How to build a Mandolin

The following is some of the things I learned along the way of building and constructing my kitset Mandolin. The kitset is a SAGA Mandolin AM-10. I suspect other kits are similar in the pieces they include. Hopefully, you read this BEFORE constructing, and so you don’t make some of the same mistakes I did. The instructions that come with the kit should always be followed above and beyond what I have written here (mainly because there are some steps I’ve left out!). Enjoy!

1. Open the box, read the instructions

This is what I did, cover to cover, so I knew what I was in for. As I did, I made a quick note of all the different things I’d need that I didn’t have (such as glue, sandpaper, clamps etc…). This allowed me to go shopping and get everything, as well as process the procedure for putting together my first Mandolin.

2. The binding

Filing out the edges for the binding, using standard needle files.

Using a small, flat file file down all the uneven bits and pieces in the edge where the binding fits. The glue they suggest is Duco Cement, which I didn’t have any of. I just used some regular UHU multi-purpose glue. Make sure you wipe up the glue if it spills out. My finish wasn’t very pristine because parts of this soaked into the wood and stopped the stain from being able to do it’s thing. I would probably use masking tape to clean up the whole thing.

Use masking tape to bend the binding around the body. Do a little part at a time, gluing as you go.

Wrap the binding around, starting at half way and starting at the bottom of the mandolin top. As you go, stick down what you have glued down with masking tape, taking regular breaks to wipe up glue and catch your breath. Make sure the tape is nice and firm around the binding, as this is going to hold it in place as the glue dries. You can see from this I have taped a little in front to hold it in place whilst I glue down the other side of the binding.

After it dries, remove the tape, and then tidy the binding up, making it flush with the edges of the mandolin with a sharp knife.

3. The tone rods

First thing, sand the inside of the top face of the mandolin. It doesn’t need to be massively smooth, but not rough like it’s just been carved. Follow the instructions in the manual for the placement of these. I found Google quite helpful for converting the inch measurements given into metric measurements.

Once the positioning has been made, tape a couple of strips of sandpaper to the inside of the top. Use a pencil to shade the bottom side (curved side) of the tone rods, and then begin making short small rubbings against the sandpaper. This will slowly but surely shape the rods to fit the curve of the top exactly. Keep checking the pencil markings. As soon as the pencil markings have all gone, then you’ve got an exact fit. Make sure you label top and bottom on each rod, as well as left and right on the two rods.

The two bars in place on the inside of the top of the mandolin. Glue wiped up to keep it neat and tidy.

These need to be glued on with Titebond glue. (Note: the instructions say to use “titebond” glue; with lowercase – which would suggest it is a type of glue. However, this is not a type of glue, but a BRAND of glue. You should be able to get it at specialist woodworking or model making hobby shops.) I used ADOS F2 Glue, which is strong, but permanent, which means if there’s any breaks or I need to reset the neck or anything, then I’m stuffed. Titebond glue allows woodworkers to add heat and steam to release the glue and reset it, whilst still providing a stronger than wood bond.

4. The headstock

Whilst the binding and tonebars dry (overnight, as you want those tone bars to be set and strong), you can begin looking at your design for the headstock. I got my idea from someone else, but made my own choice on it. They have packed an oversized headstock for this reason.

My finished headstock design.

Once you’ve decided on a design, draw it in on the back and the front. I used a paper stencil to ensure it was the same on both sides. Use a coping saw or bandsaw to cut it out. It may also need a bit of work with a file, Dremel, or sandpaper to finish this off. You can finish it off at this point, as nothing else gets done to this area until the end. You can also add an inlay at this point if you want to. I chose not to.

One of the fixes I had to make to ensure the binding was glued down fully at the edge.

5. Fixes

At this point, I had to make some fixes to the binding. Right at the end, up by the neck, I noticed that due to the pressures caused by the curves, that the binding hadn’t glued properly to the wood. I re-applied glue, and then using masking tape, levered and pulled the access, so that the binding was firm against the wood. Once this dried, I cut the binding following the angle of the neck cave and filed to make it nice and flat.

6. The kerfing

Clothes pegs have more than one use…

The next part is to glue on is the kerfing. This is the two strips of wood that surround the inside bottom, to provide more surface area for which to glue the base to the top. First, bend and cut to fit the inside. You’ll have to make account for the base board and the neck cave. Once you are set, begin using Titebond glue to glue the kerfing in place. It needs to be flat against the edge. Use strong spring clothes pegs to hold it in place as you go (a bit like the masking tape).

Kerfing glued in place around the bottom of the sides, ready to glue onto the bottom face.

