Here you see some of the parts for Mandonator™ 16 gathered together in its dedicated shelf drawer, most notably the wood for the body, sides, and neck.

The two halves of the front are being joined. The wax paper isolates the clamp from any glue that might seep from the join.

The sides are being joined with end blocks. The sides are held in a form and the end blocks are clamped in place at each end while the glue dries.

With the back halves joined, I use chalk to draw the outline of the instrument, carefully oriented around the centerline. You can see the linings and end blocks in the rim; the top is attached, but has only been roughly trimmed.

After the opening for the resonator cone was cut, the sound holes were cut and lined with ebony. Then the back was attached and the top and back trimmed flush to the rim. The body still needs to have binding installed.

And here it is after the curly maple binding has been added.

The headstock veneer is clamped to the benchtop. It's ebony that I've painted white. You can see some of the inlays resting on the cellphone case, just above the headstock. I trace the inlays using a .03" mechanical pencil onto the white paint. Then I route the pockets between the pencil lines. It's very fussy work and takes a long time.

Here's the lovely inlay result. Next I'll attach the veneer to the headstock and shape the two together into a snakehead.

Neck and fingerboard, ready to be glued together. You can see the graphite truss rod in the center of the neck. I'll finish shaping and cleaning them after they're joined.

Here's Mandonator™ 16 "in the white," ready for a "test play." Then I'll apply the tung-oil finish Sue requested.