Lawrence smart #124

**Treblemaker** · May-14-2007, 2:25pm

Recently I experienced the following mandolin related saga directly associated with the condition known as MAS.

With cash burning in my wallet from a recent SF home sale I went looking in earnest for higher quality instrument (finally after all these years...) This desire overwhelmed all common sense and after an aggressive search, I purchased a fine looking Lawrence Smart mandolin via Ebay. (Dumb mistake #1).

The instrument arrived in a slightly worn Calton. Upon inspection it d seemed unremarkable. Following some time beating on it a bit it seemed clear that the A string was difficult to keep in tune. I played it in my living room for about a month. Unimpressed and in some ways too uninformed to see the forest for the trees I sold it via the Cafe to someone in the DC area. (Dumb Mistake #2.)

Unsatisfied with the instrument, this purchaser legitimately returned it to me which caused more than a few sleepless nights, and I am sure the seller experienced a similar case of insomnia.

So now, in review, this Mandolin has traveled twice across the US. (Gotta love those Calton cases.)

I have a couple of well known mandolin playing friends who own Smart mandolins and after connecting with these pals I did the logical thing and contacted Lawrence. Soon thereafter I shipped #124 off to him in McCall, Idaho to see if he could put some life back into this troubled child of a mandolin.

After a wait of a month or so I am pleased to say that following this instrument and it’s more than 8000 miles of traveling it has finally come home to stay.

The initial intonation problem was deduced by Lawrence Smart to be related to a terribly configured LR Baggs Piezo-electric bridge which was hastily swapped out by a previous owner for the hand carved one that originally came with the instrument. The string slots were both poorly cut and optimized for flat wound strings. (According to Lawrence the core of flatwound strings is significantly smaller than for say J74 Phosphor Bronze strings – the ones I favor.) Also the bridge top was not radiused to match the fingerboard. Presumably, whomever owned it before me had attempted to optimize this mandolin for playing jazz but the work they did kept this mandolin from properly intonating.

Luckily the original bridge was in the pocket of the Calton, so Lawrence was able to resolve this issue quite easily.

While he had it in his masterful hands he also dressed the frets, cut the braces to help give it some bark and removed the finish from the neck.

This baby is growling now.

-Ted “Treblemaker” Silverman
SF, CA

More Photos can be seen here on my website:
http://www.worldwideted.com/SnapJpgs/Smart124/index.htm

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**Treblemaker** · May-14-2007, 2:26pm

**WJF** · May-14-2007, 3:54pm

Welcome to the ALS club Ted! As the proud owner of two Smart mandolins I'll promise you that with the issues resolved, the more you play #124 the more you will fall deeply in love with it. My three year old F model has opened into the best mandolin I've ever owned or ever dreamed of ... MAS permanently cured! And my A model ... well lets just say that word 'magical' comes to mind whenever I play it!

Congrats!!! If you aren't already way beyond thrilled with your Smart, play it for a while and you'll never want to play anything else again!

**Jim Garber** · May-14-2007, 4:05pm

Originally Posted by (WJF @ May 14 2007, 16:54)

MAS permanently cured!

oh, yeah, sure...

I heard both those babies in Wayne's capable hands a few weeks ago and it is true what he says... er... well everything but the above statement. When are you ordering the Smart mandola, Wayne?

Jim

**Treblemaker** · May-14-2007, 5:57pm

Thanks for the encouraging words Wayne and Jim.
I have a case of the jitters here at work today.
I wish I was playing that thing instead of pushing computer keys.

I played it heavily over the weekend and have sensed a degree of openness since it arrived following it's many miles of travel.

My main mandolin is actually a fine instrument too ('93 Flatiron Performer F) and has held up well over time and taken a severe professional beating since I got it 14 years ago.

But this Smart has more power, tone and sparkle.

I suspect with more time it will show me what it's got.

L8tr.

Treblemaker

**WJF** · May-14-2007, 6:33pm

I think my A is only a few numbers later than yours, Ted. It doesn't surprise me that you've heard a change in just the short while you've been playing it. They do "open up" pretty quickly. You should really hear a difference in about a week but like a fine wine, they just keep getting better.

Jim ... I played on of Lawrence's mandolas two weeks ago when I was in VA. it was really awesome and I plan to hop on his line for one by the fall ... have to pay my daughters college tuition first though ...

