The stork is in :-)

[vkioulaphides]

You are absolutely right, Bob— and on all counts.

Today, the baby's 2nd day with me, and the gaga-googoo is getting appreciably more, ehm... perceptible. Let us, then, play on.

On heavy hands: I am habitually very light-handed with all my mandolins, not just this one; my fault, perhaps, in delaying the wake-up call. But you can imagine: If you drive an 18-wheeler for a living, while toying with a MiniCooper on weekends, you probably steer the latter with feather-light fingertips. Reflexes, habits, ingrained over-compensation, fear of crushing the baby with my embrace...

Yes, super-light silverwounds are probably the best type of strings for a modern Greek like your Kevorkian; Marí, in due time, will be just swell. I am glad the original silverwounds are still holding up. You must be (contrary to your advice to me # #not terribly heavy-handed with them or otherwise the winding would have come loose a long time ago. You must also keep the instrument in its case when not using it, which in turn must have prevented corrosion, Nemesis #2 of silverwounds.

Speaking of cases (and not to disparage the Calace shop TOO much), the case this new baby came in is remarkably crude, quasi-incomplete, in that the exterior vinyl is coming loose at various seams, the fit is only approximate... If, on a scale of 1 to 10, I were to give the hard case of your Kevorkian a candid 6 (for being generic but carefully crafted), I would give the Calace case a 4.

I am, however, reluctant to restring the Calace with anything overly light, as the instrument was clearly built with considerable tension in mind. So, perhaps Lenzner Consort some day... I think I may be echoing RSW in his criticism of the Calace shop for sloppiness but, to be truthful, even the actual stringing of the instrument looks like it was done by an amateur under dire pressure of time: winding coming loose at the post, careless knicking of the strings, etc. I guess that, like bratsche, I am a bit too "meticulous" to settle for sloppy.

[Bob A]

Yeah, I tend to be pretty easygoing on a mandolin, since I'm usually the bulk of the audience. Don't need to push the Kevorkian - you know what a raging beast it can become. And of course the main advantage of having too many mandolins is you seldom have to change strings, as one's playing is spread over a large population. Also, everything lives in its case. My hands, too, are notoriously free from acid exudate - they've been washed a dozen times an hour at work for decades; perhaps that has had an effect.

You know, it wouldn't surprise me at all to learn that the Calace shop just strung it up with a broken set. (You did mention the d string seemed almost too thin?). Perhaps they've been resting on their laurels too long, now have spices stuck to their trousers? (Hey Raffaele! Come sit in the tomato sauce a while!)

[vkioulaphides]

Indeed, Bob. While such minor faults are, well... minor, they sour the overall impression given by a very, very nice instrument: What would more careful stringing cost? Why the imbalance between the cabletow-like G's and the undersized D's? Why should the exterior vinyl of the case NOT be tucked in a bit more neatly?

Worse yet, I suspect that these are signs of a systemic negligence, that is to say that I doubt one would get a more carefully crafted case with a higher-end mandolin. I don't see this as a price-point issue (as per my rhetorical questions above) but as one of carelessness.

But (grumbling apart) the mandolin is quite lovely. Let me, then, get my paws off the keyboard and onto the FINGERboard! #

[Jim Garber]

I suppose it is like any other business: you start out with all good intentions and pay heed to all details, building up a reputation over years. Then after achieving a high level of confidence, rest on the laurels of former quality. Instrument companies have their ups and downs: look at Gibson an even Martin.

However, I imagine that there is not the demand for even Calace mandolins that there once was. Still one would hope that the quality would go in before the name goes on.

Jim

[vkioulaphides]

True. I must say, however, that I am not in any way dissatisfied with the instrument itself; it's just the details (e.g. stringing, lining of the case, etc.) that spell "sloppy".

So, here come some images:

[vkioulaphides]

And back:

[vkioulaphides]

Sans foliage, front:

[vkioulaphides]

And, finally the image below. A lovely, lovely instrument. I must also say that, contrary to the earlier talk of chubbiness, this instrument is (true to Calace form) more long and elegant than round: several inches longer from butt to headstock than ANY mandolin I have ever played, graceful in its extraordinary length, wonderful to handle. But, again, size is comparative: If slender means Vega, then yes, this is a whale of a mandolin; if round means "German round", this is but a grain of wheat in comparison. Final analysis: It feels wonderfully comfortable in my arms, plays like a tank charging into battle... As for the (to my taste) off-balance strings, the fix is easy enough; as for the case, well, there IS Crazy Glue, no?

