Page 4 of 4 FirstFirst 1234
Results 76 to 93 of 93

Thread: The stork is in :-)

  1. #76
    Registered User
    Join Date
    Sep 2002
    Location
    Maryland
    Posts
    2,811

    Default

    By the way, anyone have info regarding a possible beeswax finish to the tops of Italian mandolins, especially De Meglio and Ceccherini?

  2. #77

    Default

    ... and consequently, would one ever consider using beeswax as a way of touching up the slight discolorations and marks of wear that have occurred since the instrument's birth? A most interesting possibility...
    It is not man that lives but his work. (Ioannis Kapodistrias)

  3. #78
    Registered User
    Join Date
    Mar 2004
    Location
    London
    Posts
    32

    Default

    I tried something like that when I got my first instrument (an old Galliano) It was a rather grand sounding stuff with beeswax and turpentine that claimed restorative wonders so I gave it a whirl. It did nothing whatsoever for the assorted dings but at least didn't seem to do any harm either (but for the fact that the darn thing has had a funny smell about it ever since! (thank god I only tried a small area.)
    What about those pure but coloured beeswax sticks that restorers use on scratched antiques - is that what you mean Victor?
    Tony R.

  4. #79

    Default

    Quite frankly, Tony, I would be very, veeeeeeeeery reluctant to put anything on a precious, vintage instrument— and have never done so in the past. I was just following the logical thread (well, at least logical to me ) that a beeswax-finished surface could theoretically be cured with the same matter that was applied to it to begin with.

    Biased as I am for new instruments, however, I do not see any reason to "turn apples into oranges": If an old instrument sounds and plays well, while naturally showing its age visually, well, let it be.
    It is not man that lives but his work. (Ioannis Kapodistrias)

  5. #80
    Registered User
    Join Date
    Mar 2004
    Location
    London
    Posts
    32

    Default

    I agree with you really Victor, I did have some misgivings at the time. It really was a v.small area! The stuff I suppose reminded me of Hills violin cleaner from way back when, so it was bit of a case of do on impulse - think later, (and we've all done that.)
    Tony R.

  6. #81

    Default

    [QUOTE]"...we've all done that."

    Oh, haven't we... #

    Indeed. In fact, my reluctance has kept me from touching up a few spots on the bowl of my Ceccherini where the varnish has oxidized into unseemly white streaks. But I have at least thought about doing something to cover them up.

    So, off I go to a hardware store and get "the best scratch-cover money can buy". #Naturally, you can get this stuff in rosewood-tone, maple-tone, ebony-tone, whatever... But, upon reading the small print (ah, how all the nasty stuff lurks there! ), I find out that the stench this substance leaves behind may be indelible, not to mention that inhalation thereof is carcinogenic, not to mention...

    To make a long story short, the top-of-the-line scratch-cover remains in the bottom drawer of my toolbox.

    Not to mention a rather endearing anecdote pertaining to this instrument: As it came via England, it must have been submerged in Darjeeling tea for the last century or so! I have never come across a more, ehm... aromatic instrument. Who would want to spoil THAT? #



    It is not man that lives but his work. (Ioannis Kapodistrias)

  7. #82

    Default

    A few weeks have passed— sadly, with precious little mandolin playing, as I was sequestered (imprisoned?) in the pit for most of that time, in a production of ALL THREE versions of Madama Butterfly. Phew!

    Now, then: The strings have evened out; no more twang on the D's, no sluggishness to the roundwound A's; all is well.

    In summary: Fine strings, lovely, lovely instrument.

    The only thing that I have not fully come to terms with is the height-compensation of the bridge, the excessive (to me) elevation of the G-side. I am, of course, reluctant to mutilate a bridge that clearly reflects the Calace atelier's best intentions.

    Perhaps at some time in the future I will have an alternative bridge constructed: one possibly with compensation by indentation (on the G and A courses) but of even, level height. As it stands, I fail to see the benefit of such height. The instrument has that lovely, much-praised, velvety Calace intonation, no rough edges, no excessive tempering (in either direction)... truly wonderful. The only flaw becomes perceptible on the G-string, from the 7th fret up. Clearly, the culprit is the height of the bridge on that side and all those inevitable, Pythagorian corollaries. Wouldn't that be helped by an indented bridge? I think so.

