Build Update #2: Dammann Mandocello
Build update #1 saw the top nearly completed, with rosette done, and bracing begun. The sides & back had also had some work done. I missed an update due to being wicked busy the past month, so this will really combine what should've been updates #2 & #3.
Back bracing in process:
http://imageshack.com/a/img904/3601/8Y2hT2.jpg
Top bracing completed:
http://imageshack.com/a/img540/2792/iXPQl8.jpg
Sides mated to top:
http://imageshack.com/a/img540/3576/irPXYS.jpg
I thought this was a cool touch. It won't be visible when the instrument is completed, but I'll know it's there:
http://imageshack.com/a/img661/6738/TPrm9X.jpg
Fingerboard beginning to take shape:
http://imageshack.com/a/img905/286/kFTNoo.jpg
Fingerboard purfling in cherry (same as back/sides) with rosewood binding:
http://imageshack.com/a/img661/1117/m6snok.jpg
Speaking of binding - back & sides with rosewood binding:
http://imageshack.com/a/img907/1839/ZDbv03.jpg
Fingerboard complete:
http://imageshack.com/a/img673/8317/zEiKol.jpg
Frets being installed:
http://imageshack.com/a/img913/6201/E9c1Ki.jpg
Frets being trimmed:
http://imageshack.com/a/img540/7777/ZfVDx7.jpg
Re: Build Update #2: Dammann Mandocello
Wow, that is gonna be a looker for sure! Can't wait to see more progress pics! :popcorn:
Re: Build Update #2: Dammann Mandocello
What a monster set of photos! Beautiful. A LOT of top bracing -- more than I have ever seen for a mandocello but the shaping of them is just amazing --so graceful!
I wonder what the thought is on all that top cross bracing -- just for structural support or are they part of the sound/tone strategy like the X-braces?
Sure will be interesting to hear this one!
Re: Build Update #2: Dammann Mandocello
Quote:
Originally Posted by
Bernie Daniel
Sure will be interesting to hear this one!
Bernie, some more details here: https://www.youtube.com/watch?v=wW09_9CBv0Q
Re: Build Update #2: Dammann Mandocello
Quote:
Originally Posted by
Troy H
Thanks Troy -- I was aware of the Dammann 5-course -- very impressive builders. For some reason I assumed this a standard (4-course) mandocello being commissioned. In any case, the Dammann seems to be a terrific instrument -- the idea of an adjustable neck is amazing. It will be interesting to see if the idea catches on with other builders. It might be just the thing for a high tension instrument like a 10 string mandocello with a total string tension probably exceeding 280lbs.
In any case the bracing is a beautiful thing to see. The early Gibson (K-1 through K-4) mandocellos had only a single transverse brace below the sound hole! There is a reason why so many of them experienced top failure.
Re: Build Update #2: Dammann Mandocello
Quote:
Originally Posted by
Bernie Daniel
Thanks Troy -- I was aware of the Dammann 5-course -- very impressive builders. For some reason I assumed this a standard (4-course) mandocello being commissioned. In any case, the Dammann seems to be a terrific instrument -- the idea of an adjustable neck is amazing. It will be interesting to see if the idea catches on with other builders. It might be just the thing for a high tension instrument like a 10 string mandocello with a total string tension probably exceeding 280lbs.
In any case the bracing is a beautiful thing to see. The early Gibson (K-1 through K-4) mandocellos had only a single transverse brace below the sound hole! There is a reason why so many of them experienced top failure.
Bernie,
Thank you - I'm very excited about it. The build process has been a truly great experience, and if I could, I'd do it again in a heartbeat. I'd really like a baritone uke, which Ray is also working on developing. Maybe next year.
Anyway, as for the bracing, you'd have to ask Ray. My first instinct is to say it's because of the top-mounted bridge vice a more traditional heel plate + floating bridge, but I could be way off. I'll ask Ray if he has an account here & can reply. Otherwise, I'll try to gather his thoughts & post them up.
Re: Build Update #2: Dammann Mandocello
Quote:
Originally Posted by
Bernie Daniel
I wonder what the thought is on all that top cross bracing -- just for structural support or are they part of the sound/tone strategy like the X-braces?
Hi Bernie, Troy mentioned to me that you were curious about the bracing scheme so I thought I should pop in to answer your question. In, short the answer is that both are true. With a pinned bridge flat-top and an added course all that bracing is necessary for long-term dimensional stability and since I can't build a loose enough top and big enough body to support a low C at the fundamental I need to go for overtones instead so the extra cross-stiffness helps me shape the harmonic content so that'll happen. The first attempts used a smaller X-brace and only one brace for the fingers and lower cutoff bar but the bracing has gradually gotten more robust after several premature neck resets. With carved arch-tops I'd feel comfy with a standard tone bar or single-X brace, but the arch is doing most of the work in those cases.