**SternART** · May-14-2007, 6:39pm

Yo Trebelmaker......I suspect you'll now be able to paint with a wider palette, as you get used to your Smart.
I find Lawrence's instruments respond well to a variety of attack and provide varying textures and a more
complex sound. You can play full throttle too, but the more tricks I learn, picking at different places
closer or further from the bridge, etc......my Smart's respond. I find them great for ballads where the
sensitive tremelo approach might be appropriate. I'm glad Lawrence made her right for you, ENJOY!!!

**jasona** · May-15-2007, 12:21am

I'm glad this story has a happy ending Ted! Very nice looking mandolin too.

**Michael Gowell** · May-15-2007, 1:23pm

I'm troubled that you sold the instrument through the Cafe Classifieds while you knew it had problems.

**Paul Kotapish** · May-15-2007, 3:34pm

Originally Posted by (Maine Michael @ May 15 2007, 11:23)

I'm troubled that you sold the instrument through the Cafe Classifieds while you knew it had problems.

I take your point, Maine, but selling an instrument--or a car, house, coat, boat, or CD--that doesn't live up to one's expectations is not equivalent to dumping faulty goods. Other than a minor tuning problem--rarely a sign of real trouble in a decent instrument--the instrument didn't have any substantial problems such as an unrepaired crack, open seam, or loose neck joint. Ted was simply underwhelmed by his mandolin and offered it up in hopes that someone else would find the gold in there. And when the subsequent buyer was likewise underwhelmed, Ted made good on the deal and took it back.

One person's dream instrument is often another's dud, and I know plenty of folks making exquisite music on instruments that I can't get to speak properly. Likewise, others may have trouble playing on instruments set up the way I like to play them.

As far as I'm concerned, it's always caveat emptor on a musical-instrument purchase.

Furthermore, as Ted's tale ultimately reveals, there is often a gem waiting to come out in some instruments that are less than stellar on first impression. A few years back Tom Rozum bought an old Stan Miller rosewood F that was in pretty bad shape when he got it. He had it refurbished with a proper refinish job (usually a bad idea, but necessary in this case), some new fittings, and a proper setup job, and it's a great instrument now. (I think this story has been kicked around here before.)

Similarly, I once bought an 1936 000-18 that was virtually unplayable because the dovetail joint had shifted over the years and the neck was in desperate need of a reset. Because of the high action, the owner had been using it excusively for slide guitar and assumed that it wasn't much good for anything else. An investment in a neck reset resulted in an amazing flattop great for almost anything. I guess it had some problems, but I'm sure glad he sold it to me. (And I wish I had held onto it, too.)

Lawrence Smart builds great mandolins, and it's no surprise that the instrument just needed a little careful adjustment and TLC to restore it to its full potential.

Glad it worked out for you, Ted.

**Treblemaker** · May-15-2007, 4:02pm

I appreciate the concerns of Maine Michael (or is that Michael Maine?) and I appreciate and concur with Paul's comments. I think in this case, though I'd prefer not to disclose the amount of cash involved, I felt I could have spent my money on a wiser purchase and while I may not have had the words "caveat emptor" in mind, the feelings were there.

The purchaser had a legitimate beef which I couldn't quite voice to the person whom I bought this from. I prefer to do the honorable thing if possible and in this case I returned the purchaser his money in full.

I sought the advice of Arthur Stern, John Relph and John Seebach, all owners of Smart Mandolins and they all commented that Lawrence could remedy the issues of this mandolin. I shipped this to Idaho with full confidence that things would work out. It just took a bit of patience.

Now I am picking this mandolin as much as possible in hopes of speeding the opening process.

In time I think this hoss will give me what I have been missing in a mandolin...

**Wesley** · May-15-2007, 4:51pm

I love the tailpiece that Smart is using now. Do you know who makes the one on your mandolin? It's a lot classier than the one I have on my 98 Smart mandola. It might be time for a change.

**Treblemaker** · May-15-2007, 5:36pm

I believe this is an Allen Tailpiece that was engraved by Lawrence Smart.
I like for its mass - but there are 2 things I am not so enthusiastic about:
1) The strings are drawn inward toward the tailpiece.
2) Changing strings, if for instance a wire breaks mid performance, can be difficult due to the cose configuration of the hooks on the tailpiece.