[Jim Garber]

Victor:
Nice to make the visual acquaintance of your baby. I have to say I certainly like the looks of it, esp the sweep of the pickguard echoed by the armrest. I am looking fwd to someday meeting her in person and hearing her voice.

I think the Italian varieties are larger and heftier than the vintage Americans. They definitely do not fit in the std cases meant for Vegas, Martins and the like.

Jim

[Alex Timmerman]

It looks wondeful Victor, thanks for posting the images!

Alex

[vkioulaphides]

Thank you both. Indeed, this instrument is a beauty, if also an understated one. Quite frankly, and considering that I considered this acquisition for something like three years or so, I must say that I like the appearance of model No. 26 more than that of any other of the Calace catalogue: I am in no position to question the (presumptively) superior sonority of the higher-end models; still, the ornamentation on said models borders on the gawdy, IMHO. So, stepping past the "basic" model No. 24 with its non-floral pickguard, the next best choice, to my taste at least, was this one. And Jim, ever sensitive to the graceful line, picked up on the sweep that so enchanted me.

The floral design on the pickguard, albeit simple, has that wonderful quality of turning its "neutral" silver tone into rosy/azure hues catching the sunlight from different angles. And the pickguard does balance the sleeveguard beautifully. I don't really care for those, supposedly "high-end" pickguards that take up half the available real estate on the soundboard; let's be modest, now!

The real issue with the Dogal-esque carbonsteels is that transitions from the G-course to the D-course are a bit, ehm... shocking, due to the wide (and WILD) discrepancy of gauge. But, as (at least I hope) I have always done on the Café, I try to give the Calace shop the benefit of the doubt: If this is "what the master had in mind", well, he might know best; if, on the other hand, a month passes and the stringing is STILL off-balance, "off with their heads!" (said the Queen of Hearts).

Let me, then, pick and listen, listen and pick.

[Jim Garber]

Victor:
I would get on the phone with Classic Bow and get yourself a good set of Dogal Calace strings in the appropriate gauge.

I am sure that lenzner are good as well, tho I have not had the pleasure of trying them. Someday....

Jim

[Bob A]

A pretty baby, Victor, and a pleasant level of ornament. Glad you're pleased with its preogress as well.

For those who might like a bit more flounce per ounce, my pal John Bernunzio has posted a few pics of his personal Ceccherini on the opening page of his website, www.bernunzio.com. (I suspect it's more ornate than your Ceccherini, Victor, knowing your taste in mandornament).

Apples and oranges, of course. Still, I wonder how closely the Calace of today might approximate the Calace of yesterday. I suspect it's too early to make subjective guesses about tonality at this stage.

[vkioulaphides]

Jim, I do in fact have a set or two of Dogal dolce, so I may go that way, as you suggest. My point about giving the Calace shop the benefit of the doubt was just a matter of waiting and seeing (well, actually, hearing) whether this odd stringing has some method to its madness. Lenzners have a whole different tonal "profile" and one I like, considering that bronze is my winding of choice. And the medium-gauge Lenzner Consort strings may have just e-x-a-c-t-l-y the equivalent degree of tension as this oddball carbonsteel set the instrument came with. Let us see.

And, as a reminder, here is my understated —but still very, very beautiful—#Ceccherini. As Bob says about my tastes, hey, these things have far more ornament than any of my basses ever did

[Jim Garber]

Speaking of Lenzners...

Has there been any talk of late of a US distributor? I have emails out to SW strings (a lenxner dealer) and Classic Bows to see who wants our order.

BTW I asked Norman levine but he says Thomastiks are enough trouble for him.

Maybe we have to do another bulk order (which i missed last time) from across the pond...

Jim

[vkioulaphides]

Perhaps those of us who cross the pond habitually should assume an "open purchase order", as it were, and get a dozen-or-so sets when possible, then distribute at cost to the rest of the Café's denizens. A slip-shod solution, of course, compared to proper dealership, but...

Back to "talking size": Ceccherini, from top to bottom, 59 cm.; de Meglio, 60; Calace, a whopping 65! A long, looooooooooong baby

[vkioulaphides]

Oh, by the way, Bob: I just got to look at the Ceccherini at Bernunzio; yes, a gorgeous instrument, perhaps a special order, considering the fanciful embroidery on the back of the neck. And I was delighted to read that it is fully restored.

But, back to cost-benefit analysis: Mine was impeccably restored in the 1970's by an unknown to me but evidently skillful English luthier: new (bar) frets, English-type, curly fingerboard markers —who knows what the original had, or rather was missing when said luthier undertook the restoration?— otherwise structural restoration to 100% perfect playing condition with the least possible intervention in / alteration of the original instrument. All this for $285 plus shipping...

