Players, how important is the neck?

[Chuck Naill]

A common theme I here from accomplished and professional players is the importance of the neck. When I worked with my builder on the A5 I use, I spent some time discussing what I needed and preferred. When I had a guitar built in the late '80's I was there the night the neck was shaped. My favorite fiddle has a lot to do with the size and shape of the neck.

My question is, do you all consider the neck when deciding which instrument to purchase?

[George R. Lane]

When my new Weber Yellowstone was built I was lucky enough to be able to be there for the neck shaping. The profile of the neck, for me, was esdpecially important as I am developing arthritis in my left hand. I was a professional photographer for 30 years , too much time with my hands in develpoing chemistry. So I would say it is very important.

[Mandobart]

For me, the answer is no. There are no shops less than 2-1/2 hours away from me that sell mandolins, and when I get there they may have four instruments to try. At jams and such we usually let each other try our instruments, so that is the most exposure I get to different mandos. So, most of my instruments I've bought long-distance. I've been able to hear what they sound like over the phone or via internet (less than ideal, but better than nothing), but can't try them out in person. My latest mandolin (Morris) I worked with the builder and was able to try 3 -4 of his instruments. I liked the neck, so there was no need to change or do anything special.

I've played a lot of acoustic and electric gutars and basses over the years, and where comfortable neck feel is definitley a plus, its never been a make or break issue. I have medium to large hands (glove size 11) and find I just adapt to whatever neck I'm holding. I've never played anything that I just couldn't stand the neck on.

[ktheerm]

I struggle to manage carpal tunnel symptoms in my fretting hand wrist, extra wide or thick necks are a problem for me and I won't buy a guitar or mandolin with them, no matter how good they sound.

[Mandolin Mick]

I think the neck is of primary importance when shopping for a mandolin. Living in an area where quality mandolins are very rare, I pretty much have to buy without having played the instrument.

If new, I want to know the width of the neck, prominence of inlay placement and attractiveness, etc.

If used, I want to know if it's bowed, if there's fret wear, condition of the fretboard, etc.

So, for me, the neck is an issue.

[Jill McAuley]

The neck is super important for me - I've played some gorgeous, high end mandolins that just didn't do it for me because the neck profile didn't suit me. Despite being gorgeous and beautifully made, I wasn't tempted because of the necks - instant MAS killer for me!

Cheers,
Jill

[Tim2723]

The neck, and its critical role in playability, are paramount to me. Frankly, I've played many mandolins that had beautiful tone but did not fit my hand comfortably. If I can't play it, the rest doesn't matter. An uncomfortable grip in my hands results in a tone akin to someone killing a seagull with a bagpipe. Even with a comfortable grip, it ain't that much better.

[Greg H.]

For me a range of width/shape works fine for me. In general particularly wide necks become problematic (e.g. Rigel necks that feel like a baseball bat) but othersize I've been comfortable with really thin up to a bit larger than a Gibson so I think it's only a secondary issue.

[robert.najlis]

I think that the neck is incredibly important. It is one of the main things holding me up from requesting a custom build (that and money ) As I get better at the mandolin I am learning more and more what kind of a neck shape works for me. It may not be the standard, so I am giving myself time to find out. It will be important to me to find a builder who can work with me on that. (There are so many great builders to choose from, I don't know how I will choose, but that is a fun problem to have)

[klaezimmer]

I am one who, like Mandobart, tends to adapt to necks. In addition to playing mandolin, I have also attempted to play in public guitar (electric and acoustic, 6 and 12-string), mandola, banjo, requinto, Greek bouzouki, Irish bouzouki, Celtic cittern (medium scale and short scale), bass guitar, upright bass, mondo mando, and a couple of necked instruments that I have invented. These are all from 4 to 6 course instruments having 4 to 12 strings. On a couple of those instruments, I have some changes I would propose if the builder asked me about it; but generally, I will have to adapt in order to survive. If I actually reached the level of being remarkable in my playing of any of those instruments, I might have firmer preferences as to the shape, etc. String spacing - somewhat of a neck issue - is something I do take a bit more notice of. But for necks in general, there is a fairly wide range that I would find acceptable which would not kill a deal.

[mando.player]

The neck, and its critical role in playability, are paramount to me. Frankly, I've played many mandolins that had beautiful tone but did not fit my hand comfortably. If I can't play it, the rest doesn't matter. An uncomfortable grip in my hands results in a tone akin to someone killing a seagull with a bagpipe. Even with a comfortable grip, it ain't that much better.

I'm in this camp. I need a wide nut, radiused fretboard and C shaped neck. I also like my necks on the chunky size.

[jim_n_virginia]

The neck is of secondary importance. while I don't like clubby necks I can adapt to most any style neck.

What is MORE important to me by a factor of 10 is the sound.

