Frequently Asked Questions

The Dungey Difference↓

Christopher Dungey has been playing professionally since he received his degree in double bass performance. He breaks in every cello he creates, and over 40 years of playing and building experience has refined his process to near perfection. Today, you can catch him playing in the Grand Junction Symphony or other small groups he frequents. This robust playing background gives Christopher a deeper understanding of what fellow musicians need and insight into what a truly harmonious fit between player and instrument looks like.

“I can identify with players, what their needs are, and what they're looking for,” Christopher says. “I can communicate with them on a player's level.”

Where did you learn to be a luthier?/What qualifies you to create cellos?↓

Christopher graduated from The Newark School of Violin Making in England “with distinction” in 1982. After returning to the States, he worked in Los Angeles for Hans Weisshaar and Thomas Metzler, learning the fine art of restoration. Christopher held numerous apprenticeships and has over 40 years of cello-building experience. He has a degree in double bass performance from the University of Oregon. Christopher’s teacher was Robert Hladky, who taught both cello and bass students.

Why do you create cellos?↓

According to Christopher, “It’s the best job in the world.” Christopher originally trained as a bass player, but after realizing that the available career paths such as teaching or playing in jazz clubs did not suit him, he decided to harken back to a hobby he had had since childhood: creating. As a child, Christopher tinkered around in his father’s workshop, building and learning by the side of his first instructor. In high school, Christopher learned the art of detail by working with leather and crafting the fashions of the time period. This passion for creating and his love of music culminated in Christopher attending violin making school in England where he found the answer he had been looking for. Not only did he have natural talent for building cellos, he could continue to play simultaneously and remain in the music industry he so loved.

Who do you work with?↓

About a third of Dungey cellos are made on behalf of professional players such as chamber musicians, international soloists, and orchestra players. Another third are up-and-coming professionals such as students, and the last third of Dungey cellos are generally sold to semi-professional or amateur players whose day job is not that of a cellist.

A cello timeline↓

From start to finish, Christopher’s cello creation process takes roughly 3.5 months. To learn more about the entire process, click here. “Once I start their instrument, I want them to be involved as much as possible,” Christopher says. Throughout the process, Christopher will send updates and photos to let clients know how their new cello is coming along.

Exceptional materials make exceptional instruments↓

“Everything starts from the wood,” according to Christopher. All Dungey cellos are built out of spruce and maple wood. Christopher uses maple wood to construct the back and sides of the cello and the scroll. The spruce wood that Christopher uses for the top of the cello has a unique history – he cut it himself. In 1982, Christopher returned to his home state of Oregon to learn how to choose, cut, and harvest spruce wood. Wood choice is a critical component of building a string instrument; there are dozens of variables to consider that can affect the sound the finished instrument produces. Finding wood that is acoustically consistent and knowing exactly how it was chosen, sourced, and even cut gives Christopher an uncommon advantage. Having quite literally wielded the saw that cut the wood lends him a unique knowledge of how to compensate and work with all the variables contained within the wood.

“I can identify with players, what their needs are, and what they're looking for,” Christopher says. “I can communicate with them on a player's level.”

How do I get my cello once you are finished building or repairing it?↓

Christopher engages in highly detailed, precise work, and as such, he values the cello’s condition above all else. His overwhelming preference is to meet in person to exchange the completed cello, whether that occurs at his workshop in Grand Junction, Colorado or elsewhere. He often meets clients at an agreed upon location between the workshop and wherever the client’s home base is. Christopher’s preference for meeting in person extends beyond the safety of the instrument – he hopes to guarantee satisfaction with the finished product and ensure expectations have been met. When meeting in person is impossible, Christopher has a specific way to pack the instrument that attempts to circumvent any possible damage shipping could incur. For more details on which shipping service Christopher prefers and how to pack your cello in the event of a needed repair, click here.

Does my cello come with strings and/or a case?↓

All Dungey cellos come strung and with a BAM case.

Do you make bows?↓

Christopher focuses exclusively on building cellos, though he can recommend shops for clients to explore bows created by other makers. In his own words, he could never master the art of doing his daughter’s hair, so he keeps his distance from rehairing and bow creation.

Should I insure my cello?↓

In short, yes. Especially in the case of professional players, damage to the instrument is always a risk. Cellos used in any semi-professional capacity are generally not covered by homeowner’s insurance, and insuring both the cello and the bow is recommended. Christopher can refer clients to insurance companies he and former clients have had positive experiences with.

Cello repairs↓

Christopher has extensive training in cello repair and restoration; he views repairs as a “fun challenge” to return the instrument to its original condition. Repair and restoration are skills Christopher learned throughout a variety of shops in London, Los Angeles, and New York. As a new maker, Christopher completes repairs and replaces damaged parts on cellos he created. However, when restoring cellos made by a late luthier, the challenge becomes even more intricate – in the world of instrument creation, it is best practice to repair and restore using only the original material, refraining from the use of replacement parts. Christopher views this work as a labor of respect to the previous maker.