    Also, the instrument has the equivalent of what pianists call "Steinway Power": It is strung for battle. (I recall playing Carlo Aonzo's Pandini, how it felt, like a cross-bow ready to shoot, tight, muscular, triggered to a hair's touch...) I suppose that I am having a hard time wrapping my feeble cerebellum around the concept of a "concert mandolin"... OK, it's just me...
    It is not man that lives but his work. (Ioannis Kapodistrias)

  8. #83
    Registered User Alex Timmerman's Avatar
    Join Date
    Oct 2002
    Location
    The Netherlands
    Posts
    1,635

    Default

    Hello Victor,

    Good to hear that the strings work fine on your Calace.

    As for the height of the bridge and more in particular that under the lowest string pair, I would suggest to adjust it to the height most convenient to you together with the needed bridge compensation under both strings.
    That is what performers do (or ask their luthier to fix for them).


    Many greetings,

    Alex




  9. #84

    Default

    Thank you, Alex.

    To be most precise, the problem is not one of the player's convenience or comfort but strictly one of the instrument's intonation: I have no difficulty any more in pressing down the G-strings, as the Lenzner G's are not half as stiff as the horribly thick carbonsteels the instrument came with. So, the comfort-issue has effectively been resolved.

    The continuing problem is that, with the angle of the G-strings (due to the height of the bridge) and the quite significant distance they need to descend in order to touch the frets, the pitch naturally is higher than it should be, past the 7th fret. I may be describing this phenomenon inadequately but I am sure you all understand it better than I am describing it.

    Hence my intention to have another bridge carved for this instrument some day: Perhaps even a flat, even, uncompensated bridge would be just fine; or, to be somewhat more ambitious, one with the scooped out indentations that give the G- and A-courses slightly more string-length than the D- and E-courses. Let us see...



    It is not man that lives but his work. (Ioannis Kapodistrias)

  10. #85

    Default

    for what it's worth...

    i am told that wax will eventually start to attack the glue holding the instrument together. this hasn't stopped me, however, from rubbing a stick of pure bee's wax all over my body of my charango (made from one piece of wood) - being careful to avoid those areas which are joined. the sound isn't altered by this and it feels so much better to hold than when it was covered in shellac.

    the oud is different. it's constructed from many pieces of wood (more or less) like a mandolin and the advise in this case is to have a good solid coating of varnish on the back - to seal all the joins - and leave the face absolutely bare.

    bee's wax should give the instrument a fresh sweet smell. don't know where the bad odour that was mentioned earlier could have come from.

    - bill

  11. #86
    Registered User
    Join Date
    Dec 2002
    Location
    uk
    Posts
    56

    Default

    Hi there Victor. I've finally taken delivery of my Calace model 24. (It took less than 2 years from first enquiry to delivery and a small part of that was due to my own inactivity!)
    I have just re-read this thread and my initial impressions of the instrument are very similar to yours so I was delighted to hear of the improvements you obtained by changing the strings. I was wondering if you still feel Lenzner Consorts are the best to use on your instrument. Also, are you happy with your new bridge?

    Jacky
    jacky

  12. #87

    Default

    Congratulations, Jacky. You and your baby have my best wishes! #

    Yes, Lenzner Consorts are THE strings for me. I am going through my second set on my own, year-old Calace. Of course, I must warn you of my maverick opinion— as usual: others might argue, quite cogently, that the "factory recommended" carbonsteels (e.g. Dogal) are inherently better suited, ipso facto. Upon the arrival of my Calace, it had VERY heavy carbonsteels on; hideously heavy and stiff. I lost them immediately; some might argue that I should have first tried Dogal DOLCE, i.e. softer, lighter, before changing to an altogether different type of strings, i.e. bronzewound Lenzners.

