. . .most of the top came together. The most critical part was figuring out how to reglue the X brace. Go-bars apply pressure locally, and for that reason are a good method of glueing braces that might want to be somewhat forced into place.
To avoid crushing the already-shaped braces we made a set of dummy braces with the same curve on the underside and same contour on top. These were placed alongside the real braces. Over the dummy/real pair we straddled rubber lined cauls. This configuration allowed the go-bars to apply direct pressure where needed. It also kept them from sliding off either side of the real braces, and prevented the bars from denting anything.
After glueing the x brace, the tone bars and finger braces were glued using rubber faced cauls to straddle each pair of braces.
We decided not to glue the upper transverse brace at this time. Because the top, back and sides are somewhat distorted, realignment of these components will be critical, and will effect our ability to properly set the neck.
Our plan is to hold the top in place with spool clamps and to test-fit the neck. This will tell us if the arch of the upper transverse brace is too tall or flat to support the fretboard extension. After making that determination we will adjust the arch and glue the brace to the top. This is another one of Cary Clements' crazy schemes (which I fully expect to work as ingeniously as all of his others).
Realignment of the top to the neck block was accomplished by fitting wooden pins into the original alignment holes. These holes were once used to rout pockets for the neck tenons.
Note the slight wedge fitted into the gap at the top of the soundhole.
Shin began fitting the top to the rim using spool clamps. At this stage the upper transverse brace "floats", and is not yet glued in place.
Much of Saturday was spent making 44 spool camps, enough to glue an entire top or back.
Tomorrow we hope to roughly reset the neck, glue the upper brace, and glue the top to the rim.