With only a computer screen realization of the picture JeffD posted from the The Loar's website, I can take only crude measurements, but when I blow up his picture and measure the gaps between the nut slots in pixels, which is the only unit available, then if the photo is dead-on perpendicular, the nut slots seem to be at best equidistant (10 pixels on center here). It actually appears that the E-string slots may be a little further apart than the others.
Then I look at my Weber F-style and the difference in the spacing of the slot pairs is instantly apparent, even without taking a caliper measurement (which I did).
So, subject to the caveat above, it really does appear that the nut is cut incorrectly.
== JOHN ==
Music washes away from the soul the dust of every day life.
--Berthold Auerbach
I wanted to clarify something here.... The mandolin I was referring to in my last post is not a The Loar. I see this on all sorts of brands and not all are inexpensive instruments. In the image the top G string is actually pulling it further out of alignment, but even after I restrung, the string is almost touching the top G post and there is no clearance if a string is would around the post.
Robert Fear
http://www.folkmusician.com
"Education is when you read the fine print; experience is what you get when you don't.
" - Pete Seeger
Yes, it is easily overlooked, and sometimes even better manufacturers' (and builders') instruments exhibit the same problem.
Anybody ever wonder why Martin guitar tuners don't line up straight the same distance from the edge of the peghead? Here's your answer.
John Hamlett
www.hamlettinstruments.com
I think 'The Loar' could solve the problem buy using worm over tuners. ...if they could be bothered.
As long as we are speculating, I looked at some early 1900s mandolins and pictures of Gibson Loar mandolins. They all have the strings touching the previous tuning posts and therefore each other, due to parallel alignment. The nut slots are spaced properly. It creates a nice tight gathered look, much like the rigging on an old sailing ship, and it may have had some structural advantages for keeping the peg head wood thin. I notice too that these were not designed for the big strings we use today. Maybe The Loar simply copied that design without anticipating the possible buzz factor due to larger strings.
I was looking at some old paddleheads in the classifieds last night and noticed the same thing, since the tuners actually spread apart. Maybe this is a problem Gibson was trying to solve with the snakehead design?
John Hamlett
www.hamlettinstruments.com
I wouldn't say you're an idiot...I'd say that you taught a bunch of newbies a valuable lesson. Thanks for sharing!
Time flies like an arrow. Fruit flies like a banana.
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