... since i said anything about my new bowlback - anybody want to ask me any questions?
How do you like your new bowlback, bill?
(thanks mike - 5'er's in the post)
well ... since you ask - i'm nuts about it - can't put it down. there's a definite "bowlback" tonality" and i don't know why it never appealed to me before. i don't imagine it's suitable for a lot of music but for playing ethnic and early music "ditties" it's absolutely great.
one thing i've noticed is the way - the angle - at which i place my fingers between the frets to make the notes - they sound better if the very top of the finger-tips are used - closest to the nail - instead of a bit further down towards the pads of the fingers.
Welcome to the Order of the Bowl. They have very interesting voices. Remind us, here, what kind did you get?
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Some pictures would be nice...
Those who think they should think, like they think others think they should think, need to think out their thinking, I think.
It's a beauty. Do you have to adjust your overall playing position for the larger body?
2012 Collings MT
2014 Collings MT-2
Gretsch New Yorker
...And some of us started on the bowl and have much greater difficulty adapting to those skinnier mandolin formats. Enjoy, Bill!
Ah, that is the one you got off of ebay a bit ago. Post 747 of
I am really glad you got a good one. It is lovely. Sort of a gypsy jazz version of a bowlback.
I would love someone to sus out who makes that one and what else they make.
there's nothing inside the bowl to indicate where or by whom it was made.
the position of the oval sound hole is interesting (unique?) as is the absence of a "girdle" around the rim of the bowl - feels much lighter.
It's entirely typical of these Markneukirchen instruments that there is no mark of the individual luthier in them. I don't think Wunderlich are in existence anymore either -- keep in mind that the Vogtland region was part of East Germany for forty years, and that the instrument making industry was nationalised and small workshops amalgamated into factory-type manufactures under the control of centrally-appointed bureaucrats. While some of these kept their name, they did not keep their identity, and the only surviving outfits are either individual-craftsman lutherie shops (which were never fully nationalised, or which had enough individual skill to set up on their own after 1990 from the wreckage of the state-owned industry) or companies that were big enough and nimble enough to relocate to or reincorporate in the West after the War, sometimes in greatly diminished form. The latter category includes Framus, Hoyer, Optima, Zimmermann and a few others. I don't think it includes Wunderlich. So, your chances of finding records are slim.
Ever tried, ever failed, no matter. Try again, fail again, fail better.--Samuel Beckett
'05 Cuisinart Toaster
'93 Chuck Taylor lowtops
'12 Stetson Open Road
'06 Bialetti expresso maker
'14 Irish Linen Ramon Puig
martin - graziemille! - love those inconclusive, dr. zhivago stories from the old soviet bloc - grainy, b/w photos of the mandolin workshop with airbrushed gaps in the line-up of craftsmen after the latest purge - adds to the mystery.
mick - sweet spot (for me) is at the base of the soundhole, just after the extension but i generally pick over the base of the fingerboard - more comfortable that way with my little finger stretched out and anchored to the rim below.
interesting thing is i had to swop the strips of tuners around as the guy who repaired/refurbished it had the tuners turning counterclockwise to tighten the strings - very annoying.