Note: Until indicated othereise the following construction-process  will not differ from the construction-process of a four string cello. Please skip this part if you already know about the basic construction of a cello. Because we did not, and assumed that most cellists don’t either, we included those steps in this report.

Ueda’s first step was the production of an exact copy of the Guadagnini’s shape (‘Schablone’33), using a thin plastic sheet.

    (Click on pictures to enlarge.)

                                                    Picture 26: The copy of the Guadagnini’s shape .

 Ngeringa template f h II


   This sheet he used to construct the so-called ‘form34’– a device that serves as a template for the future instrument. He also cut first versions of the blocks which will be attached to the corners of the C-bouts, the top of the body (place of the neck) and the bottom (place of the endpin).


                                      Pictures 27 and 28: The form and the blocks. 



    The block 3 f H                   



   For the production of the form first a big band saw was used. For the final fine-touching Ueda used a tool called a sander, which can be attached to an electric drill machine.

                                  Picture 29: The sander.

The sander f H 


   The blocks seen in the pictures 27 and 28 will be used for the corners of the C-bouts. The measuring tool is used to assure the bout’s straightness.


   At the same time Ueda started to work on the back parts of the instruments, using planes of decreasing size. The goal is to make the two parts of the back fitting perfectly together.


                                    Picture 30 and 31: Working on a part of the back.

DSC_0088 f H         

DSC_0093 f H

33Schablone (German) = template

34Form (German) = shape, form