My other mandolin has a black (stealth) price tailpiece - which isn't quite as sexy looking as this engraved Allen one - but the strings remain parallel all the way to the hooks on the tailpiece and it seems to me to be a smarter design. Not sure if it affects tone in a positive way - it just seems to be easier to deal with.

Just my .02....
Treblemaker

**Treblemaker** · May-15-2007, 6:04pm

My Webpage

**mandolooter** · May-15-2007, 6:07pm

Im a big fan of the Price tailpiece myself...I had a Allen and didnt care for it so I traded it for another Price TP...lol. Ted, Im glad you are now happy with the mandolin and didnt go into a big bashing session like others have done on here, it shows some real class. I'd love to own a Smart and he's just up the road from me but for now Im sticking with what I have. My Givens is going into the shop soon for a refret and set-up and Im hoping it comes back a bit easier to play cuz its got the tone for me, but it's not the easiest playing mando out there. The frets in the first position are almost gone and they have bad grooves too...its way in need. I refretted my 06 Gibson but it had a unbound fretboard and i dont wanna experiment on my main player.

**Tom Smart** · May-15-2007, 7:33pm

Originally Posted by (Treblemaker @ May 15 2007, 18:36)

I believe this is an Allen Tailpiece that was engraved by Lawrence Smart.
I like for its mass - but there are 2 things I am not so enthusiastic about:
1) The strings are drawn inward toward the tailpiece.
2) Changing strings, if for instance a wire breaks mid performance, can be difficult due to the cose configuration of the hooks on the tailpiece.

I believe Randy Allen does the engraving (or has it done) on his tailpieces, for an upcharge of course. Lawrence has enough to do just building the instruments.

Randy has also responded to the complaint of difficult string changes by altering the shape and spacing of the string posts. This doesn't help out with your particular tailpiece, but I wanted to point this out for anyone who may be considering buying a new Allen tailpiece.

I've noticed a few complaints on the cafe from people who own the older Allen tailpieces. I've used both the old and the new design, and it's worth mentioning that the new design works much better. The strings don't overlap at all, so you don't run into the problem of having to loosen one to get to the one you want to replace. Also the posts now have a backward slant that helps hold the loop while you're threading the other end through the tuner.

Cool story, Treblemaker, and I'm glad you're happy with the mando now. It's a good reminder of how important setup and maintenance are to the performance of any instrument.

**Chip Booth** · May-16-2007, 12:00am

Lawrence is a great guy, and he builds a mighty fine mandolin. I am sure that most any instrument of his will be a real keeper if it is set up correctly and the owner gives it the time to open up and find it's voice. I hate to say I have not yet been able to buy one of his mandolins, but it's on my "to do" list. I played one of his recent F5s and was blown away even though it was only a few weeks old!

Chip

**cooper4205** · May-16-2007, 12:07am

it sure does look nice, does it have a traditional headstock or the Smart-eleone one? I don't know what its really called, but along with the Nuggett A-style headstock, its probably my favorite non-Gibson design.

**Tom Smart** · May-16-2007, 11:13am

Originally Posted by (cooper4205 @ May 16 2007, 01:07)

it sure does look nice, does it have a traditional headstock or the Smart-eleone one? I don't know what its really called, but along with the Nuggett A-style headstock, its probably my favorite non-Gibson design.

Like these? It's the "Idaho Mountains" headstock, inspired by the view from his workshop.

**pjlama** · May-16-2007, 11:57am

I think that picture should be banned as the feeling it causes are not appropriate for a 'family site'

Great story, I love a happy ending.

**Treblemaker** · May-16-2007, 12:01pm

I for one dig the orange (fiddley) finish of that quartet.

Opinions are like buttholes - everyone has em... it's just that some are more informed than others.

I bought a Smart Mandolin based purely on faith and the experience of having played a few of his mandolins that to me seemed remarkable for their power, clarity and tone...

Treblemaker

**cooper4205** · May-16-2007, 12:07pm

i don't know if this will make sense, but I think those quartet instruments have the most beautiful, organic look (esp. since Tom said the headstock was inspired by mountains). definitely works of art, individually and as a whole