The cello will have a neck highly angled to increase the active force of the strings on the top. At the same time, in order to keep low the total pressure, the saddle will stand high on the edge. This special saddle configuration requires an installation similar to the neck one, being not sufficient to […]
The neck for my cherry cello was carved from an 8 cm thick maple board, planed to size, and cut according to the template. I carved the scroll with various sized gouges, including my own decoration at the base of the scroll. I finished the surface without overdoing it, leaving some gouge marks visible. The […]
I’m making a cello with back and ribs made of cherry wood from the Tuscan-Emilian Apennines, and a top made of red spruce from the Val di Fiemme. The time has come to fit the purfling, obviously with the sound box closed as in classical Italian violin making.
I’ve finally reached the point of closing the sound box. After attaching my label, stamping it, and signing it, I realigned the top on the ribs using the alignment holes on the upper and lower blocks. As you can see, the purfling hasn’t been done yet. According to classical Italian violin making, the purfling will […]
I prepared the bass bar, sizing it according to a well-known law from mechanical engineering science that allows for constant bending stress along its entire length. The goal is to uniformly stress the chain and, therefore, the top to which it is glued, allowing the entire surface to bear the load. This way, I don’t […]
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 […]
