A morning at Uncle Bob's portable sawmill turning a black walnut log into 8/4 leg stock and guitar body blanks, and what to watch for as the slabs come off.

Vanity Part 2: flattening a top I glued without alignment joinery, then doing the side panels right with loose tenons, a dry fit, and grain matching for continuity.

From spraying a 55 Chevy with his dad to running the finish side of Texas Toast Guitars, Chris Fesker on classes, the Build Off, and satin versus gloss.

Tuner layout math, why you fillet the solid and not the sketch, and the neck numbers we landed on, from a design session with luthier Martin Harmer.

Claude rebuilt a threaded insert recess from caliper measurements and wrote a full CAM run order for a pine test neck. Then I rebooted the controller and forgot my Z.

Paint consistency, a test splatter, and patience between sides. How I repainted the Zora guitar to match the splatter painting it is named after.

Taking down two dead elms over my father-in-law's house, finding both trunks hollow, and why American elm's interlocked grain makes the branches worth milling.

Peter Henriksen quit software engineering to help his dad build jazz amps. Twenty years later he explains why small and loud is the hard part.

Why the order of your bearing guided router cuts matters, plus measuring stock before CAM, holding odd shaped blanks on the CNC, and a Grandpa Carver story.

The triangle and I O I O marking trick that cancels out a fence that is slightly off square, plus reading medullary rays, working around knots, and gluing up a vanity top and leg blanks.