Rigel's 2002-4

[dcoventry]

Hey guys,

There is a real nice G-110 in the classifieds, I'm sure you all noticed:mandosmiley:. It's a little different w/o a pickguard, but cool nonetheless.

So, how were these years for the nice folks at Rigel? I can't find much history, so maybe you all could help out. It's a good topic for a friday.



Dave

[trevor]

I understand Pete is working solo now. That was during the time there was a few people there. I have owned a few and sold even more. I really like them, not an F5 sound - obviously I can't really comment on an instrument I haven't played - but I think of them as a very rich and smooth sound.. if that helps.

[dcoventry]

Trevor,

I see from your sight that you have sold a few and are really a supporter. Thanks for the info, I appreciate it. And yeah, it's hard to really comment on something you haven't played.

[Jim Bevan]

I recently bought my 4th -- had Pete Langell build a 10-string mandola for me, and I went and picked it up at his place in Vermont, and met him for the first time. A talented builder, and really nice guy, and crazy-inventive! He had a pretty much full-size upright bass he'd made, it had a bass guitar neck, you wore it like a bass guitar, and the neck was removable for easy handling! And of course, it sounded great.

[dcoventry]

Jim,

What years were your Rigel's from? Any from the 2002-2004 era? I'd be interested in any thoughts.


d.

[Jim Bevan]

Hmmm... ya know, I don't know. The first two I got, sometime in 2003 and then in maybe 2005, were from ebay, and I don't know what year they were made. Then I had a custom-inlay one built, but that was in around 2007 maybe...

[Jesse Harmon]

I have a Q 95 which I understand was made in 2004 after calling Pete. It is really just a great looking, playing, sounding instrument. I would love to hear any history about the company.

[Jesse Harmon]

Actually mine was Dec of 2004. Why are these years singled out for interest?

[dcoventry]

Jesse,

My original post was about a mando in the classifieds that was made in the 2002-2004 range and I was hoping to get background. I think the Rigel company started small, got quite large, sold some design shapes to Gold Tone, something happened, they closed their doors, and then Rigel was back to being a one man'ish show.

I'm trying to figure out which period the G-110 in question is from. That's the long form of the short question.


d.

[Jesse Harmon]

I called Pete and he was very helpful although the records listed mine as one of the cream top models. It is really a tobacco sunburst with nice flame and a white pearl pick guard. It is really an amazingly beautiful instrument. I am a beginner at mando so I can't really give much experienced info other than I bought it because it seemed to play easier to me and I liked the sound and sustain. It would seem like with the Merlefest headstock it would be easy to find out. I would wonder why no pick guard I guess. It is a cool looking instrument.

[Big Joe]

Pete is a really cool guy. I loved his instruments, and he had a great knack at filling a market that all the 'conventional' builders refused to enter. I loved the colors he worked with. He did one in a Sea Foam Green that I really liked. I was able to get a bit of this finish from him, which I used in building my Tele (you can see it on my website or facebook). It is really cool and I love it! I would be tempted to do a mandolin in that color but convention may overtake my artistic drive :) .

My name is Joe, and I'm a mandolin conventionalist. Whew... only 11 steps to go!!! :) .

Pete's work is great and I always loved what he did.

[dcoventry]

Joe,

What do you think about the bolt on necks for mandolin. I believe the tops can be swapped out, too? Not sure about this last one, but it seems that is the case. The seamless quality of the toptot he boody would indicate otherwise, but I am not a luthier.

As far as convention goes...I really like the tasteful yet non-standard G-110 design and different colorations in general. It's fairly strat like and common in the guitar and bass guitar world. It seems like it would be easier to hold, and that's a honest complaint with f-styles.



d.

[Jim Bevan]

I'm certainly not qualified like Joe is to opine professionally about the bolt-on neck (at least, I hope he's way-qualified :) he'll be doing work in my Rigel mandola when I get to Nashville sometime next week!),
but I can at least add that my custom CT-110 has a Fender-style bolt-on neck ('cuz the fretboard inlay was so fancy that the good folks at Rigel said they never wanted to have to remove the fretboard if the neck ever needed removing), and I have had no problems whatsoever with it.

[Big Joe]

From a personal standpoint and from my lutherie background I have a real preference for dovetail neck joints. That being said, there have been some incredible instruments that have bolt necks. I really am not as excited about non dovetail on mandolins but I have played some incredible instruments with bolt on necks. I don't know that I would advise against one as I may have in my past, but my personal preference is dovetail.

If we stay around this business long enough we learn there is more than just one way to get a job done and done properly. While I may not prefer one thing that does not mean it is not acceptable. It is about more than just how the neck is attached, but how well it is done. A poor dovetail is no better than a poor mortise and tenon or bolt neck. When a joint is done properly and joined adequately it should be fine. I have heard the arguments for each of these and there are those with preference for each of these joints, but I don't know that I would turn down an instrument just because of the neck joint. All other things being equal I would prefer the dovetail, and when we build a set neck instrument the dovetail joint is what we use.

I know this may not be quite as definitive an answer as you may have wished, but I have learned not to be so dogmatic about some things and neck joints is one of them. Bruce Weber and Dana Bourgeios are the reason I'm a bit more open that I was in the past.

[dcoventry]

Joe,

Thanks as always for your insight. I really like the non-traditional looks of the Rigel mandos. The G-110 especially with it's strat looks is just too cool. I have heard only good things, and am OK with the bolt on part of it, but I did want some confirmation.

Thanks again.


D.

[chris scott]

real happy with my A-Natural from 2002. I live where the the climate has many variation and the Rigel, neck and all remain rock solid, Chris

[dcoventry]

Good morning all,

So some Rigels have what looks to be a more integrated neck to body join, while others plainly have a 4 bolt plate to join neck to body. Anybody know why or have an opinion on the differences?

d.

[Joe Mendel]

The ones without the plate on the back are screwed on through the fingerboard dots. I was told this was done to reduce weight more than for looks. It does look nicer, but it's slightly more difficult to remove the neck if you need to. Hopefully you will never need too.

[Dave Greenspoon]

My A Nat is #1774 and I got it from FQMS in April-ish of '03. The tone is amazing, acoustic volume impressive, and playability is unmatched. I can't speak to the sound from a G-110, but the A Nat is a surprising instrument for its plainer appointments. Photos and customization info can be found in my gallery.

Also, re: bolt on necks: I'm less concerned with the traditionalism of the construction and appearance and am much more connected to sound and playability. I understand that Weber has been using bolt-ons for years.

[dcoventry]

Dave,

Thanks for coming back to this thread. I am just stunned by the coolness of that g-110. Just wow. May have to give it a look see.....