Nice, and very interesting!
Love the scroll (appeals to the bassist in me....)
Breedlove American OF
Thank you both. John, I was looking at your Waldzither page, very nice. I don't know how you got the nerve to cut a fret slot so close to the edge of that old fretboard for the fret nut, but I like the idea a lot for a zero fret set up. Am I missing something?
Ah, that makes sense. Thanks, John!
That's a beauty, Nev.
What a great creation. I hope you can post a video of it being played in the near future.
Due to current budgetary restrictions the light at the end of the tunnel has been turned off -- sorry about the inconvenience.
Yes I'd love to hear this one!
It's going to be a couple weeks on the sound/video. I'm sending it out to somehone who can produce that better than I can. I'll update.
Joe Brent's review of the Bohemian Redhead...
Nevin... very interesting. One question: why such a large pickguard and wouldn't it dull the top from vibrating some? Just curious because if its purpose is to protect the top from a player's pick that is a large area some of which may never be in that danger.
Jim, Seriously, besides the obvious visual tribute to the Larson Bros. and Stahl cellos, it seems most of what I call folded top designs, including most bowlbacks, have an oversized pickguard, some of them covering the entire upper part of the top on the mandolins. I suspected when I first considered doing this, that the practical reason for folding the top was to reduce the need for structural bracing on the part of the top behind the bridge, and I believe that is an important part of the acoustic design. The two old bowlbacks I've taken apart since (for repairs, not on a whim!) confirmed that; only a flat reininforcement of the center glue joint. If that's the theory, then extra rigidity around and near the soundhole probably helps transmission of sound. I'm no acoustic scientist, or I wouldn't have to try things out to find if they work. Sometimes they don't. This design, on this instrument and on two subsequent ones, has exceeded all my expectations as far as tone, volume and clarity, particularly in the lower register. I hope to have some studio quality recordings up in the next few days.
It is good that the pickguard doesn't seem to muffle the sound.
You're right, Jim that a pickguard as big as this is unusual, and I didn't mean to step on your expertise on bowlbacks. I trusted my source when she said that both of these instruments had exceptonal response, and I guess whatever visual aesthetic appealed to the original customers appealed to me as well. And yes, the induced arch came as a surprise to me when I first saw it, because it seems geometrically impossible or at least counter intuitive. Interestingly, It is also the thing that failed on the two that I worked on.
The pixkguards don't "seem" to affect the sound od Da Daanen's bouzoukis either.
I guess my point is that a pickguard that covers that much of the top might be more sensible for a mandolin esp for a player who has wide stroke. However for a mandocello I can;t quite imagine that a player would have to protect that much top real estate from wild picking unless they had the arms of a overly large primate. :-)
I think the bouzouki pickguard is part of the tradition of ornamentation on those instruments.
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