ABALAM® LAMINATED SHEETS

Sheets measure 5½″ × 9½″ (140 × 240 mm) and are available in thicknesses from .030″ (.76 mm) to .250″ (6.35 mm). They’re made from real shell—never artificially colored or enhanced—and should not be confused with composite or reconstituted materials (except for our “Sparkle” M.O.P. and abalone sheets, as noted). Each sheet is built from thin shell layers stacked and bonded together. Each layer is a mosaic of smaller, color-matched pieces oriented to refract light the same way as raw shell. The layers themselves are also matched and oriented within the stack, so the look stays consistent even after sanding or shaping. Producing these veneer plies is labor-intensive and depends on the skill of experienced, traditional shell craftsmen.

We recommend leaving or trimming a 1/8″ border on all four edges to avoid minor imperfections affecting finished parts. Each sheet is labeled on the TOP side—the orientation with the best reflectivity. The backside may include one or more non-matching layers, allowing the highest-grade shell to be concentrated in the top two-thirds of the sheet where it’s visible. To keep track after cutting, mark the backs with a soft pencil. Avoid ink, as it may bleed into surrounding material during glue-up.

The bonding agent is a blend of epoxies resistant to acetone and most finishing solvents. However, prolonged exposure or immersion can cause issues, especially with delicate parts. If soaking or fuming to release parts from a backer board, do so only as long as necessary—don’t leave them overnight. For production cutting, a reliable method is to super-glue the shell ply to a sheet of 1/8″ tempered Masonite, cut your parts, cover the exposed shell surface with clear box tape, then drum-sand away the Masonite. This leaves all parts adhered to the tape, keeping them organized, same-side up, and easy to store or inventory. Super glue will not harm the sheets.

Veneer plies are about 10% less dense than traditional solid shell blanks. For best results, cut with a jeweler’s saw using blades one or two sizes smaller than usual—down to 4-0 or 5-0 works well.

Ply sheets are not recommended for engraving, as they can chip or flake. If engraving is necessary, first flood the surface with low-viscosity (watery) super glue to fill small irregularities, then sand lightly back to the shell. Use a very sharp graver and make multiple light passes to reach full depth, applying minimal pressure.

Some advantages over traditional solid shell blanks:

• Designs are no longer limited by size or thickness
• More concentrated, vivid coloration
• Color runs most of the way through and won’t sand or carve away
• Fewer internal flaws, no hidden fractures, fewer rejected parts
• Handles finer detail with less risk of breakage, especially in machine cutting
• Edge strips break more cleanly and conform to curves with less pressure
• Minimal waste compared to blanks
• Longer saw and cutter life; faster feed speeds
• Ideal for modern computerized inlay cutting
• Cost-effective, especially when factoring in waste and handling
• Enables use of rare shell types and new visual effects
• 400–600% higher yields from raw shell, extending scarce resources and enabling use of premium grades
• Allows large or continuous parts, reducing handling and installation time (e.g., 3-piece rosettes, 10–12 piece guitar trim sets, full fretboard vines in just 3 pieces, U-shaped peghead trims). Typical installation time for a guitar top/rosette can drop from 1½–2 hours to as little as 5–15 minutes.