 7. The neck

You don’t want to stuff this one up. This is the most important piece of the whole jigsaw puzzle. First, lightly push the heel of the neck into the neck cave. Take a pencil and draw around where the neck meets the face and the body of the mandolin. This will leave the areas which you have to glue.

The taped off areas for where I applied the glue to the neck

Tape them off so any glue that does get squeezed out falls onto tape and not the wood. I also suggest you tape off the fretboard so there is no chance of any damages being made to it.

Apply glue to the correct areas, both on the neck, and in the neck cave. Allow a few minutes for it to start to set, and then push it firmly into the neck cave, so that it fits all around. Using a scrap piece of wood placed on the fretboard, tap the neck with a hammer so it fits tightly.

The neck, firmly in place.

Shave the two dowels that came with the kit (there’s no way these will fit without shaving them down a bit!). Cover them with glue, and put a dab of glue in the holes, then knock them in with a hammer. BUT BE CAREFUL. I didn’t know how far to punch them in, and ended up splitting the base wood of the neck cave in the body. If your wood does split, you need to remove the dowels straight away, glue and clamp in strengthening pieces of wood to help with the split (see photo below). Knock the dowels back in carefully. Once you’ve done this, check that you haven’t displaced the neck back out. Once it’s all dry, you can cut down the dowels.

Don’t be overzealous with the hammer. I was, and split the neck joint. Re-gluing was required, and an extra piece of wood for extra strength was added.

 8. The base

The base was tricky. You need to sand it, as per the instructions. Once I did this, I also stained the inside. The reason for this is I wanted it to be quite dark inside the mandolin, as it’s quite a light wood, and I didn’t want that light wood coming back through the ‘f’ holes. I also decided to stick a label on the inside, just like a real guitar or mandolin maker would. Admittedly, I did end up putting it “upside down” and in the wrong ‘f’ hole, but it all works out in the end.

You also need to line up the centre line of the base with the centre line of the sides and neck. I used a couple of staples cut apart so they stuck into the wood to act as guides for getting it in place. Also, turn the mandolin over, so you can see that there is enough overlap around the edges for all of the base. It needs to fully cover the bottom.

Once that was done, I masked off the sides of the mandolin, and then glued around the kerfing. I also glues around the pencil marks of the base and pressed them together, using the guides I’d made before with the staples. Then clamp. Ideally, you want at least 6 clamps, though I only had 5 that would fit.

9. Fixes II

A small gap between the base and the neck.


I found out, after I glued, that the base wasn’t going to match. There was about 2mm gap between the neck and the base. This was because the neck hadn’t been cut quite right and whilst was flush with the top of the mandolin, and couldn’t be pushed down any further into the neck cave, it was not flush at the bottom, causing the gap.

Remedying the gap by removing the piece and gluing it back on.


My solution to this was to cut off the bit of the base. There was enough space for the rest of the base to be significantly glued to the mandolin, and the rest was just for show. I’d cut it, re-glue it 2mm down, and then sand off the base so that it lead a gentle slope down to the glued on bit, hopefully making it so it looked like there was never a gap in the first place.

Attaching the piece I cut off to the back of the neck joint.


A bit of light sanding to even up the joint and it’s fixed.


10. Sand, Sand, Sand

Using three separate grades of sandpaper (#120, #240, #320), sand down all surfaces (including binding) of the guitar. Do NOT sand the fretboard or the top of the headstock. I didn’t take any photos of this process, as I figured it’d be as interesting as a photo of paint drying. At this time, I also used a file to go around the binding to scrape off any glue that was stuck to it.

11. Stained

I decided that my mandolin needed a darker feel to it, rather than the very light wood. The instructions have outlined the various different finishes that you could produce for your mandolin.

Adding stain, like adding paint, is all about the layers.


I chose some wood gel stain to use to darken much of the wood. This was the same colour that I used for the inside of the mandolin (I also used the inside of the mandolin to test that it would work!)

The dark stain for the headstock


Follow the instructions on the bottle for application and drying times.

After adding the dark on the base and the head, I added the honey oak as a lighter tone. To be honest, I could have kept this if I was going for a contrast feel to my mandolin, rather than the vintage feel I wanted. Use a little bit of masking tape to keep the neck that separate colour.


After this layer dried, I added a layer of the darker colour again, and then very quickly wiped it off. In places, I added a bit of spit and polish, and a paper towel to wipe through and give that old vintage feel to the mandolin.

The finished stain

12. Pilot Holes

From here, I marked out all the finishes, such as the tailpiece, the tuning pegs and trussrod cover with a pencil, and drilled the pilot holes for them. Once again, follow the given instructions for these – especially to line up the tailpiece with the neck, so that the strings line up straight.

Placing the finishes in the right place to attach them later.


