Urban Luthier

The 1717 P.G. Rogeri clearly shows a sunken top around the neck. Perhaps caused by poor restoration at some point in its life? The so called Lancashire Strad by his father was likely built on the same mould and doesn't show the same sunken top. Adding about 5 mm to the top of the 1717 will help correct this and still retain the flatfish boxy look.

I drew this one up in CAD also -- I like the model - the wood is spectacular and the arching is very nice. There are many videos and recordings of Enrico Dindo playing it. Couple of gotchas to watch out for in this model. The string length and stop to neck ratio are a little different than what many consider standard. Since the top where the neck joins the body is concave, one can add 5 or so mm to help correct and increase the stop.

I started a cello loosely based on the Strad B form (Davidov / Gore Booth). Like you I laboured over the model choice and worried about sound considerations -- I even drew up different models in CAD. In the end, I went with a strad and did the outline by hand from Roger H's Strad poster. There is simply more information available the Strad B form. (Image archives, Sacconi arching and thickening etc) What I've learned so far is that for the first time cello maker, there is a learning curve. Unless you have access to a good shop (with a larger and accurately setup bandsaw), making the for

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I use Eudoxas (wound gut) on my cello. They have a very smooth warm sound (19th century ideal?). I've seen a lot of early music folks who prefer a more gritty sound. There is a good book called The Baroque Cello. The book contains a series of interviews with players many of whom talk about their instrument, bow and string preferences

love it! your edge work is stunning

Nice colour on the sample above! The varnishing chapter in Hargrave's bass book talks about his french polishing technique. For my part i'm developing a workflow that allows me to leave the final surface unpolished with a little bit of texture

All of this will be on the poster. It is worth purchasing a couple of the strad posters - Titian, Huberman, Viewtemps, Brusilow are good ones with CT scans. The Dancla is a good poster also but the violin in HUGE.

The Viewtemps has the rib outline included in the poster

If you are just star If you are just starting out, personally I'd only use the Strad form drawings as a reference. The hardest thing to get right (for me at least) is the corner shapes -- if you follow the stard froms accurately you'll wind up with an outline with corners that look tighter than what we see in finished instruments. Fortunately the Strad has some great posters with full size CT scans of the rib garland. You can trace it and use it for your template (correcting symmetry or not depending what is important for you. Although the CT is a bit fuzzy the Titan drawing is a great

This thread might be of interest

This article may be useful https://www.roger-hargrave.de/PDF/Arching/Arching_Purfling_Edgework.pdf

brilliant idea thanks

Bending wasn't that difficult -- bending to the right shape and gluing with one pair of hands was a challenge!

Hi E thx. ribs are 1.6mm a tad less in the c bouts

ha not too scary but a couple of other things I found challenging... Working in a small space is really difficult -- one needs a bit of elbow room around the bending iron to work efficiently -- kind of hard in a 8 x 8 ft shop. I can barley fit a Cello on my bench! I found it easier to fit the ribs with the form secured in the tail vice so the form rested at a 90 degrees angle to the bench - easy for the first 5 ribs - kind of hard for the las one! I had to work really fast when gluing. Because the ribs are thin and cover a large surface area - i found if i used too much glue, I

Nice work Tets -- love the texture

Cello rib garland. First cello. The amount of effort and skill required to build a nice rib garland was much more difficult than I thought - far greater than a violin or viola. Bending the corners required basically all my strength to hold the bending strap fast around the iron to set the bend. Twisting and warping was an issue as well, even working carefully i had to correct twist throughout each bout before gluing. Lastly it took a bit of patience to get an invisible joint between the lower bouts. All and all i'm fairly pleased with the result. The curves follow the outline fairly closely.

http://www.baroquemaster.de/saitenhalter.htm. These are practical working examples of fingerboards and tail pieces, but not from any specific instrument. I wouldn't make a tailpiece out of spruce however - even with the ebony veneer it may not be strong enough

All joking aside, Jeffrey is actually our moderator not the site owner. The business owners of the Maestronet forum and servers are based in Toronto. Sadly if Maestronet closes shop (which I don't think it will any time soon as it is an easy source of income for the owners) Jeffrey's posts will disappear along with everyone else

I think this is a serious matter. Our hosts (based here in Toronto) could decide to close up shop at any time (not that I think they will as the site provides a ongoing income with comparatively little investment). But if they do decide to turn the servers off all the info here will be removed from the public domain. This is one of the reasons why I helped pull together the Bass book -- this important IP now exists in a shareable form that will endure. But there are countless posts from knowledgeable contributors that will disappear if and when the site closes.

Agree with Julian above. They are expensive but the results are predictable. I've used 2 & 3 on the list Joe Robson Eugene Holtier Alchemist mediums

Roger H and Bertrand Bellin made 5 string cellos but i think they were full size. Cant seem to find any info however...

There is a very nice book called The baroque cello Revival by Paul Laird that lays some of this out. It is kind of an oral history with interviews from key players (including Mark who posted above) The bass violin refers to the early cellos (e.g. Amati King, Strad Medici etc) meant for bass accompaniment in early music. There are many early music recordings out there that feature copies of the Servais strad as for the Violoncello piccolo - Bach used it in 9 cantatas - inc bwv 41 - there are recordings out there that use the Fleming Amat, Jackson notes above. You can hear what it soun

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