[Ivan Kelsall]

Ask a 1,000 different players & you'll get a 1,000 differing answers because of their own reasons,needs & prefferences. I did trade a Lebeda in for a Weber a few years back because the Tendonitis in my left hand was giving me hell at the time.The Lebeda had quite a wide neck & the extra 'stretch' was too much. Since then the medicating anti-inflamatory gel that i've been using,has given me back 99 % of ease of movement in my left hand movement,so it's no longer a problem for me.
Playing Banjo & Guitar as well,i find no problems with neck profiles & widths these days,so for me,although a ridiculously wide or thick neck wouldn't feel right,within the usual standards of neck widths etc.,that we get,i'm fine with all of them,
Ivan

[Grommet]

I find that on guitar, I can certainly play on 'bout any neck, but I loved the feel of my old Gibson So. Jumbo and also my current Martin J-1. didn't care for the club-like feel of a friend's 60's Harmony. My learner mando has an average c-shaped neck profile and is 1 1/8 at the nut. Almost feels normal after playing since April. Hearing people discuss V-shaped neck profiles I thought they sounded uncomfortable but when I tried Collings MT I loved the neck feel. The Weber 1 3/16nut width Yellowstone was a c-profile but felt really good also. Would now like to try an MT with that nut width!

Scott

[Fretbear]

How the neck feels is not the only contribution it makes to the equation. More mass in the neck (within reason) can give the instrument more bass and presence. I have played production mandolins with ridiculously skinny necks that sounded as thin as the neck.

[Charley wild]

With me? Fairly important. Like Jim I don't like thick, clubby necks. Or wide fingerboards for that matter. But I can adapt pretty well to anything else.

[ralph johansson]

Fretboard width and string spacing are important, but theyre fairly standardized. Neck profiles - maybe they matter but I'm not aware of it. Given the very small area of contact between the left hand and the neck I really can't understand why people obsess about them.

[bobby bill]

Despite being gorgeous and beautifully made, I wasn't tempted because of the necks

Hmmm. Would you be tempted if you were less gorgeous?

I'm sorry. The participle was dangling like ripe fruit.

Back to the subject.

[man dough nollij]

It's really important to me. While I'm a big fan of Weber's products, I won't ever buy one sight-unseen because they tend to like really fat necks. I ordered a big-buck custom OM from them, and had to sell it-- the neck was so fat. It was litterally like trying to finger notes on the fat end of a baseball bat. I greatly prefer a soft "v" shape, like the Eastmen I've had. I ordered a custom Old Wave oval, and requested a standard width with a slightly rounded "v". Bill nailed it.

[Brent Hutto]

Wow, I can't imagine spending multi-thousand dollars on a mandolin with no trial period and no idea what the neck feels like in my hand. Perhaps I'm too squirrelly about spending money but that's a huge risk.

[Ed Goist]

Critically important for me. After 7 months of playing, and test driving scores of mandolins, I've formulated the following strong preferences in a neck:
* slight V profile (not too deep or too shallow)
* width at nut: 1 1/8"
* string spacing (CRITICAL): 1" (outside G to outside E)
* 12" Radiused board

I'll never forget the day I got to play several old Gibson oval holes expecting to leave Acoustic Music Works with one, and I was shocked by the thickness and uncomfortable configuration of the necks...I was heartbroken!

I'm sure that eventually I could get used to other neck configurations, but I've got a lot to make-up already coming to the mandolin so late, so I think I'll stick with what works for me.

[Brent Hutto]

Ed,

At that guitar show I attended shortly after buying my first mandolin I played several lovely old vintage Gibson ovals. Then I played one each of "The Loar" LM-600 and LM-700 with the thick neck profiles. While my LM-400 has a slightly slimmer neck I certainly knew after two minutes which end of the spectrum suits me. A little on the fat side is quite nice!

[grassrootphilosopher]

Each contributor aparently has a specific opinion about how a neck should be, feel like etc. Or they see the problem of not having access to enough mandolin(s) to form a preference.

It has been my experience that the better the mandolin is the better the neck is, be it slim, fat or whatnot. I´ve played v-necks, tapered necks, round necks and the likes and the better the mandolin was made the better the neck felt whatever the shape of the neck was like. That is why my preference is for a very good mandolin. It will have a good/great neck.

[CES]

Each contributor aparently has a specific opinion about how a neck should be, feel like etc. Or they see the problem of not having access to enough mandolin(s) to form a preference.

It has been my experience that the better the mandolin is the better the neck is, be it slim, fat or whatnot. I´ve played v-necks, tapered necks, round necks and the likes and the better the mandolin was made the better the neck felt whatever the shape of the neck was like. That is why my preference is for a very good mandolin. It will have a good/great neck.

I think there's some truth to your observation, but I also think set-up plays a greater role in a mandolin's playability for me than just the neck profile/size. I can handle a slim neck profile OK with the right neck angle and action, but I have trouble with slim necks with higher action. My mandos all have different neck profiles (ranging from radiused V to skinny and flat) and it doesn't take me long to adapt, as I also try to play guitar and banjo. If I have to play a mando with a higher action, I need a little beefier neck (preferably with a slight radius and a gentle V) to give me leverage to fret the strings. As long as it's well set-up, however, I'll pick on pretty much anything...

Of "Manly Action," I guess, I am not a fan...

[Michael Nelson]

I find that without the neck I end up without a fingerboard or frets too, so when I push on the strings with my left hand fingers they just keep going!