Originally Posted by
Eugene
I think, in part, it's a generational thing, (1) that the North American tradition of building Neapolitan-type mandolins essentially died in the mid '20s. Current players thus aren't connected to a living tradition. (2) Also, all bowlback-type mandolins are relatively fragile. Relatively few survive in a functional state without deliberate attention. (3) Finally, the mandolin was hugely popular during its previous "golden era." Most of the instruments made were built to appeal to the cheap tastes of a fickle, amateur population at large. Without new professional-quality instruments being made, most to have survived will be those rather base pieces.
If you look at the historic recording industry, when the U.S. tradition was thriving, that bias evaporates. North American professional players very often used U.S.-made instruments. Pettine performed and (much past his prime) recorded with Vega. Siegel, well, it's hard to say, but apparently endorsed and performed–recorded with Washburn and the initial Indiana incarnation of Regal. Weekes on Brandt. Etc. Recently, Richard Walz's Mandolin Treasures from the Golden Era was recorded using an old Vega. Chris Acquavella uses a German-type piece (as well as historic reproductions) and Julien Martineau a Roman-type by Brian Dean's Labrade. Etc.