Recent classicals

[Dave Cohen]

Here are some photos of some recently completed classical mandolins. These are short scale - 13.1", similar to Neapolitans. One has an Engelmann top with Bigleaf maple b/s/n. Triim, headplates, pickguard, and binding is koa, with ebony fbd and bridge. The other mandolin has a Western red cedar top, with Claro walnut b/s/n. Headplate, fbd, bridge, and pickguard are Macassar ebony. Finish is lacquer on both.104019104018104020104021

These are off to their owners tomorrow.

http://www.Cohenmando.com

[cayuga red]

Here are some photos of some recently completed classical mandolins. These are short scale - 13.1", similar to Neapolitans. One has an Engelmann top with Bigleaf maple b/s/n. Triim, headplates, pickguard, and binding is koa, with ebony fbd and bridge. The other mandolin has a Western red cedar top, with Claro walnut b/s/n. Headplate, fbd, bridge, and pickguard are Macassar ebony. Finish is lacquer on both.104019104018104020104021

These are off to their owners tomorrow.

http://www.Cohenmando.com

Beautiful! Works of art. I would like to see more photos. Thanks for posting!

[Dave Cohen]

Might as well post some mandocello pictures here as well, since it is primarily a classical instrument. This is a "C#" mandocello, 24.9" scale length. Top is redwood, with Eastern black walnut b/s/n. Headplates, pickguard, and points are koa Tail inlay and truss rod cover are spalted maple. Headstock and 12th fret inlays are of white terns, done in white mop. Fbd and bridge are W. African ebony.
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http://www.Cohenmando.com

[margora]

Hi Dave,

Beautiful instruments -- as always!
Will you be at CMSA this year in Regina?

[Dave Cohen]

Hi Bob:

I am planning on being at CMSA Regina, but not as a vendor. I'll try it this time as a player, maybe last chair, third mandolins section? It is just too expensive and too difficult to cross a border with a truck full of instruments. The last Montreal convention cost me an unexpected $150 at the border in duty. The Canadian Govt eventually returned that, but only after several months, and I almost could not convince my bank to deposit a check "from a foreign government".

Don't know if I can cut it or not as a player, but CMSA does seem pretty tolerant, so I'll give it a try.

http://www.Cohenmando.com

[sebastiaan56]

Completely gorgeous Dave. I love how you have updated the classical era mojo without losing the aesthetic.

Can you comment on the sound differences between the Spruce and the Cedar. I would expect the cedar to be a bit sharper with a bit more punch?

[margora]

"I am planning on being at CMSA Regina, but not as a vendor. I'll try it this time as a player, maybe last chair, third mandolins section? It is just too expensive and too difficult to cross a border with a truck full of instruments. The last Montreal convention cost me an unexpected $150 at the border in duty."

Didn't think of that -- well, glad you are coming as a player and looking forward to seeing you!

[Dave Cohen]

Sebastiaan56:

They sound pretty similar. The densities of both tops were very close to each other, ca 0.38g/cm3, or specific gravity 0.38. The tap tones and feel were also very similar. It is also hard to compare because the back/sides/neck woods were so different. The spruce-topped mandolin has bigleaf maple b/s/n of average density (ca 0.5 g/cm3), whereas the cedar-topped mandolin has Claro walnut b/s/n of rather high density (ca 0.6 g/cm3). Despite all that, the mandolins' sounds are very close to each other. Maybe a little "darker" for the cedar/walnut mandolin? Frankly, though, I don't trust my ears to be able to discern the nuanced difference between the two; they are very close.

http://ww.Cohenmando.com

[fatt-dad]

I knew there was some reason to visit you this week. . .

Just beautiful instruments! I mean they looked interesting when I saw them in construction, but as finished. . . Just great!

(still a big fan of the mandolin you built for me too!)

f-d

[Jim Garber]

I am also curious, Dr. Dave, how these differ in construction from your std oval holes. Did you change the bracing and the top carving to achieve a different tone?

[JEStanek]

Very lovely, indeed! Have fun playing at CMSA.

Jamie

[Dave Cohen]

Jim, no changes in bracing. Changes in bracing account for only small differences in modal properties. Because of the different scale length, the bridge position is different. I move the soundhole toward the heel end of the body in order to keep it from being too close to the bridge. I want some plate area between the bridge and the soundhole, both for structural reasons and because of mode shapes. The end result is that the geometry of the whole plate is somewhat different, but the carving concept is very similar. Both bracing pattern and carving are simply adjusted to accomodate the differences in overall plate geometry. More important, extra attention was paid in both of the pictured mandolins to how the mass is distributed throughout the instrument.

http://www.Cohenmando.com

[stevem]

Looks fantastic.

[Bill Clements]

Stunning instruments, Dave.
Classical players will sit up and notice for sure!

[Jim Garber]

My ears tend to like the tonality of mandolins usually used for classical playing and I have liked many of your mandolins, Dave, so I look fwd to playing one of these someday.