

To transfer the design to the material to be routed out, a thin layer of white water-based paint is first applied. A fine point inlay scribe traces the shapes’ contours while holding the inlay pieces down. Smaller, more intricate parts may be temporarily glued down using spray adhesive.

Tapered router bit

4-flute end mill

I start off with a 4-flute 3.18 mm (1/8″) solid carbide end-mill to cut larger chunks of material close to, but without touching the outline. I then finish with a fine solid carbide cutter tapered router bit. These bits taper from 0.48 mm (0.019″) to 0.8 mm (0.032″)) —perfect for fine inlay routing.

The headstock painted with white water based paint and scribed with the inlay pattern.

Routing the logo cavity. The small hose is connected to a small air pump to blow away dust.

Cavity fully routed out with the logo. The layer of paint easily wipes off with a damp cloth.

Gluing the inlay pieces with black epoxy. Making sure that excess glue is wiped off, the logo is now ready for leveling and sanding.

Rough routing with 3.18 mm end mill

Detail routing the fret markers using fine tapered router bit

Further Reading

  1. Pearl Inlay (book) by James E. Patterson
  2. Mother of Pearl
  3. The Inlay Pages
  4. Pearl Inlay by Sean J. Barry
  5. Mother-of-pearl
  6. Inlay (guitar)
Next: Neck Dressing next

Compound Radius Fretboard

      Alpha, Bamboo, Carbon Fiber, Construction

I am more of a melodic lead player and I play lead more than chords. I prefer slim necks with flatter and low action fretboards that do not “fret out” with aggressive string bending —yet one more reason why I am not fond of the ever so popular Stratocaster. I am really inclined to build my next guitar that’s built exclusively for lead guitar playing with a totally flat fretboard, like a classical guitar. But this one is destined to be more conservative and general purpose so I’ll keep the fretboard curvature.

The question is how much curvature? The modern Strat has an aggressive 241 mm (9.5″) radius while Gibsons have 254 mm to 304 mm (10″ to 12″) radius. Modern Jacksons, on the other hand, have what’s called “compound radius fretboards” which are really conical fingerboards which start out with a smaller radius at the nut and gradually get flatter (bigger radius) towards the other end. The Jackson is definitely one of my favorite axe in my arsenal. And, for this design, I will definitely have something based on the Jackson. The radii of the curvature starts at 304 mm (12″) and ends (at the 24th fret) at 456 mm (18″).

Compound radius cutting jig

For this to happen, we need, you guessed it: yet another router jig. The router rides on a platform that pivots on a stainless steel shaft which is oriented on an angle corresponding to the conical section with our desired start and end radii (304 mm and 456 mm). Swinging the mechanism back and forth will give you the correct radius at any given point in its entire length, thereby guiding the router over the block to be cut into a fretboard. This web article details this jig quite well: Compound Radius Routing Jig for Guitar Fretboards.

Now we sandwich the fretboard with 8 layers of carbon fiber laid up with laminating epoxy; 4 on top and another 4 at the bottom. The fretboard is vacuum bagged to remove excess resin and to ensure that there are no air pockets or bubbles that can ruin its sonic integrity.

Bamboo fretboard ready for layup

4 layers of carbon fiber

Bamboo fretboard sandwiched in between with another 4 layers on top

Vacuum bagged. Excess resin oozing out.

After 24 hours curing, it’s time to slot the frets. I love jigs. Jigs make tricky tasks easy to do accurately. Inspired by StewMac’s fret slotting miter box, I use another jig for cutting the fret slots. Finally, we trim the sides using a fretboard template with a pattern following router bit.

Released. Nice and smooth! Ready for trimming and slotting.

Slotted and trimmed

Further Reading

  1. Guitar Fretboard Radius
  2. Compound Radius: Explained
  3. Compound Radius Routing Jig for Guitar Fretboards
  4. Fingerboard
Next: Pearl Inlays next

Neck-Thru Construction (part 3)

      Alpha, Bamboo, Carbon Fiber, Construction

Wrapping the Neck-Thru

This installment concludes the Neck-thru construction series. As a final step, the neck is wrapped in 4 layers of carbon fiber to ensure maximum rigidity. We vacuum bag the whole thing to ensure that there are no air-pockets and bubbles and to make the carbon fiber layup hug the shape as tightly as possible while allowing the resin to cure.

