The "box" is now closed together for good. It takes a long time on a cello to insure that the ribs are set on both plates where there are meant to be - sometimes slight distortions of the ribs change their shape and they are to be "persuaded" back into place. This is the only way to guarantee no loss of overhang - the extra wood on the plates that makes the edges. The regularity of the overhang is purely esthetic, but that is so important.
The neck is now ready to be shaped using rough rasps, files, knifes and going down to the finest grit of sand paper. The neck is polished with micromesh and the grain is raised several times with water in between the sanding.
We do have measurements for the neck thickness, but what our hands tell us holding the neck is a better guide and the shadows that are created by our bench lamp on the neck will tell us about bumps and irregularities...
The "box" is now closed together for good. It takes a long time on a cello to insure that the ribs are set on both plates where there are meant to be - sometimes slight distortions of the ribs change their shape and they are to be "persuaded" back into place. This is the only way to guarantee no loss of overhang - the extra wood on the plates that makes the edges. The regularity of the overhang is purely esthetic, but that is so important.
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