glance inside a mandolin for those curious people who don't like to read long articles ( like
me) . So you guys just move ahead and look at the pictures. The serious purpose is to answer
some questions I continually receive. I am sure most luthiers will agree these are frequently
asked.
There are no doubt some controversial opinions I am going to express and some technical
theory. I don't want to start a debate . I probably will not respond to any Email about this
page. Please don't think I am being rude or trying to keep any trade secrets.
So , here's one that I have been asked countless times..
"I am just beginning to play mandolin (or not a very good player ) so why should I purchase an
expensive handmade instrument " ? Often times I feel these folks are more asking me for permission
to spend a lot of money on something they have fallen in love with and perhaps they are asking for
some assurance that is in fact something good and they are not crazy!!.
Here's is my sincere answer // A beginning player of any instrument will naturally more appreciate their
entire learning experience with a good instrument ( that applies to any musical instrument). The more
the pleasure derived ..The more you practice and you quickly grow. If I have a cheap, bad ,
instrument I personally don't want to play and as I result I don't. Another business side of that is
when I buy good instruments I know I can latter sell those and recover my money . Often times even
make a profit. The cheap one ends up in trash since any music store will laugh at you when you go
trade it in , or the less than honest , really give you nothing .
SO , that is the easy Q&A .
Hears a not so straight forward one I hear.. "Why should I pay loads of money for a handmade
instrument when I can purchase a very nicely made production instrument , and in some cases for half
the money"? The quick answer is the handmade instrument just sounds better and I hope is better
crafted. There maybe exceptions but that is not the usual case. I also admit some of the production
instruments are very well crafted but the price will reflect that and approach or exceed the hand made
price point.
Now a few technical truths to back that statement up . I 'll try to keep it as a mandolin discussion but
most applies to any string instrument.
The top and back of a mandolin are arched and graduated from very thin ( about .100 inch ) around
the rim to thicker in the center ( .200 to .25 in ) . This needs to be achieved mostly by hand work. The
reason is not that a super CNC carving can't carve wood, but that every piece of wood varies and
needs to be treated differently. When I carve a top or back I continually tap on it and listen for just the
right tone and pitch. As I am caving I will always reach a point where suddenly the wood just comes to
life and resonates. If I continue to reduce the thickness it generally does not get better and the top
gets weaker. I honestly pay more attention to finding that resonate threshold than I do to matching
any particular note. My feeling is the whole instrument changes in pitch as I assemble the parts so
that's not as important ( or controllable). If I can keep it at some 440 hZ clean note i am happy.
you can actually see how it very
thin at the edge and thick in the
center. Also you can see the X
braces showing through.
and even come from the same tree. BTW , this also applies to a guitar back and top even though they are
flat. A CNC carved exactly dimensioned top is exactly what you don't want.
My first mandolin was built exactly and precisely to a Loar plan and specs . Needless to say it did not sound
good. I latter went back and removed the finish , further carved down the top and back. Reached up inside
through the F holes and reduced the brace sizes. Continually during the process just tapping on the
instrument and listing for that point where it would open up and come to life. It did and sounded great when all
was done.
instrument should be built to exact dimension. It also varies and changes. Just as most good builders do..I
install the X brace then start tapping all over the top and modify the braces until I get it sounding good to my
ear. I have never ended up with two that would be exactly the same in dimension .
I 'll even go a far as to say all this tapping . Listening , carving is not highly dependent on experience. So it's
not necessary to build hundreds of mandolins or guitars to get it right. That helps , but it is more a matter of
sensitivity to the wood . Being able to hear it, feel it vibrate, and sometimes I can even see the vibrations
change. (Well, maybe I just think I do? )
back. The position. Length, and
size of the braces need to change
for every mandolin . This is
dependent on the fact that it is all
wood . Like snowflakes , no two
pieces of wood are ever the same!
The neck really does influence the sound of a mandolin. That's one reason why I choose to use a
large graphite U channel to brace it rather than a steel truss rod. The neck needs to conduct
sound from the fret through to the body. If the sound vibrations are dampened the instrument loses
it total potential. Note ,I am not saying it wont be a good mandolin but not as good as it could have
been. Graphite is far lighter, stronger , and a superior sound conductor. I have even begun to
make bridges from 100% graphite over ebony and a Wow!!
same size U channel used in a bass guitar. My feeling is build it so it sounds better and will
remain stable forever.
to sell the world on a notion that my mandolins are built the only right way or the best way. We all find what
works for us and the result is great sounding instruments . You just can't do that using a robot!