Official Luthiers Forum!

So for whatever reason I've had several 45 Style guitars come across my bench in the last 3 weeks.

I find myself intrigued by the inlay work and on the older models it just ages so nicely when the top begins to amber up and darken.

Is there a reliable source on how to cut and inlay the pearl in this style? It's something I'd like to learn how to do for repair sake as I'm sure that at some point a piece or two might be missing.

Other than nice miters on a 42 or 45, the tougher job is getting the channels for the shell layout around the extension done...The shell work itself is easy...just select, butt, snap, and seat, with the four miters as the only real challenge. We use precut 0.063” straight and curved strips sourced from Australia.

Editorial comment: I don’t care for abalam or flexible shell veneer, although others love it. Solid shell has a deeper, less busy look that is much closer to vintage instruments, while veneer or laminate might be just the right stuff to busy-up a more modern interpretation.

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For the times they are a changin'

- Bob Dylan

the vintage instruments used Red abalone that is no longer available
most solid shell is green and blue abalone.
I have used both solid and ablam. Ablam is a green product and works nicely
Learning to cut shell is a worthwhile endeavor.
here is the inlay process
https://www.youtube.com/watch?v=o7gYBqLRdMo&t=5s
here is one on cutting.
https://www.youtube.com/watch?v=qJDnJKpBfuw&t=945s
this is basic info and there are other techniques out there. I learned from David Nichols from Custom Pearl inlay. I also picked up some techniques from
Dale Trach of CF Martin. This is all about patience and learning the process from Layout , cutting to setting the pearl. There is also a good bit to learn on filling. So take some time and learn the basics. I use a jewelers saw with a 0000 blade. I designed the inlay base and use carbide endmills. I do not use a down cut bit. I use all up cut and be sure you change them when they are dull . My most used bit is a 1/32 bit . In this cutting video I was using solid shell. This i tricky to cut as it has defects that may brake so learn your technique and be very aware of posture and how you hold your tools. Lighting is also important. I use an magnifier head set and lots of light.
In the inlay video I am not on my normal bench so it was a bit awkward for me to show as much as I could so the camera could pick it up.

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John Hall
blues creek guitars
Authorized CF Martin Repair
Co President of ASIA
You Don't know what you don't know until you know it

Why not just buy the shell pre-cut?

when you look at vintage Martins the number of different inlay styles is remarkable as most inlay work was farmed out. There are 2 distinct patterns that I like and they are nothing like you will find on line anywhere. The only person besides myself that has that pattern is David Nichols. You can buy from him and he will hand cut solid pearl .
Learning to cut your own allows you do make anything you need and not rely on out sourced product.

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John Hall
blues creek guitars
Authorized CF Martin Repair
Co President of ASIA
You Don't know what you don't know until you know it

Also note the differences in Style 40/42 and 45 fretboard inlays...very distinctive.

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For the times they are a changin'

- Bob Dylan

the 42 and 45 are the same
the 40 is just pearl rosette with hex pearl on the fretboard
the 41 may have a number of inlays depending on the year this one has what I call the abbreviated snowflake or short style also the hex
42 has hex or snowflake also the fretboard extension is inlaids just like the 45
the 45 has the top snow flake or hex the top and extension along with the side pearl ( .049 wide on the sides and back ) the tail wedge and heel of then neck also inlaid
you can do a search and see the details.
the inlays did change some through the years.
My favorite is the snowflakes over the hex

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John Hall
blues creek guitars
Authorized CF Martin Repair
Co President of ASIA
You Don't know what you don't know until you know it

I've tried cutting pearl and abalone and it was so frustrating I will never do it again. I think it's a whole other skill and for me it's best left to those who can do it. Kudos to anyone who takes the time to learn and has the innate skill with the hands to do it. I just did two guitars with shell rosettes , purfling and torch head stock. The torches I got from DePaule and the shell inlay from Australian Pearl Company.

The only thing I didn't do was the FB extension. I guess you could set up a straight edge to run a router against to get a nice straight line or use the fretboard itself perhaps. But the purfling is actually quite easy to do. BTW I have used Zipflex before and it's great stuff but I agree with Woodie the real stuff has much better depth to it and the more random order of it, even though you should try to match pieces, gives it a certain quality. Zipflex is VERY easy to install though.

But so is the traditional shell. You can buy straight sections and curved ones. Do all your binding and purf strips and use a teflon strip in place of the shell and glue it all up. I used CA. Then you simply remove the teflon strip and you have a perfect channel. The shell shoud fit tightly and you often have to actually crack and break it into place, again that gives it a certain quality.

Today's D-41 and D-45 standard models use the same fretboard inlay pattern, while the D-42 standard uses the long snowflake pattern, but I assumed the OP was interested in how Martin did their instruments during the pre-war period.

Given the first Style 41 guitar was built in 1970 (as a lower-cost option to the D-45/replacement model for the Style 40 and 42), and only one custom-ordered D-42 was built prior to 1941, it seems like we are discussing fretboard inlays on the D-45 and smaller bodies in 40, 42, and 45 styles.

