As so many of the other restoration/repair articles in this section tend to draw to a close with the fitting of a neck graft I thought it was about time I included an article just devoted to this type of repair. Neck grafts are performed for a variety of reasons, damage, dimensional considerations, previous poor work, wood worm infestation or conversion work. Violins and violas rarely require a neck graft because of damage, butchery being a more common reason and for conversions purposes. In my working life I have performed more violin and viola neck grafts in the converting of old English instruments back to their original Baroque neck form than for any other reason. Cello necks are fairly easily broken and that is the most common reason for a neck graft on cellos. As for double basses all of the above reasons plus 5 string conversions as well.
Double basses are often in need of neck grafts, much more so than the other orchestral string instruments and I have performed up to ten in a single year and three at a time (see home page photo for example). | The photo on the right is the view of the head of a Riviere and Hawkes double bass (1886) where the break took place, in my buisness a common enough sight. Generally any damage that the graft will not directely replace or repair is repaired first, this could also include filling in tuner holes if new ones are to be fitted or if the instrument is being converted to or from a 5 string. More rarely it is sometimes necessary to widen a peg box in order for a wider neck to be fitted (see repair article to Hill double bass for example). | 
| With any cracks glued up and repairs effected the peg box is prepared for the graft, the photo right shows to peg box ready to accept the graft. |  | Photo right shows the prepared head and the block of figured maple with which the neck graft will be made. Next the profile of the neck graft is rough cut and then fitted into the original head. |  | This photo shows the graft being glued into the head and the clamping arrangement. |  | After the glue has dried the top surface where the finger board will be glued is planed down to the top of the peg box cheeks (sides), the end of the neck is cut to length and to the correct angle and the final profile is acheived. Note original neck on bench. |  | The new finger board is prepared both in length and width and its position is marked on the top side of the neck. It is then glued on, photo right. Please note normally it is neither desirable nor practical to reuse an existing finger board. | 
| This photo shows the neck graft as above but without the clamps. |  | Next the excess wood is removed from the sides of the neck flush to the finger board at which stage it is possible to fit the neck into the body. |  | With the neck still left 'square' the neck is fitted and glued into the body. The photo right show this and the clamping arrangement employed. Should an instrument require an ebony crown fitted to the back button as in this case, it is then fitted before the final neck shaping. |  | Next the peg box is cut out and the neck finally shaped, as all necessary gluing has taken place before the final shaping a high degree of cleanliness is maintained which assists the final finishing. |  | With varnish and staining work completed the machines are refitted and the instrument set-up. The photo right shows the completed instrument. Please note if a neck graft is performed well the replacement of the neck has no detrimental effect on an instruments value. The clients comment:- 'Nice, but I can't really see that you done anything'! - I took it as a compliment! | 
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