[Jim Garber]

Here is the only other Ceccherini jpeg I have in my files. Prob from eBay, tho I am not sure. It looks pretty much like yours, Victor with maybe the exception of the headstock inlay and (I think) different fretboard inlays.

Jim

[vkioulaphides]

Hmm... very, VERY much like mine, Jim. Evidently a later or higher-end instrument, with (somewhat) extended fingerboard; mine has only 17, which, quite frankly, is all a folkie mandolinist like yours truly will ever need.

What struck me as a revelation, thanks to your posting, Jim, is the fact that the curly, "lying down S-shape" inlays I have on my Ceccherini's fingerboard are i-d-e-n-t-i-c-a-l to the ones on the instrument you posted. Could it be that they are original? OR, could it be that both instruments were restored in England some time in the latter half of the 20th century? Hmm...

[Bob A]

The Ceccherini at the Sinier De Ridder site has a double soundboard, with the secondary board hidden away inside the mandolin. I don't know if this is standard, but I don't recall Victor mentioning such a feature. Anyone have info on this?

(I don't know about the Bernunzio instrument, but I'll be seeing it in person soon, so I'll fill you in after).

There's a strong De Meglio component to these instruments, with the raised pickguard, string holders and radiused edges and all. Or is there some common source?

Imagonna email Marc at Belmando about Lenzners. Mayhap he's looked into the matter as previously discussed.

[vkioulaphides]

Yes, Bob, my Ceccherini also has that double soundboard. I could post an image, if you wish, but there is little room for imagination.

Might that, though, add to the richness and the complexity of the tone? I cannot say...

[Jim Garber]

I emailed a music dealer in PA who carried Lenzner violin strings. he is checking to see if he can get the Consorts. What gauges are we looking for?

He says he may have to order by the doezen, but I can't imagine that that would be a problem, if we assure him we will take them. I will let you know.

Classic Bow does not deal with Lenzner.

Back to the subject: interesting, do all Ceccherinis have that double soundboard? How is it constructed? Is there some connective wood between the two?

I had a violin with two soundboards from the 1880s. I don't know if it affected the sound. of course, the most prominent double boarded mandolins are the Gelas and the Gibsons with Virzi "tone producers." Some swear by them and some swear at them.

Jim

[vkioulaphides]

There are the Lenzner "lights" and the "Consort" set, which have the wound A's. I do not recall the packaging listing the exact gauges.

The light set is just the p-e-r-f-e-c-t stringing for my de Meglio, both tonality-wise and with regards to the slight warp of the neck, which causes the action to be infinitesimally higher than ideal— a winner!

I would surmise that the relatively heavier Consort set, although it is proclaimed to be "for historical instruments", would yield optimal results on the baby Calace. After all, it screams "tension!" by its very structural disposition: a high (thick) fingerboard causing a rather acute angle at the bridge, quite strong bracing of the top, massive machinery... And the Lenzners, ANY Lenzners, would certainly not have the absurd difference of gauge from G- to D-course that the "factory" stringing has.

[vkioulaphides]

Well, the ill-matched carbonsteels are off, Lenzner Consort strings are on. Let us see; too soon to speak before the strings are broken-in. First impression is that, for once, the instrument is ringing along with the strings, not the strings alone. Let us see...

[Alex Timmerman]

Hello Victor, Bob and Jim,

A very nice Ceccherini you have, Victor! From what I have seen of the instruments of this maker, the mother of pearl fingerboard inlay on both the Ceccherini´s shown here looks original.
Most (but not all) of the Checcerini´s I found have a double soundboards. The mostly very good to excellent wood finish and the place and fixing to the side of the bowl and outer top show that the idea of the Checcerini inner soundboard has been a well thought-out one. Not only he tried to improve the mandolin with his double top design, he also made mandolins onwhich the 1st and 2nd strings were strung triple instead of double. #

For anyone at this board who is interested in the better Neapolitan mandolins, an Umberto Ceccherini mandolin has just come up for auction. #Click here to view it at eBay England.


I am very interested in what the Lenzner Consort strings do on your new Calace. Yes, please keep us informed!


Best,

Alex

PS. If it doesn´t work to get Lenzner mandolin strings imported in the normal way, I´d be happy to send a package - on a non profit basis of course - to one of you (Eugene, Jim, Victor) who can than distribute them among the interested people here at this board. Just say which Lenzners and how many you want.