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141 photos

Rope wound around the clamping jig, holding a glue joint closed

A shop-made rope clamping jig pressing a joint over parchment paper

Top and back sets leaning against the bench in the light from the shop window

Digital calipers checking the thickness of rosewood sides

Paper templates and a hand plane laid across the bench with a pile of shavings

A branded label inside a build reading "Made exclusively for Jackie Walker — What a joy!"

Six Sides Guitar Co. shirts and a canvas tote laid out on the bench

Blue clamps closing the joint at the tail of a rim in the workboard

A body mold full of cauls and clamps, vintage guitars hanging behind the bench

A rim held in its cauls while the blocks set

A rim clamped up in the workboard under the wall of vintage guitars

Two cream bridge pins on a page of notes about measurement and response

Tap-testing equipment sitting on a printed page about damping and impedance

The tail of a finished body with its pale tail wedge, resting on a shop towel

Routing the binding channel around the waist of a body in the workboard

A laminate trimmer cutting the binding channel around a rim

Signatures written on the inside of a spruce top before the box is closed

The bending pipe heating on its stand in the middle of the shop

A bent side standing in the workboard against its cauls before glue-up

A rim clamped in the workboard, vintage guitars hanging on the wall behind

Two mahogany plates coming off the drum sander

Shop-made head and tail blocks on the bench in front of a body mold

A guitar mold packed with red spring clamps, the workboard marked BOTTOM SIDE

A neck part-way through oiling, the cloth and finish alongside on the bench

A ukulele rim with the Six Sides label branded on the head block, forest behind

A koa top with the rosette channel routed, binding strips curled alongside

Rosette ring and binding strip laid out on a koa top blank with a steel rule

A rosette ring set into a figured koa top, photographed outdoors

Back braces under go-bars, daylight coming through the shop window

Overhead view of koa back braces held down in the go-bar deck

Inside a braced koa back, the branded Six Sides label between the braces, held up in daylight

The Six Sides Guitar Co. label branded inside a build, dated 6/24 and numbered 014

A figured koa back clamped all around its perimeter with wooden spring clamps

Cauls and clamps crowded along a glue joint on the bench

The pale back strip inlaid down the center seam of a rosewood back

A chisel trimming the end of a back brace where it meets the lining

Close-up of kerfed lining glued along the inside edge of a bent side

A rim in the mold with a solid block clamped at the joint

Threaded clamp rods and cork-faced pads pressing a back down onto the rim

A body glue-up ringed by dozens of screw clamps in the workboard, ukuleles on the wall behind

An ebony fingerboard with pearl diamond inlays set and fret slots cut

The tail of a body showing the back strip meeting the marquetry tail wedge

A drill-driven cutter jig held in the bench vise

Close-up of the layered binding and purfling along the edge of a body

The corner of a back showing the inlaid center strip and marquetry line

A Veritas chisel lying across a pair of steel rules on a rosewood plate

Measuring the back strip inlay between two steel rules

Looking inside a rim at the back braces, kerfed linings and soundhole reinforcement

Figured maple with a rippling quilted pattern across the plate

A red fretsaw frame held over the bench

A neck clamped upright in the vise, fingerboard bound down with green rubber bands

Shellac dissolving into alcohol, the orange resin swirling in a white dish

An assembled body with the soundhole cut, resting on the bench below a row of chisels

An electric hide glue pot open on the bench

Spring clamps crowded around a rim, holding the kerfed lining while glue sets

Wooden cam clamps standing around a body on the bench

A guitar rim sitting in its workboard with the tail wedge fitted and blocks clamped

A shop-made nut jig clamped to the end of a fingerboard

A book page carrying the Elizabethan lute inscription: "I was alive in the forest, I was cut by the cruel axe"

The worn fingerboard of an old guitar, frets grooved from decades of playing

Fog moving through the Douglas firs beyond the deck rail

A printed card listing Woody Guthrie's 1943 New Year's resolutions

Bent guitar sides standing on the bench in front of the pegboard tool wall

Two brass binding cutters standing on a Six Sides Guitar Co. plan drawing

Routing the outline of a guitar-shaped workboard, the router cord curling across the plywood

A framed photograph of Woody Guthrie holding his "This Machine Kills Fascists" guitar

The bench laid out with a router mat and sanding board, glue and tools behind

A rosewood body lit low and warm against the dark shop

Front of a headstock with gold tuners and the Six Sides number 6 inlay

A strung guitar top — ebony bridge, bone saddle, black bridge pins

A bent side resting on the bench beside the bending iron and a water spray bottle

