Calace questions

[Bob A]

With the cornucopia of the net beginning to disgorge Calace instruments, some questions come to mind. Of course there is little dispute about R.C. being perhaps the foremost 20th century exponent of the instrument, what with luthiery, composition and virtuosity all entwined, acquiring an instrument from his hands is certainly a thought which moves many of us. To that end, some info is desireable.

Is there a period of greater, or lesser, desireability? I'd envision the 1901-~1920 era as perhaps a focal point, a time when his powers were at a peak (or given the 2 decade sccope, plateau might be more appropriate). Is this borne out by reality?


Is there a model and material that stands out as a particular desideratum? My tastes incline toward maple bodies and less-ornamental design, and I'm not overfond of assymetric soundholes, but does any of this really matter?

Is there a readily-available source of printed info on the instruments? Catalogs etc are plentiful for American instruments, though not necessarily very helpful in determining particulars other than defining scope of production and images of various models; still, I've not seen much of this sort of thing.

Those of you fortunate enough to have owned or played these instruments are encouraged to contribute anecdotal info and comments. I'd ultimately like to add a Calace to my collection, and info aiding in making a selection would be very helpful, as would info regarding the more obscure sources for same. (The liutomagico.com site pictured a lovely maple Calace from about 1913 which looked like my ideal in this endeavor: of course it has been sold).

There are hidden details regarding such things as bracing, the fact of which I'd noted from Alex's book (thanks again!) but the significance of which is unclear to me. However, my limited experience leads me to think that asymmetric bracing, wherein the main braces of the table diverge rather than remain parallel, makes for a more responsive and better-sounding instrument. Is this true, generally, and if so, why is it not more widespread? Is it a feature found in Calace instruments? I've seen it in Embergher, Pecoraro and Vega (Pettine) models - seems to go with higher-end instruments generally.

Are there considerations other than the above which should be taken into account?

Please share your knowledge and experiences with those less well-found in this area. Thanks.

[Jim Garber]

Yes, I eagerly await the answers to Bob A's questions. In addition, I am also interested in the evolution of the style designations to the ones that Calace has on their site today. Do they still correspond to those of the turn of the last centruy for instance?

Jim

[RSW]

I've played instruments from 1910, 1911, 1920, 1965, 1967, 1998, 2001. The models varied from good orchestra types to top end solo models. My impressions were that the best instruments were made under Raffaele's watch. My favorite was a decorated model from 1911 that belongs to a non-player and had suffered from being kept in a garden house for 20 some years. This instrument responded wonderfully and had a balanced tone. The 1920 example belongs to a colleague of mine and I had it for a couple of weeks. This instrument was fantastic as well but the frets were badly placed for some odd reason and it was nearly impossible to play it in tune (in was some years ago and I didn't know very much about setup back then). I've had a chance to play a couple of interesting mandolins from the 60's that actually sounded very good even though the bracing at this point is starting to be quite heavy (massive) and the workmanship didn't compare well with the early years. The instruments of more recent vintage I simply do not like in their raw state (as sold from the shop). I believe they can be improved by adjustment and replacing the nut, bridge and tuners, for example. I've played as many fine sounding mandolins with back ribs made from wood other than maple that I wouldn't be too prejudiced on this count. As for the asymetric soundhole, who knows? There are so many variables that can affect sound and playability it simply is hard to make generalisations. Of the vintage instruments, I find the Roman instruments (Embergher, Egildo, etc.) seem to survive the ravages of time and playing better than the neapolitan instruments (Vinaccia, Calace, etc.). As you know, I have a fondness for Vega and Lyon & Healy mandolins (non-bowl) but the former tends to be less flexible in tone (too much of a specific character, lovely as it is). Certain Embergher's almost achieve my ideal in sound but the neck and fingerboard is much too narrow for me and I don't quite have the depth of the bass register that you get with Calace, Vega's or Vinaccia mandolins.

[vkioulaphides]

Food for thought... Thank you, Richard.

I have, as previously mentioned, considered having the bridge on my 2004 Calace adjusted, reducing the E-to-G slope somewhat, as the height on the G-side does affect intonation negatively in the higher (fret) positions. If the results are satisfactory, OK; if not, I might consider having a new bridge constructed, this time compensated not by height but by scooped-out, additive string-length on the G- and A-courses.

As for the nut... I have no significant complaint(s) of it, other than the fact that, considering the width of the neck itself, the nut could have given me a bit more wiggle room in the lower positions (see thread on "Déformation..."). For the sake of comparison, my Ceccherini keeps the outer strings reeeeeeeally at the edge of the fingerboard, making complex chord-formations quite feasible, even for my E.T. fingers. #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif #But I am reluctant to make too many changes to the instrument before I make some (positive, I hope) changes to my playing thereof.

