b'Opposite page: Filing the nut slots to exact height, width, slope and shape. We use a zero fret, which is explained later, but that doesnt mean the nut slots are less important, they are one of the keys to intonation and ease of tuning.This page: Above: There is always some fret levelling to do, we wish it wasnt so, but the tiniest discrepancy cant be allowed. We are constantly working on refinements to get this better and better, the new fret slotter made a big difference.Left: Final check. Sometimes we have the strings off ten times before we are happy, and its good to leave the instrument for some days before a final, final check, patience is essential, its not the sort of thing I can do when Im under pressure, which is nearly always. Its much better to allow Alex to take the time needed, even if the instrument should have been In America yesterday. Thats part of my job, to insulate the lads from that sort of thing and to absorb any issues that arise. And you wonder why I get grumpy.Now we come to the longest process of all. Maybe not quite as many hours in total as in the lacquering and polishing process, but Ive not timed any of them (theres an idea!) Previous page left: The old-fashioned way, hammering the frets into their slots. That hammer has been in use for forty years, two or three million hammer blows.There is a lot involved here, making sure the slots are deep enough and cleaned out, getting the neck to the not quite straight shape, cutting and notching the frets, and making completely sure every fret is level.Previous page right: Cutting the slot for the bone nut with a fine saw and a tiny chisel. We fit our nuts on the angle of the headstock, which is the traditional way, but it would be much easier to do it on the flat. I hate doing something the easy way, just to make it easy, I think it looks better our way. I dont suppose many people actually notice, and thats sort of the whole point.199'