13. Finishes

The next step was to decide on the protective finishes. The wood gel I used suggested using a particular product (from the same company, as you’d expect) to seal in the colour. I was a little bit undecided whether to go for a matte finish polyurethane, or a gloss shiny finish. I put a layer of matte on, and saw how it was when it was wet, and knew I wanted it to be glossy. Once the layer of matte had dried, I applied the second  layer as gloss, and was very happy with the result.

14. The Bits and Bobs

Once that dries, it’s time to start putting things together. The tuning heads with the rings (you may have to sand back the insides of the holes in the headstock so the rings fit. Truss rod cover, 3 screws. The tailpiece and strap nut, put carefully into the base of the guitar.

The nut needs to be glued onto the top of the neck. But before you do, check the height of it. If it is too high, then the action at the first and second frets will make the mandolin unplayable. You can adjust the height of the nut two ways. You can either use a needle file to make the grooves a bit deeper (but beware, too deep and the strings will buzz in the deep grooves), or you can sand the bottom using a flat surface and a sheet of sandpaper. There are some tips in the instructions as to how high the action needs to be. There are also numerous guides online. Once you are happy with the height of the nut, you are ready to glue. To glue, use a bit of the glue you used for the binding. It only needs a dab as the string tension should also hold it in place.

Now for the strings. This may require a helping hand. The loops at the end of the string don’t always play fair when you then have to tighten the strongs at the other end. Having a friend hold the strongs on the hooks in the tailpiece is invaluable.

As soon as they’ve picked up the tension, slide the bridge under, making sure it is between the middle of the ‘f” holes. This is a “floating” bridge, as it doesn’t get secured anywhere, but is held in place by the tension of the strings. It may be required for you to make several depressions into the bridge for the strings to rest in on the bridge. I made these grooves with a craft knife. Over time, the strings will do this naturally. The bridge also needs to be adjusted up or down so the action at the 12th fret isn’t too high either. I found I had to adjust the bridge quite a bit, as I needed to make the bridge shallower than it would go. So I cut out parts of the bridge to allow it to be adjusted much shorter.

Then it’s just a matter of tuning up your mandolin and you’re away laughing!


Why the All Blacks won the World Cup

Back in August I wrote a post about why it’ll be hard for the All Blacks to win the World Cup. In it I outlined some reasons why it’d be hard for them to win it (NOT that they wouldn’t win it!). As a born and bred New Zealander, I was behind the All Blacks 100% of the way through this Cup, but found it useful to reason with myself, and my readers, why we could potentially lose again.

Luckily, these reasons were not needed. The All Blacks got “New Zealand” engraved onto the Webb Ellis trophy, twenty four years after doing it the first time.

In my post in August, I stated “Needless to say I will be jumping for joy should we win the Final this year. And be writing a humble explanation as to why I was wrong in this post!“.

I did jump for joy. And I will offer this humble explanation as to why we were able to win the Rugby World Cup in 2011.

1. Experience: Not just the experience of the coaches, who were kept on from 2007, but also key players. Players like Richie McCaw, Conrad Smith, Ali Williams, Andrew Hore, Kevin Mealamu, and try-scorer Tony Woodcock. They suffered the dirty taste of defeat in ’07, and given a second opportunity, weren’t going to let another one slip through their grasp.

2. Depth: The depth in New Zealand rugby is quite big. I’m not sure how many teams would have done half as well as us if they had to resort to their fourth choice first five eighth in the final. Without that depth in each area, we wouldn’t have had a show.

3. Belief: You could feel it in the air. You could see it in the eyes of the players during the national anthem of the semi final, that this team believed they were going to win. It wasn’t coupled with arrogance, but sheer determination and will power.

So there you go, three solid reasons why the All Blacks won. If you need a fourth, fifth, and sixth, I’ll mention three players of the tournament for me:

1. Jerome Kaino: Solid. Defense. Brick wall. Everywhere. Player of the tournament for mine.

2. Ritchie McCaw: Rugged. Led from the front. Even on a broken ankle, he weathered the attacks, and brought inspiration for his team mates with each stride.

3. Cory Jane: High balls, turn chase, solid on the wing. A few years ago I laughed and made fun of his goldilocks. But then he began to play some good rugby. And then he got selected for the All Blacks, and became even better.

Honorable Mentions: Piri Weepu, Israel Dagg, Brad Thorn, Kieran Read, Tony Woodcock.

Mandolin: Alpha

Last week I ordered my very first (and possibly last) Mandolin kit set. It is a SAGA Mandolin Kit AM-10.

I have begun on this weekend project in order to get me away from the drab boringness of Facebook and TV. So far, none of it has been done in the weekend – such is the blessing of school holidays!

