Maker & Restorer of Violins, Violas, Cellos & Double Basses.

          Cello neck grafts are performed for a variety of reasons - to repair damage, dimensional considerations, previous poor work, wood worm infestation or conversion work to name the most common.

         Violins and violas rarely require a neck graft because of damage, 'butchery' being a more common reason and for conversions. 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 performing neck grafts on them. As for double basses all of the above reasons plus for 5 string conversions in addition.

_____________________________________________________________________________________  

         I stated above that the most common reason for performing a cello neck graft was for reasons of breakages and so it had been in this case. The photo above illustrates this well, this is where the majority of cello neck breaks occur.

 

        This particular cello is a Jay Haide with the 'a L'ancienne' finish making the instrument look considerably older than it is. The damage occurred in transit. 

Once the original neck had been cut off, the peg box was prepared for the graft as no other damage had resulted. The photo above shows the  peg box cut out ready for the graft, the piece of  figured maple the head is sitting on will be used for the neck. 

        With the graft  prepared it is glued into to the peg box, it was left over large in all aspects at this stage, photo right.

       After the glue had dried the top surface of the neck where the finger board is attached was planed down to the top edges of the peg box 'cheeks' (sides). The graft was then cut to its definitive length and at the correct angle to suit the instrument, photo right. The side profile was cut before the finger board was glued on. The new finger board which was produced from an unshaped ebony blank is by the side of the neck and some of the shavings this work made can be seen behind on the bench.

 Photo right- the new  finger board has been glued to the graft. Please note that it is neither practical nor desirable to reuse existing finger boards in the majority of cases.

       The sides of the neck have been cut down to the finger board and planed flat, the peg box has been cut out and the new 'nut' has been temporarily glued on. The playing surface of the finger board will only be definitively 'shot' after the neck has been completely finished and as part of the cellos final fit-up. Note the original neck and finger board behind. In this photo the body is ready to accept the new neck.

       The neck was left 'square' until after it has been glued onto the body. When the glued had dried an ebony 'crown' was fitted to the back button. This photo shows the clamping arrangement used to glue the neck onto the body.

       After the fitting of the ebony crown the neck was finally shaped and prepared for the staining and varnish work, photo right. 

       This photo shows the first stage of the finishing process namely the matching of the 'antiqued' base stain of the original.

       With the completion of the varnish work the instrument was left for a few days for the varnish to completely harden after which it can be rubbed down to match the 'texture' of the original.

        With the 'nut' removed the finger board was definitively planed, the nut re glued and finished off to the right height with the string grooves made. The work was completed with the fitting of the pegs, bridge and sound post.