A vacuum pump running on the bench beside a body in its vacuum clamping frame

A dreadnought body lit from the side in the dark shop, spruce top and dark sides

A fingerboard taped off on the drill press, a tin of glue standing alongside

A pearl number 6 inlay beside the pocket cut for it in an ebony headstock plate

A guitar body from the tail — spruce top, reddish rosewood sides, pale tail wedge

The binding channel routed around the edge of a rosewood body, tape marking the ledge

Overhead view of a braced top under a crowd of wooden cam clamps

Three freshly sharpened gouges laid across a honing plate

Marsh and low cloud at dusk in the Pacific Northwest

A fret press seating a fret into a slotted fingerboard, blue position dots alongside

Go-bar feet pressing a brace down onto a top, seen close along the brace

A spruce top with its rosette and a laser-etched treeline along the lower bout, propped by the window

The bending iron heating up on its stand, clamped to the bench

Freshly pressed frets held down under a web of green rubber bands

A guitar body with cord wrapped over the soundhole area while a glue joint sets

Spruce braces lapped over each other and taped at the joint on a dark back

A laser engraver burning a treeline design into a spruce top

Fret wire running through a bending jig marked FLAT and ROUND under a red work lamp

A small diamond inlay set into a test piece, layout lines scribed around it

Close-up of straight, tight grain running the length of a rosewood plate

Back braces clamped in the go-bar deck, the deck rods fanning out overhead

A carved mahogany neck on the bench with a bottle of Tru-Oil behind it

A guitar body lit from one side by a work lamp in the dark shop

Back of a headstock with open-gear tuners installed — white buttons, engraved brass plates

The V-joint where the headstock meets the neck, cut and fitted before shaping

A slotted headstock blank with the tuner holes drilled, marked with a handwritten 6

A guitar body seen from the tail — rosewood sides, pale tail wedge, spruce top

A block plane leveling a fingerboard, black ebony shavings scattered across the bench

An open-gear tuning machine with a white button and brass worm gear

A cream fluted bridge pin resting on a metal grate

The shop at night, seen through the doorway with a single lamp lit over the bench

A rosewood back and sides polished, the body resting on the bench below a wall of hand planes

The bridge footprint masked off with orange tape on a spruce top

An aluminum straightedge clamped along the fingerboard extension, checking the neck plane over the soundhole

An assembled dreadnought body under a red work lamp — spruce top, dark sides, no neck yet

Slotted ebony fingerboard being trimmed against a steel fence

A guitar body with the neck fitted, standing on the bench under a swing-arm lamp

A jointer plane on the bench surrounded by a scatter of dark shavings

A bent side with kerfed lining glued along its edge, held in the bench vise

Guitar sides in the mold with the head and tail blocks clamped in, ukuleles hanging behind

An ebony bridge blank with the string holes drilled, resting on a worn sanding sheet

A braced spruce top held up to the light, X-braces and tone bars carved and glued in place

A neck blank clamped upright in the red vise with a gouge laid across it

A polished rosewood back and sides, the assembled body catching the light on the bench

A diamond inlay pocket cut into a fingerboard with layout lines scribed around it, chisel alongside

Ebony fingerboard slotted for frets, with a digital caliper and a notebook of measurements on the bench

The machine bench at the shop — CNC and 3D printer set up under the windows

Fretted fingerboard wrapped in green rubber bands and clamped while the glue sets

Top braces clamped to a spruce top with wooden cam clamps radiating out from the soundhole

A fortune cookie slip reading "Following a creative idea will bring great success"

The bent side of a guitar showing the curve of the waist, pale binding along the top edge

Two back halves clamped edge to edge in blue clamps while the center seam glue sets

A dark rosewood plate marked with a handwritten number 6, resting on an open book

Ladder braces glued to a guitar back in the go-bar deck, orange tape marking the joints

Guitar rim in the mold under a work light, red spring clamps holding the linings all the way around

A small wooden blank held upright in a red vise with a chisel resting across it

Three mahogany neck blanks stacked on the bench in front of the shop windows

Rasped surface of a mahogany neck blank part-way through carving the heel

Binding and purfling glued into the channel along the edge of a guitar back, held by a long row of clamps

Guitar rim in its mold with linings clamped all around, the pegboard tool wall behind the bench

Two book-matched back halves joined with a pale back strip inlaid down the center seam

Guitar sides in the mold with kerfed linings held by dozens of red spring clamps, ukuleles hanging on the wall behind

The Six Sides shop — workbenches and a plexiglass finishing booth under windows looking into the trees

Brass hand plane taking a shaving off a guitar back, the inlaid back strip running down the center seam

Ebony fingerboard with diamond position markers resting on an open reference book, dial caliper alongside

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Models Commission Gallery The Bench About

david@sixsid.es LumiTuner Not That This David Ehlers

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