    I did not need to have the bridge changed but merely filed down, on the G-course side, and repositioned for better intonation. It was outrageously slanted, coming out of the Calace shop, and poorly adjusted. Naturally, any time you change brand of strings (e.g. Dogal to Lenzner), you obviously need to change, if ever so minutely, the bridge placement. I also had the "foot" of the bridge filed for better fitting to the soundboard; again, the slight (but annoying) sloppiness of the Calace firm is evidenced in these small, yet striking deficiencies. Even the actual STRINGING of my Calace had obviously been done by someone who knew precious little about proper angles, correct coiling of the strings on the posts... (!)

    The tone and intonation of my toddler Calace is superb, #by modern instrument standards; again, I cannot compare with Larsons, as I have not played one. Pandinis are swell but, strung with Dogal mediums, they give me that odd, truck-driving experience behind the wheel. #

    Please bear in mind that Lenzners, for as much as I love them, sound HORRIFICALLY unbalanced at first; please allow them a couple of weeks to mellow out. The oddity of the wound A's has worn off; at this point in my mando-life, I find it harder than ever to transition from the D's to UNwound A's without a break in tone-color. Again, a maverick in my tastes...

    Also, take joy in the future: you have much to look forward to! The tone of my own Calace has improved and enriched its complexity ENORMOUSLY since I got it. Regardless of personal preferences, it is undeniable that the tone of an instrument played day in, day out, "matures", growing both quantitatively (i.e. stronger, louder, more projecting) and qualitatively (i.e. rounder, fuller, warmer, sweeter).

    May you enjoy your new baby in good health and cheer for a lifetime!

    Cheers,

    Victor





    It is not man that lives but his work. (Ioannis Kapodistrias)

  13. #88
    Registered User
    Join Date
    Dec 2002
    Location
    uk
    Posts
    56

    Default

    Victor, Thank you for your best wishes and advice. The stringing of my instrument was exactly as you describe so I have effectively re-strung it with the original strings but wound them at the post so that the angle is reduced. I'm trying to decide between the Consorts and Dogal Calaces, neither of which are particularly easy to obtain. However, I see I can get the Consorts on Dutch E-bay so shall probably try those first. The bridge is also as you describe but doesn't bother me at present. I'm greatly looking forward to the baby learning to talk and shall report on it's progress. It's certainly very easy to play which is one of my most important requirements.
    jacky

  14. #89
    Mando-Accumulator Jim Garber's Avatar
    Join Date
    Mar 2003
    Location
    Westchester, NY
    Posts
    30,753

    Default

    Jacky:
    Where are you located? If you are in the US:

    The source in the US for Dogal mandolin strings is:
    Classic Bows, Inc., PO Box 81655, San Diego, CA 92138
    Phone: 1-888-402-5277
    email: classicbows@nethere.com
    Talk to Greg Gohde who specializes in mandolins

    RW92B Soft Tension (dolce)
    RW92 Regular Tension (medio)

    The source for Lenzner mandolin strinmgs in the US is:

    Steve Miklas (steve@acousticmusicworks.com)
    Acoustic Music Works, LLC
    2142 Murray Avenue
    Pittsburgh, PA 15217
    412-422-0710
    http://www.acousticmusicworks.com

    I believe that he may still have a few sets left from his last order. He was a Lenzner violin string dealer and went the extra mile for us here to make these available for us.

    I use Dogal mediums on my Pandini -- still doesn;t feel like driving a truck to me, but I am used to carved top instruments as well with heavier strings. I strung my Demeglio with Lenzners and the sound it wonderful.

    Do you have pictures of your new arrival that you could post? I don;t see any mention of model 24 on the Calace site (just 26). I just got a model 24 made in the 1920s and am curious what the modern version looks like.