I don’t want to make a “look as you go” blog, where photos pop up as I progress. Rather, I will post many of the photos at the end of the project as one blog article called “How to Build a Mandolin” (which may turn into a How NOT to build a Mandolin!).

Here are a couple, just to give you an idea of what I found inside the box.


Slow Down. Speed Kills.

This slogan for safer driving also applies to worship songs. Slow down. Speed kills.

There is a tendency (at least in the churches I’ve been in) to play songs faster than they need to be. Maybe its in attempt to make the song better, or because its boring when it’s slow. I’m not sure what the reason for this. I’m certainly not suggesting it’s a conscious decision to play songs fast, but I am suggesting that it’s something that we should be concerned about and focus on when we come to play songs.
Speed in worship kills. I’m not talking about the upbeat praise song intended to be cranking and rocking. It’s more looking at when a song is played faster than it was intended.

There’s one thing I have come to know, and that is, more than anything else, the tempo of a song can make or break it. If it is too fast, the feel of the song can become completely lost. If it’s too slow, it can feel like it’d be better suited at a funeral service.

I have personally tested and seen the effect of this. On my effects pedal, I have a delay set to a specific speed. Using it from week to week, it’s interesting to see how one week it will fit perfectly, and the next, not. The timing hadn’t changed at all in my pedal, but it had people wondering why suddenly things weren’t working in the song, and why it sounded out. Looking at the tempo can often be such a simple fix, yet it’s often overlooked.

When I am worshipping, a song will fit naturally into my heart. I feel relaxed, and comfortable. I find, that if this happens, I know I have got the tempo right. When I’m not struggling to fit in words, when I’m not distracted by the song dragging, and the song flows just as it should, I know that I have got the tempo right.

A classic example is “The Wonderful Cross” by Chris Tomlin. For months we attempted and failed at playing this song, until eventually we dropped it all together. People felt that it needed to be played quicker, because if it is played too slow it becomes a bit of a dirge. It wasn’t until we brought it back and slowed it down that we realised that to play this song, it needs to fit into this “comfortable” region of tempo. Too fast, and it becomes a struggle to get the lyrics to flow. Too slow however and it does become unbearable. It’s a very tricky song to get right, but when you do, you know it.

So next time things are a struggle to get the song right, try sorting out the tempo. A really interesting test is to play the original recording of a song, tap out the tempo onto a metronome, and then play along to that timing. You’ll be surprised at how much faster you have begun to play a song, rather than how it was originally intended. And remember. Slow down. Speed kills.


Studio Wall

I’ve finally decided to begin work on the mural for my studio. I wanted something classic, with a little bit of my own flavour. I knew I wanted that black and white rock portrait silhouette feel, and so I just had to come up with the musicians that have inspired me. Obviously Eric Clapton had to be one, as did Jimi Hendrix (although I didn’t want the black and white portrait that is always used for these things). BB King also made it to the list. I asked my brother (who is a drummer) for a drummer that inspired him, to be put in the drum corner. If there was one, Dave Weckl would be that drummer.

Here is the initial design for the wall.

Where are the kids learning?

I was told not so long ago, that kids only spend 13% of their time at school. It was in relation to say that kids actually don’t do a lot of their learning at school. Kids will learn through all sorts of means, from what they hear, what they see, what they experience.

Even as a teacher, I thought, that can’t be right. That can’t be right at all. Only 13%!!?

Here’s the Maths:

40 weeks at school. 5 days a week. 6 hours a day.
6 x 5 = 30 hours per week.
30 x 40 = 1200 hours at school per year.

365 days per year. 24 hour days. 8760 hours per year total.

(1200 ÷ 8760) x 100 = 13.7% of total time spent at school each year.

So my question to you is “Where are the kids learning?”. Is it at school? Because only 13 percent of their time, the things they see, the things they hear, and the things they experience, is at school. So what happens in the rest of it? Is it in front of the TV? Playstation? After School Care? Internet? Where is your child learning? 87% of your child’s time is outside of school time. What are you doing to help your child learn the right things during that time? Teachers are paid to teach. That is their job. And I can say whole heartedly, that teachers work hard to ensure that every hour that the children are in their care, that they are providing learning experiences and tasks for those children. And they certainly have to maintain a strict criteria to ensure that they are teaching things suitable for the children to learn (unlike some TV channels!). But no matter how hard they work to teach effectively, and teach the right things, they still only have 13% of the child’s time.

There are some parents doing wonderful things to provide a well rounded education for this generation of young people. They are following up homework, they are reading to their children, they are providing experiences that kids can learn life skills from, they are getting them involved in weekend sports.

But others choose to point the finger at schools, and fail to see the three fingers pointing back at them.