Steve Rodriguez

Violin neck (side) concavity

Recommended Posts

OT but any past threads specifically about cello fingerboards coming to anyone's mind that you can point out? It would be quite helpful to see a robust debate on cello fingerboards. I looked without luck...also, anything debating the pros and cons of an end bevel on the board would be particularly helpful...

Thanks, and/or thanks anyway.

 

Share this post


Link to post
Share on other sites
17 hours ago, not telling said:

Thanks. Luckily that is an article that my husband has the analog version of. Thanks for the thread link too. Any discussion of cello fingerboards, or any fingerboards, is appreciated.

I do cello fingerboards a little differently than Goodfellow, and also  from what I do with violin and viola. Rather than making the sides hollow, I make them straight, the idea being to leave a little more strength in the neck and fingerboard, particularly in the heel area which tends to bend over time.

The greater width doesn't seem to bother most cellists, because unlike violinists and violists, they generally don't touch the side of the neck or fingerboard when they play (although they might notice it when they grab the neck to move the instrument around).

Share this post


Link to post
Share on other sites
9 hours ago, David Burgess said:

I do cello fingerboards a little differently than Goodfellow, and also  from what I do with violin and viola. Rather than making the sides hollow, I make them straight, the idea being to leave a little more strength in the neck and fingerboard, particularly in the heel area which tends to bend over time.

The greater width doesn't seem to bother most cellists, because unlike violinists and violists, they generally don't touch the side of the neck or fingerboard when they play (although they might notice it when they grab the neck to move the instrument around).

That's interesting, do you think it works in of itself?   How does the edge thickness end up when you've put scoop into the board, and do you cant the bottom up a bit from the end of the neck? 

Share this post


Link to post
Share on other sites
7 hours ago, Philip Perret said:

That's interesting, do you think it works in of itself?   How does the edge thickness end up when you've put scoop into the board, and do you cant the bottom up a bit from the end of the neck? 

Hi Philip;

I make the bottom of the fingerboard flat... it doesn't cant upward from the end of the neck (although one could do that). As a result, the edge thickness on the cello fingerboard is not uniform, but nobody seems to mind. Or at least, nobody has mentioned that they mind so far. :)

I'd expect the strength increase to be minor, but that everything helps. It's becoming more and more common for new makers to reinforce the heel with cross-grain dowels or splines or carbon fiber. Joe Grubaugh reinforces the entire neck with carbon fiber inserts, and I'm pretty sure Peter Goodfellow told me that he regularly uses some kind of reinforcement too. I've been using cross-grain wood reinforcement of the heel for close to 40 years. Chris Dungey has been using it for nearly as long.

Raising neck projection substantially on a cello is such a thorny problem, given the height of the heel and ribs. How do you normally go about it without reducing the size of the button, or increasing the string length a lot? Do you do a neck graft?

I've told the story here before about doing a neck graft on a cello at the Weisshaar shop, and within a year, the fingerboard had dropped a full centimeter. I got in big trouble over that one! :( That was when I started experimenting with reinforcing the heel, realizing that the amount a cello neck would drop wansn't as predictable as I had thought.

The first time I cross-grain reinforced the heel, I set the neck in quite high like I normally did, expecting it to drop some unspecified amount, as usual. Sometime later, I got a call from Rene Morel:

"Daveed, we have your cello here for a new bridge. You make a meestake. The neck ees too high. We have to add wood to the feet of the bridge blank to make eet high enough." :)

The neck hadn't dropped at all.

Share this post


Link to post
Share on other sites
1 hour ago, Jerry Lynn said:

David, 

When adding in cross grain reinforcement, I gather you are only now allowing for a few mm of settling now? 

Jerry, that seems to do it.

Some of the settling is due to distortions in other parts of the instrument, and I haven't come up with a foolproof way of dealing with these other distortions yet. So I still set a cross-grain reinforced cello neck about 2 or 3mm above where I expect it to end up a few years or a few decades later.

Share this post


Link to post
Share on other sites
On 11/15/2017 at 11:33 AM, David Burgess said:

Bad things get back to wife, runs off with lion trainer at the circus. :blink:

 

Just to make sure we're talking about the same thing, the gluing surfaces of the neck and the fingerboard are straight. What we've talking about is scooping the sides of the fingerboard, which will also result in scoop on the sides of the neck..

Lion trainer? Seems like a logical progression.

I've always assumed the concave sides were due to over-zealous scraping when re-fitting a new board to an existing neck. The concavity on the sides of the fingerboard is an intentional thing?

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

  • Recently Browsing   0 members

    No registered users viewing this page.