CONSTRUCTION V / Neck; Varnish; Bridge; Tailpiece

(Note: From this point on the construction-process differs from the construction-process of a four string cello.)


(Click on pictures to enlarge.)


                                                          Picture 94: Measurements of the scroll. (Sketch by Ueda.)

Neck measurements  f h

                                                                            Picture 95 and 96: Early stages of producing the neck.

Raw neck f h




Neck in progress f h

                                                                           Picture 97: Fingerboard attached.

Fingerboard attached f h

In order to accommodate for the fifth string the fingerboard was made about 1 cm broader than a four string cello’s. This also results in a slightly bigger size of peg box and scroll.


                                                                             Picture 98: Provisionally attached neck.

Neck provisionally attached II f h

                                                          Picture 99: Attached neck.

Assembled neck II fh



Before beginning with the actual varnishing Ueda applied a solution made out of water and instant coffee. This results in a moderately dark foundation for the varnish.

                                                                                     Picture 100:  Body stained with coffee solution.

Prercolored body f h



   There are countless possible combinations of ingredients to produce certain colors and qualities of varnish. The picture below shows the ingredients that Ueda chose for the final instrument.


               Picture 101: Varnish material.  From upper left to lower right: fish oil, elemy, shellack,copal. mastic, dragon’s blood. (See Glossary.)

Ingrediments f h


                                                          Picture 102: Third layer of front varnish.

Varnish front I f h


                             Picture 103:  Third layer of back varnish.