Here I am working on the top, made from spruce from Fiemme Valley by Ciresa.
After planing the central surface for the joint and gluing the two boards, I roughly cut the top’s outline.
After completing the external carving, I’m now working on the internal hollowing.
My procedure involves using a gouge cut across the grain, then a curved plane used along the grain, and checking the result with a caliper called a Sacconi compass.
By repeating these steps, you can hollow out very quickly without risking removing too much material in the wrong place.
For this cello, I decided on an extremely arched shape, with prominent arches on the upper and lower portions and a saddle point at the height of the f-holes where the bridge will be positioned.
This particular shape is found on older instruments where time and the tension of the strings have worked on the elasticity of the wood, causing the top to sink.
I want to experience this unconventional form without having to wait a few centuries…