Style 40: From 1928 through 1941 end of production, the same inlay as the Style 42 (short snowflake pattern).

Style 42: No production D-42 built; 000/OM used short snowflake pattern once fretboard inlays standardized in early 1900. The 42 Authentics are a good guide to differences with the 45 long snowflake pattern.

Style 45: Earliest D-45 used long snowflake, with change to the hex inlays as production continued through end of shell-purfed models during WW2.

We ran into this issue of early 40's series details when we did our 1934 D-42 and 1929 000-42 inspired guitars which were wrapped up last year. Sorting out the modern era features like Martin's decision to offer a lower-cost version of the modern D-45 (D-41 in place of 40 and 42 series), as well as the Wild Wild West mix-and-match of the post-Civil War to early 1900's period, takes some time. Besides the VintageMartin site and Martin's own Technical volume of their 2-book set, review of museum and sales listings and even Martin's authentic offerings (disregarding materials in many cases) are of interest. Also worth a visit to UMGF for some guidance where doing vintage repro work.

If just going for a Style 40-45 inspired project, anything goes - we certainly see a range of weird and wacky choices in the pre-1910 period, but if the customer wants something close to prototype practice, it's time to do the research and start looking for the right materials. Mr. Hall has the prewar-style 40-series back strips, so worth touching base with him.

_________________
For the times they are a changin'

- Bob Dylan

I've always been a fan of the big hex inlays. Last year I got a Dred that has the hollowed out hex inlays, or what ever it's called. Thust the ouline of the hex and I think that even looks cooler. That seems tricky to inlay though.

I am building a J-200 with abalone around the top, back, sides, fretboard and head and a vine in the fretboard .
It has a 3 stage ledge for the purfling and binding.




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Wow Brad that's impressive. Can't wait to see that one when it's done.

Wow man!
Those pics make me feel the same way I do when I watch John Petrucci play. ... like I need to just eBay all guitar related things haha
Seriously though... great looking !


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Here’s the mock up of what I’m doing.




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Back to OP's original question: Inlay is an art form that takes vast amounts of time and concentration to learn. Ain't no book on 'inlay for dummies'.

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Peter Havriluk

You can use a jewelers saw or a razor saw to cut the straight pieces. I have even used a hack saw.

Then you can clean them up with a file or sandpaper.

It is really easy.

1. That's a stupid response to a perfectly normal question

2. 10 seconds on amazon revealed these

https://www.amazon.com/Art-Inlay-Expand ... 7THQH7NQF1

https://www.amazon.com/Woodworkers-Guid ... 7THQH7NQF1

In my limited experience, the art form of inlay is like the rest of guitar building. As has been said here before, building guitars looks difficult, but it's actually a lot more difficult than it looks. Like a lot of things, it requires a vast amount of time and concentration to learn. Which provides a vast amount of frustration and satisfaction.

There's no substitute for time and concentration, but books, videos, classes, and conversations with experts help.

In terms of books, one that's been around for a while--and that primarily focuses on guitar inlay--is Larry Robertson's The Art of Inlay. Not all of his work is to my personal taste, but the the information on tools and techniques has been helpful.

There are videos on Youtube. I can certainly recommend all of John Hall's videos (search on "Blues Creek Guitars," including https://www.youtube.com/watch?v=kNZWzs3E674 on the D-45 extension.

_________________
Tim Allen
"Never hurry, never rest."

your working way too hard. Most of us that do this use a poly or teflon strip that holds the space for your pearl. Martins have a 1/16 wide pearl on the top and .049 on the sides and back and this makes the pearl job a lot easier. I use regular wood glue to set in after gluing in binding. Also typical of martin is
top Binding b/w/b pearl/b/w/b
sides Binding b/w/b/ pearl /b/w
Back binding /b/w/b/ pearl /b/w
When you look at this series though history they used a wood fiber first then the plastic came in later. On the older ones they were not done in the factory that was farmed out for a long time. I have worked on many 45s through the years. It is a skill that I enjoy doing and there are a few good books out there to show how to work pearl. Have fun and enjoy the process. Post lots of pics

_________________
John Hall
blues creek guitars
Authorized CF Martin Repair
Co President of ASIA
You Don't know what you don't know until you know it

This is my third guitar built almost 12 years ago. John told me the tricks, sold me the teflon strips and bingo - style 42 inlay. I have not done the little section by the fretboard extension but I have done this three more times. Thanks again, John, you may not remember this but you spent hours on the phone with me.



And here is the teflon strip (different guitar).

And you can even reuse the Teflon strips too

It looks to me though that Brad is just doing a test fit.

Yes, That was just a test fit. I use the Teflon strips.

Brad

The soundhole end of that fretboard is beeeautiful (as is the rest of it)

Ed

Once you start using the teflon thingy, you can do other things too. Here is some gold glitter like Gibson used in the 30's. Not difficult at all.

Ed