Vacuum Bagging

Vacuum bagging is a method that uses atmospheric pressure to hold laminated components (laminating epoxy and carbon fiber) in place until the adhesive cures. Laminated components are sealed in an airtight bag. Atmospheric pressure exerts around 101 kPa (14.7 PSI) inside and outside the bag. A vacuum pump then evacuates air from the inside the bag reducing the pressure inside the bag. This negative pressure creates as much as 82 kPa (12 PSI) pressure differential that compacts the laminate resulting in excellent consolidation and interlaminar bonds. The vacuum also draws out trapped air (air-pockets and bubbles).

Vacuum bagging is a crucial step. I’ll provide some links below detailing the process.

Laying-up the first carbon fiber layer

Laminating epoxy applied in between layers

Yet more layers of carbon fiber

Vacuum bagging the whole thing

Excess resin being drawn out by negative pressure

The carbon-fiber wrap ends at the neck-body heel

Perfection! The Final Result

(Click to zoom)


Further Reading

  1. Basic Vacuum Bagging
  2. Vacuum Bagging: Basics
  3. Vacuum Bagging Techniques
  4. Vacuum Bagging Equipment and Techniques for Room-Temp Applications
Next: Compound Radius Fretboard next

Neck-Thru Construction (part 2)

      Alpha, Bamboo, Carbon Fiber, Construction

Installing the Truss-Rod

Now, we install our new Carbon-Glass Truss Rod. We begin by cutting the truss-rod slot using a router. At the headstock-end of the neck, an aluminum block is embedded for additional strength and rigidity. In all guitars, the weakest point is this area where the neck meets the headstock —a critical breaking point. In addition to improved rigidity and strength, any additional support here will enhance tone and sustain. The aluminum block also serves as a foundation that evenly distributes the load of the tensioned truss-rod over a wider surface area. This aluminum block is glued using high grade structural epoxy. The nut sits in direct contact above this block further enhancing sustain.

A cavity at the headstock behind the nut is provided with ample space for a hex key wrench to reach into the stainless steel Allen adjustment screw for tightening the truss-rod. Another cavity behind the aluminum block gives the truss-rod head (see Carbon-Glass Truss Rod) some freedom of movement.

With the cavity routed to specification, we begin installing the truss-rod. The stainless steel anchor at the body-end of the truss-rod is glued, again with high grade structural epoxy. Finally, to ensure against the possibility of the rod rattling, we add some silicone sealer into the channel. The sealer will dampen any unwanted vibrations that can spoil the sonic quality of the neck.

Routing the truss channel

Aluminum reinforcement block

Gluing the anchor using structural epoxy

Truss-rod installed!

Routing the Body

For the body part of the neck-thru section, we will route the pickup cavities, the bridge height adjustment screws, the string ferrules where the strings pass through the body and the tail block —a piece of aluminum at the bottom that terminates the strings and where the ball-ends are anchored with easy access at the back.

Body side view transparency

For this design, we will have 3 single coil (DiMarzio Area 69) pickups. The pickups are body mounted and can be installed from the back of the guitar (how many times have you ever wanted to change pickups without having to loosen or take off the strings?). For that reason, the pickup cavity goes through the entire neck-thru body but not through the entire body (see figure at the right).

The body top also has a mild curvature which we will shape using yet another jig. That’s what we will do first. The images below show the jig in action. The jig rides on two rails with the router mounted on an acrylic plastic base which is mounted on two wooden sides with the desired curvature. I use this type of jig anytime I need some curvature —works well all the time.

Curvature-shaping jig

Jig shaping the body top

You might be guessing that I use a variation of this jig to shape the fretboard as well, but no, I did not. This guitar design has a compound radius fretboard for which this type of jig is not suitable. More on that later.

Now let’s move on to routing the pickup cavities. It starts with proper preparation and layout. I have prepared beforehand acrylic plastic templates for single and double coil pickups for standard Strat and Les Paul style pickups. I cover the entire area with masking tape and draw the outlines first. It was tempting to use the Strat’s pickup positions which give it its distinctive sound, but 1. I use a slightly shorter 644mm scale (25.35″) and 2. I have 24 frets (the Strat has 21). 1 is not a problem —it can be scaled. The real deal breaker is 2. The Strat’s neck pickup sits at around the 24th fret position. Hence, for this design, I compensated a bit and came up with a hybrid Ibanez Jem (I am a proud owner of two of these lovely Jems) and Strat layout. I use the acrylic plastic template to guide the router using a pattern following bit. Before routing,I pre-drill the cavities using Forstner bits to minimize the router’s work.


