How it’s made - Part 8: Positioning the Top

Preparing “the joint” between the neck and the top

Now the back is glued in place, and we are ready to start working at the top. I also removed the mould because I prefer to put linings on before marking the outline of the top, so I use this sort of double cross to prevent the blocks from moving.

On the bench beside me, Alessandro’s normal-sized cello back

This is a detail of the original Violoncello da Spalla made by Johann Wagner in the first half of the 18th century. As you see, the top sits on the end of the neck, and it didn’t even bother him if it had to go deep into the neck instead of being in line with the outline of the top.

Let’s now get into a step-by-step guide for preparing that “joint.”