About the Instruments
"What do you call these things anyway"?
This is the most common question
asked at trade shows or performances and there is some confusion over what
these essentially "giant mandolins" are called. We define our mandolin
family product line as follows:
Celtic mandolin - Typical teardrop mandolin shape. We use a slightly
longer scale and deeper body to produce an instrument with lots of ring and
sustain.
Octave mandolin - 22 3/4" scale, relatively shallow 14" wide body, 8 strings
tuned GDAE or variant
Bouzouki - 25 1/2" scale deeper 14" or 15" wide body, 8 or 10
strings, various tunings
Cittern - Usually a shorter scale, large body, 10 strings,
various tunings
Hybridization is rampant in this family of instruments as players search
for the optimum combination of sound and playability. Our flexible system
allows a client to "mix and match" the various body styles and scale
lengths without incurring customization surcharges. You can order a long
scaled octave mandolin, a short scaled bouzouki, or even a guitar/bouzouki
hybrid.
Prospective customers often ask for guidance when trying to predict the
sound of a custom built instrument. While this can't be pinned down
precisely, our instruments are pretty consistant in tone and volume and
have a sound all their own. We suggest clients decide on features in
more or less the following order:
Box Size
The first issue to consider is the size of the soundbox. Compared to a
guitar these mandolin family instruments are fundamentally mid-range in
response. Players looking for a bright sound for lead work might choose
an octave mandolin with its relatively shallow depth sound box and shorter
scale. Accompanists will probably prefer the enhanced low end of our
larger instruments, while those playing mostly chords in a large group might
prefer the volume and depth of a guitar bodied hybrid.
Scale Length
Players will encounter a choice here concerning playability and tonal
factors. It is easier for most players to get around on the shorter
scale (22 3/4") but there is a somewhat different tonal quality in
comparison to a longer scaled (25 1/2") instrument. Shorter scales will
give a bit more clarity, where longer scales offer slightly deeper tone.
For those who find that the long scale presents an intolerable reach,
a good compromise is to use a larger, deeper body with the shorter scale.
Players of long scaled instruments will often use capos and tuning variations to fit their
particular playing style or to create a different voice in the instrument.
Wood Selection
The heart of any stringed instrument is the soundboard or top. We have
very rigorous selection standards for the Sitka spruce and western red
cedar used as our main top woods. Our best wood will be perfectly quarter
sawn, the grain will be straight, tight, and uniform across the top. We
keep an extensive supply of these species and our years of experience
working with them ensures the continued production of consistantly
excellent sounding instruments. The two are very different in appearance,
Sitka being creamy white as opposed to the darker, tan to light brown cedar.
Cedar is much softer and less resistant to wear over time. The tonal
differences in our instruments are subtle, with spruce adding a bit more of
a midrange edge which results in the perception of more projection.
Players often describe a low end "growl" which they associate with cedar
tops. Other spruce species are available including European, Engelmann,
and Adirondack.
Wood selection for back and sides, while not as critical for tone
production, is nevertheless important in producing the subtler tonal
"colors" of the finished instrument. Once again we select well quartered
wood but will relax our standards for grain straightness in favor of visual
interest, figure, color, etc. A variety of species are used from the
traditional standards of mahogany and rosewood to highly figured koa and
maple to some lesser known species such as manchiche from southern Mexico,
Honduran rosewood, bubinga and others. The species chosen will be
determined by its visual appeal and its contribution to the final tone of
the instrument. Each prospective customer will be advised on our
experiences with these woods which is extensive for the familiar varieties
and less so for some of the new ones.
Construction Techniques
Once box size, scale, and woods are selected we take it from there. The
amount of arch built into the top will help determine the range of response
as will the mass of the bracing and how it's arranged. Subtle changes in
tone can be achieved after the box is assembled by judicious removal of
material. Through skill, experience and a little intuition, the finished
product matches the expectations of the new owner.
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