Routing the pickup cavities

Finally, at least for the neck-thru body, we drill the top string ferrules, the bridge height adjustment holes and the aluminum tail block. The bridge height adjustment is also accessed from the bottom. There will be no unsightly screws at the body’s top.

Drilling the top string ferrules. I love laser guided drills!

The tail block at the bottom

Further Reading

  1. Neck Construction Tips and Techniques
  2. Truss Rod Installation
Next: Neck-Thru Construction (part 3) next

Neck-Thru Construction (part 1)

      Alpha, Bamboo, Carbon Fiber, Construction

The "Log"


I like the basic idea behind the original Steinberger design. The idea is to keep only what’s needed —the bare essentials that define an electric guitar. The idea actually started from Les Paul himself when he started building “The Log” which became the precursor to the legendary Gibson Les Paul. The Log, as he likes to call it, is essentially a Gibson neck glued to a 4×4 block of solid pine. The body sides were added only for appearance to make it still look like a guitar. An ugly contraption, but I digress.

Classic Steinberger

Ned Steinberger, the man behind the Steinberger, got rid of the body sides and also got rid of the headstock altogether. It is also one of the first of a breed of guitars that used modern materials such as carbon fiber and graphite.

Developed in the late 70s, the Steinberger was ahead of its time. It still is. However, the headless and bodiless design never really took off as its inventor intended. Except for a few devoted followers, guitarists in general never got used to it. Later designs kept the headless neck but added at a body. Some designs also include a headstock. I think these moves are attempts to win the hearts of the general public. Looks matter and for some reason, guitarists are rather conservative when it comes to shaps. Is this perhaps because the guitar’s shape evokes the graceful female figure?

Following the basic premise that the essential factors that make an electric guitar is the neck, just enough body to allow a bridge and a tailpiece that anchors the strings, pickups, and of course the tuners, we’ll start with the middle neck-thru section. This is the most crucial part of the guitar and should be structurally sound and sonically excellent.

Cycfi Neck-thru design

In the section on bamboo preparation, we detailed the manufacturing of the composite material intended for the construction of the central neck-thru piece. This consists primarily of laminated bamboo interspersed with carbon fiber. In this section, we will walk through the process of actually shaping the material into our final neck-thru form.

Cutting the Outline

Trimming with a bandsaw

Compared to hardwood, bamboo planks are a lot more difficult to machine. Router bits and planer blades easily get dull because of the tougher grain structure. Also, while bamboo is very tough, it is very easy to tear-out the bamboo’s perfectly unidirectional grains. It is best to remove as much material as possible prior to routing. A bandsaw cuts excess material very close to, but outside the outline. 6 mm (¼”) bandsaw blades make sawing intricate curves easy while wider 12 mm (½”) blades are good for straight lines. Inner cavities are best pre-drilled using Forstner bits.

Pattern Bit

12.7 mm (½”) diameter, 19 mm (¾”) long pattern following bits (with bearing on the shank) guide the router through templates made from 19 mm (¾”) thick MDF board. It is best to cut slowly with successive 6 mm (~¼”) deep passes. As a general rule: don’t attempt to remove too much wood. Multiple passes work much better than removing a lot of wood at one time. Use the router as a precision cutter.

The router bit rotates counter-clockwise. In some places, the counter-clockwise movement of the bit will cause splinters when the blade pushes the end-grain outward. In this case, it is better to flip the body where the template is at the top then use a flush trim bit with the bearing at the end instead of the shaft. A hand-held plunge router serves this purpose so I do not have to change bits and flip the workpiece.

Routing the body

Routing the head

Flipping the template and using a flush-trim bit

Drilling the machine-head holes

Shaping the Neck

End Mill

For shaping the back of the neck, my favorite tool is the trimmer router with a solid carbide 4-flute 12.7 mm (¼”) end mill. These are typically used for machining metal, but are surprisingly well suited for shaping bamboo. As always, treat the tool with respect. This is a dangerous tool.