The tuning machines are fine, structurally at least; they do have a rather cheap look to them, and one that is unworthy of the otherwise nice instrument. Again, however, I have no grievance that would rise to the level of calling for a change. Then again, my standards are lower —and consequently more easily satisfied— than yours.

[Bob A]

Thank you for your eval, Richard. I must apologise for not checking references: apparently the asymmetric bracing was indeed a Calace feature. I suspect the playable survival of Roman instruments in general stems from a more solid heavy construction than was used on the Neapolitans. Still, there is a responsiveness, a surprising thrilling volume of sound that comes from a lightly-constructed instrument that I find delightful, even if it dooms the instruments so built to an early untimely end.

Apparently, and perhaps unsurprisingly, the sense seems to be that there are excellent instruments made in many styles and levels of ornament. This is in keeping with an observation of Victor's elsewhere, that a low-end instrument from a quality shop can be a splendid instrument, indeed. This gives one hope that buying and old Calace "in the blind" might produce a worthy example, so long as age and ill-use have not compromised it unduly.

I had not thought of my Vega as being inflexible in tone, but in fact it does have an innate delicacy that one is reluctant to try to overcome. Still, it does not stint on volume.

One wonders if there are modern instruments of professional caliber being made as lightly today? Not necessarily as one-off special orders, but as standard fare? It would be a shame to lose that sound as the old examples self-destruct, with newer makers crafting overbuilt heavy instruments.

Printed info from the old Calace shop must be available somewhere. I know many old US manufacturer's info has been reprinted over the years for the edification of collectors. Does anyone know if this has occurred with the great Italian ateliers?

[Jim Garber]

Surfing around, I discovered a Japanese mandolin orchestra site from Hiroshima. One of the members took a tour of the Calace workshop (http://homepage1.nifty.com/camellia/Calace1.htm). I don;t understand the japanese but it is nice to see the photos, nevertheless. There is a second page (http://homepage1.nifty.com/camellia/Calace2.htm) as well.

Jim

[Bob A]

Now that an Embergher book is in the works, information on other European makers, especially Calace and the Vinaccias, would be welcome. Certainly the info exists: finding it, in English, would be helpful.

[Eugene]

Calace, in particular, should be relatively easy given the shop still operates and must have a body of history--old ads, production and model info, descendents of the shop's originator, etc.--readily on hand.

[Martin Jonas]

Speaking of Calace, I'm not sure I've seen this (http://www.fana.co.jp/calace) link before. Lots of beautiful high resolution photos.

Martin

[vkioulaphides]

Lovely! Looking at the pictures of the shop, I can smell the molten resins! #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wink.gif

And the Japanese site certainly has better-definition pictures than Calace's online catalogue itself! #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/rock.gif

Thank you, Jim and Martin.

[Jim Garber]

Speaking of Calace, I'm not sure I've seen this (http://www.fana.co.jp/calace) link before. #Lots of beautiful high resolution photos.

Martin
Nice cases also! I emailed them to see what the prices are. Looks like about 20,000 yen or so tho I imagine the shipping might be half again as much.

Jim

[Martin Jonas]

Looking through that site, I see that they have great photos (http://www.fana.co.jp/am-case.html) of what seems to be the Eastman fibreglass case. That gives a better idea for those who were interested to hear from Gordon at Eastman. The price indicated in Yen works out at $200, but the prices for the A- and F-style cases in the US are much lower than that, so one hopes that the bowlback cases will follow suit.

Martin

[Jim Garber]

I wasn't quite sure if those were the same as the Eastman cases but they might be, The other cases look pretty good too.

Jim

[EastmanGordon]

These are in fact Eastman cases, we have a link here that shows the prices and you will see that the prices here are quite a bit better than they are in Japan.
eastman case company (http://www.eastmancasecompany.com/)

We are in the process of bringing bowlback cases over here as well, we thought that there was little demand in the US but mandolincafe alumnus have persuaded us otherwise. I am not sure of the price on that one yet but it will be posted as soon as we get it.
Hope this helps,
Gordon

[vkioulaphides]

Glad to have you among us, Gordon. Yes, we alone would probably absorb a few dozen cases. Beyond that, it is not TOO wishful thinking to see that there is, in fact, a growing interest in bowlbacks in this country.

Think of it positively: Homemade contraptions and vintage clownshoes apart, you have zero competition!

[Jim Garber]

Gordon:
I emailed you directly but thanks for answering my question online. Will you be at CMSA and is there a possibility that the bowlback cases or at least a sample would be there with you?

I can almost gurantee you one sale from me if my Pandini fits it.

Jim