Oh, they'll be hot rods for sure!
Steve
Oh, they'll be hot rods for sure!
Steve
In a different, and rather silly string of this Forum, questions arose about using bamboo composite "wood" for mandolin construction.
I'll admit, the question had entered my mind as well. Since bamboo is becoming more available, is easily renewable, and has a stiffness and density similar to red oak, it seemed like a natural thing to test.
Now that we are past April Fools Day, and I've had some time to see how this build matured . . .
This is the initial Stealth prototype (previously shown with it's flat black "stealth" disguise). Top, back, neck, and sides are all milled from bamboo.
Now, after half a year, I'll report, the tone of this instrument is really pretty and "chimey" with good bass, moderate power, and very bright focused trebles. Of course, I really had to think about the top graduations to get a tone balance which would be acceptable. The neck has an adjustable truss rod, and has remained dead-straight.
Milling the bamboo material generated a fine wheat-smelling dust . . . which permeated the shop, lingered, and, unfortunately for me, was really hard on the lungs . . . even with a good dust mask.
Bottom line -- This was a really interesting experiment. One can make a good sounding mandolin using only bamboo, but as long as there is reasonably priced maple and spruce in the world, it seems like a novelty only.
Steve
PS - The second Stealth prototype (Red and Black), currently being played by Jimmy Mattingly, was Sitka Spruce top, Sugar Maple back, Mahogany neck, bamboo rim assembly. His assessment from the studio and stage is that, "It has far better tone, balance, and power than (his) Sam Bush model Gibson." I think the third Stealth build, which goes into finishing soon, is even better.
Whoa!
That first Stealth was a fine sounding instrument! It would be interesting to hear how it matured.
Thanks John!
I found that in a jam, the bamboo top doesn't have the power of a spruce-topped instrument. Sure doesn't deliver the power of the Spruce/Sugar Maple second prototype.
I would love to hear how it records for a really good classical player, because the complexity of the crystal chime of the A and E courses . . . particularly up the neck . . . are really attractive to my ear.
Steve
I dig that box!! Amazing, Steve, as always...
Chuck
Steve, that's just too cool! I love the blue color! Nice tail piece too; it really fits well with the mandolins design!
Thank you, Skip!
I've always loved the "Electric Blue" look on hot rods, so this build has been a dream for a while.
The tailpiece is the result of a long, long, long effort with 3D printed steel. Based on how this one performs, there will still be tweaks, I'm sure.
Steve
I got a call from Andy Statman asking if he could check out the new cobalt blue Stealth while he was in LA for a show. It was fascinating watching him run a "first pass" on the mandolins I brought -- he played hard and pushed to the extremes.
Steve
Justin Harrison is taking the new cobalt blue Stealth out on tour with Nu-Blu for a while. Got this quick video before they headed north to Modesto --
Steve
It sounds great and looks appropriate for the Nu-Blu name! Eye-catching especially for those in the back of an auditorium! Can't wait to hear them on Aug 25 at San Diego.
Steve: these players are all fantastic, but I wonder how many people are like me, wishing I could hear the Stealth (or other Sorensens) played in a gentle, melodic manner, perhaps in the style of Isaac Eicher or Don Stiernberg?
I know, I know, some people are never satisfied
Ron,
Ha! It seems that the Stealth urges players to throw on the power.
Did you take a listen to this video (below) from Danny Roberts in the Sorensen Tone string? Although you might not see it from the outside, his VX has very similar graduations and voicing to the blue Stealth and now has two years of busy play-time on it --
The balance and complexity of response that Danny achieves with this mandolin is my target for ALL Sorensen builds.
To me, the magic of the 1920s Loar-era mandolins is that they can deliver a range of response which satisfies the full spectrum of modern mandolin players in all genres of music. And while my goal is to breathe fresh style into my builds, I am also determined to match that well-established target of excellence in balance, complexity, range of responsiveness, and genre-spanning richness which are exemplified in the finest Loar-signed mandolins.
This is why I describe the Stealth as a "Hotrod" -- because, it starts with a deep love of the traditional old original, and then goes from there with the modern, sleek, comfortable, powerful playability.
Steve
Here's Silas Powell picking some Get Up John the black Sorensen Stealth prototype --
Steve
Here is a YouTube video of Danny Roberts talking about the cobalt blue Stealth --
I previously posted a link to this post from Facebook and realized that it may not be accessible for everyone.
At just over a year old, I believe that this mandolin is maturing nicely and is in quite capable hands!
Also, here is a video of Silas Powell on the original black Stealth doing a bit of "My Last Days on Earth" in honor of Ol' Bill --
Steve
Wow :0 so powerful and open!
current joys:
Gibson F-5G | Northfield A5 Special | Kentucky KM-150 | Mid-Mo M-70 Octave | Martin HD-28V | Gold Tone BC-350 | 5-string Mandoblaster | Les Paul | Strat | Piano | Bongos | Tacoma Thunderchief | old Dobro | Some amps & microphones
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