After rough shaping, the belt-sander is another indispensable tool. Every once in a while, the neck profile is checked against profile templates made from acrylic plastic to make sure that the shape is true to spec. For those intricate curves, the Dremel is a very capable and versatile tool.

Shaping the neck-body heel

Using a trimmer router with end mill

Smoothing with a belt sander

Checking against profile template

The versatile Dremel with a fine cutter bit

This time with a drum sander

Further Reading

Next: Neck-Thru Construction (part 2)next

Bamboo Preparation (part 2)

      Alpha, Bamboo, Construction, Materials

Double Rip Cut

Selected Bamboo culms are sliced into straight strips 25 mm wide 1.2 meters long. You would want to choose large diameter culms that are more or less straight to begin with. Not all parts or the culm can be utilized for our purpose. Only the middle section is usable. The lower part of the culm near the roots, while having a larger diameter and thicker wall, has nodes that are spaced too close together. The upper part, on the other hand, is too small in diameter.

To cut the bamboo into straight strips exactly 25 mm wide, I devised a special double rip saw using two circular blades. A pre-cut bamboo section, 1.2 meters long, is strapped firmly in place while a movable assembly carrying the double-rip saw and motor cuts through the entire length of the bamboo section. After each cut, the bamboo is turned a few degrees clockwise and the next pass is made, repeating until the entire diameter of the bamboo is consumed.

At this point, only the internal nodes will be holding the bamboo section together. Applying a moderate amount of pressure will easily crush what’s left of the internal nodes that are still holding the bamboo. We shave off what’s left of the nodes and any protrusions. This can be done initially with a sharp knife and later with a jointer, then cleaning up with a thickness planer.


The end result is a bunch of nice and straight bamboo strips. The strips are sun dried and air dried for 3 weeks. After drying, the strips are boiled in water for 30 minutes to eliminate its natural starches and sugars, making them unattractive to termites and other pests. This will also make the bamboo less prone to shifting, expanding and contracting due to changes in temperature and humidity. The strips are then dipped in a 60% borax-40% boric acid solution for further preservation. Both boric acid and borax are great as insecticide and anti-fungal preservatives. After treatment, the strips are sun dried and air dried again for a few days until they attain 10% to 15% moisture content. Now the strips are ready for lamination.


The strips are grouped into 25 mm and 50 mm bundles, vertically oriented with their narrow edges facing up. Vertical orientation has better structural strength compared to horizontal orientation (with their wider edges facing up). Laminating epoxy (the same formulation used for laminating carbon fiber) is used to glue the bamboo strips. 2 tonnes of pressure is applied while allowing the epoxy to cure using a small press constructed just for this purpose (picture below). The epoxy resin slow-cures in 24 hours (faster if moderate heat is applied).

Laminating press

Laminated Bundles

The planks undergo another thickness planer session to even out any irregularities. After making sure that the planks are perfectly squared up, we are now about to prepare one end of the planks for a 14 degree scarf joint. This will later become the neck-thru’s headstock.

A jig is utilized to cut a smooth surface, exactly 14 degrees, using a router. The jig serves as a guide for the router, mounted on a movable acrylic base. The router base slides over two edge guides while the cutter bit cuts the surface material at the desired 14 degree head angle. The result is very accurate and easily repeatable. This jig can be found in Patrick Spielmans book “Router jigs and techniques”. A complete description of this technique can be found here.

Squaring-up the planks —another thickness planer session

Scarf-joint jig

Gluing the scarf joint

The final scarf joint —perfection!

Two outer 50 mm planks and one inner 25 mm plank make up the central thru-neck construction. These are laminated together with up to 6 layers of carbon fiber for optimum structural strength. The image below shows the layering.

Laminating the first carbon fiber layer

Yet more layers of carbon fiber

All good and ready to press

View showing the 14 degree scarf joint


Another 24 hours of curing. Our patience has paid off. We have a nice bamboo-carbon-fiber plank ready for routing and shaping! Yeah!

Now we are ready for routing

Further Reading

  1. Smoothing a scarf joint with the router
  2. Simplifying Scarf Joints
Next: Carbon-Glass Truss Bar next