    Jim
    Jim

    My Stream on Soundcloud
    Facebook
    19th Century Tunes
    Playing lately:
    1924 Gibson A4 - 2018 Campanella A-5 - 2007 Brentrup A4C - 1915 Frank Merwin Ashley violin - Huss & Dalton DS - 1923 Gibson A2 black snakehead - '83 Flatiron A5-2 - 1939 Gibson L-00 - 1936 Epiphone Deluxe - 1928 Gibson L-5 - ca. 1890s Fairbanks Senator Banjo - ca. 1923 Vega Style M tenor banjo - ca. 1920 Weymann Style 25 Mandolin-Banjo - National RM-1

  15. #90

    Default

    I owe Jim an apology: I did not mean to malign his own Pandini. I was speaking more of Carlo's Pandini, which I found very heavily strung when I got a chance to play it; the fact that the top of this instrument was once caving in under the pressure or the strings, and that Carlo had to take it back to Mr. Pandini for reinforcement, goes some way in corroborating my impression. Still, of course, Carlo plays it with unhampered aplomb, and presumably appreciates the very stiffness I find so, ehm, 18-wheeler-like.

    Jim, (present-day) Model Nº 24 is identical to my Nº 26, other than the absence of the floral design on the pickguard. Looking at the specs, I would assume that that is the only difference. Having said that, I would still love to see Jacky's newborn...

    Cheers, (and, again, apologies to Jim)

    Victor
    It is not man that lives but his work. (Ioannis Kapodistrias)

  16. #91
    Mando-Accumulator Jim Garber's Avatar
    Join Date
    Mar 2003
    Location
    Westchester, NY
    Posts
    30,753

    Default

    Victor:
    No apologies needed. However, if you want to make it up to me, let's meet and play some duets, eh?

    Even if you hated my Pandini, that is fine also. Ironically, I decided to bite the proverbial MAS bullet buying that one after first playing Carlo's. His VTW was made in the mid-nineties and I think the later ones Sr. Pandini realized that the heavier strings needed a more robust top.

    You and I, Victor, come from different camps. I am a relative newbie (only a few years) to the bowlback and am used to carved top instruments and other heavy-duty steel strings instruments. You have a long history with the bowlback.

    I was thinking of trying Lenzner mediums on it since it is prob due for a string change. I like the Calace strings, however. I have played one with Thomastiks and those strings IMHO are incompatible with the Italian sound. I believe that one of the ones that Carlo brought last year has Pyramids on it and that sounded pretty nice.

    Jim "Big Trucker" Garber
    Jim

    My Stream on Soundcloud
    Facebook
    19th Century Tunes
    Playing lately:
    1924 Gibson A4 - 2018 Campanella A-5 - 2007 Brentrup A4C - 1915 Frank Merwin Ashley violin - Huss & Dalton DS - 1923 Gibson A2 black snakehead - '83 Flatiron A5-2 - 1939 Gibson L-00 - 1936 Epiphone Deluxe - 1928 Gibson L-5 - ca. 1890s Fairbanks Senator Banjo - ca. 1923 Vega Style M tenor banjo - ca. 1920 Weymann Style 25 Mandolin-Banjo - National RM-1

  17. #92
    Registered User
    Join Date
    Dec 2002
    Location
    uk
    Posts
    56

    Default

    Victor is absolutely right about model 24. My baby is a younger sibling to his. The string guard is very similar but has a slightly different shape and pattern, while the pick guard is smaller and completely undecorated. It's the absolute bottom or the range - no frills model. However, there is beauty in simplicity as well as cheapness! It certainly represents good value for money. I don't have any pictures at present but if you look at Victor's you will get the idea. Thanks for the advise on purchasing strings but I'm in the UK so will pursue other outlets when I have the time. Regards,
    jacky

  18. #93

    Default

    Oh, I certainly do not hate your Pandini, Jim. My impression was from when I once laid down my bronze-strung Ceccherini and tried Carlo's carbonsteel-strung boomer. And, of course, THAT one was a lovely instrument too! I am only speaking of my own, comparative, tactile impressions.

    All the same: I gladly accept my "punishment" and will seek any and every opportunity to jam with you, o mando-brother James.

    Jacky, even in the UK, you can easily get Lenzners from Hendrik's eBay-store; why, he's the proverbial "stone's throw away" from you, right across the water.

    Cheers,

    Victor
    It is not man that lives but his work. (Ioannis Kapodistrias)

Bookmarks

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •