Is it true that Collings started building mandolins during the guitar downturn when synths ruled the pop music scene? That they needed the extra instrument output to keep their workers working?
If so, what an interesting course of events.
Is it true that Collings started building mandolins during the guitar downturn when synths ruled the pop music scene? That they needed the extra instrument output to keep their workers working?
If so, what an interesting course of events.
Silverangel A
Arches F style kit
1913 Gibson A-1
I never heard that. But I did hear that they started making ukes to keep things going at some point. Someone correct me if that's way off.
Svea
According to the "Our Story" section of their website, they began making mandolins in 1999. That was not a particularly "Synth" period in music. It was not long before the "Brother, Where Art Thou?" era.
Well, Bill Collings began his Austin building days in the shop of Tom Ellis ! I believe that Tom mentored Bill in the early days and helped him get started and refine his craft ! Tom must have been a great teacher !
Just as bands like Nickel Creek were emerging. Mandolin began to become more popular, and the choices were abysmal. The same for ukuleles (with Jake and Victoria Vox) although the uke scene seems to have cooled off a bit. Making used allowed Collings to use some nice wood they had or could buy that was too small to make guitars from.
"your posts ... very VERY opinionated ...basing your opinion/recommendations ... pot calling ...kettle... black...sarcasm...comment ...unwarranted...unnecessary...."
And in one of my interviews with him, Bill Collings told me he had made "dozens of dollars" building ukes.
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Amazingly enough ukes saved the CF Martin Company back in the early 1900's. I'm assuming that's where that came from. Bill seemed to build what interested him (and that apparently wasn't just musical instruments). I don't think he really cared much about what else was happening. We should all live our lives that well.
https://www.nytimes.com/2017/07/28/b...d-guitars.html
"It's comparable to playing a cheese slicer."
--M. Stillion
"Bargain instruments are no bargains if you can't play them"
--J. Garber
Bill made more than 50 concert-sized ukuleles before putting them into production. The man was relentless in pursuit of making quality and well made instruments, and the company is determined to continue that process.
"your posts ... very VERY opinionated ...basing your opinion/recommendations ... pot calling ...kettle... black...sarcasm...comment ...unwarranted...unnecessary...."
Yes, I was thinking of Martin's uke story!
Svea
See volume 1 issue 3 of the Fretboard Journal.
Considering Bill's standards and the quality with which they do anything they do, that rumor sounds insulting to me, and should not be repeated.
Chris Cravens
Girouard A5
Montana Flatiron A-Jr.
Passernig Mandola
Leo Posch D-18
I wonder what happened to all the prototype instruments (mandolins, ukes, etc) that were made before the finished products hit the stores? Would be neat to see how they progressed, etc.
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The prototypes were sold through their dealers.
"your posts ... very VERY opinionated ...basing your opinion/recommendations ... pot calling ...kettle... black...sarcasm...comment ...unwarranted...unnecessary...."
I have some questions for the Collings “experts” here. 1. What is the date of the first Collings mandolin? 2. What were the first mandolins called (MT, MT1) or ? 3. If anyone here has a prototype or an very early production one, will you please post some pictures?
Thanks
Short?
writing about music
is like dancing,
about architecture
This is a fascinating concept, it would be interesting to see prototype instruments that didn't make it to retail outlets.
I met a guy at the Pearl Texas bluegrass jam two years ago who was playing an Ellis, I asked him about it and he let me play it - a well-worn, great sounding instrument. He said that Tom had pulled it out of a closet and given it to him when he needed a mandolin. It was a prototype instrument and one of several that Tom had kept at home and used, evidently. I got to play that instrument, but didn't get a photo and don't remember the guy's name. He told me that he had been Sarah Jarosz' music teacher when she was a child. Just a good old musician from the Austin area.
When you think about it, many of the really good luthiers are bound to have good instruments lying around that for one reason or another they felt were not suitable for the market. There are probably quite a few out there that are serviceable instruments with a quirky history. If anyone has a Collings with a "special" story, would be great to hear it and see it.
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I can see where someone striving for a signature tone would not want a bunch of development prototypes out in the world. Someone would play one thinking that was the tone of the final product.
Silverangel A
Arches F style kit
1913 Gibson A-1
Br1ck,
My thoughts exactly. Makes me wonder if the early efforts don’t often get destroyed or at least not labeled.
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Things I know about Collings mandolins.
They brought in Mike Kemnitzer as a consultant to help get the details right. Mike said after that experience he had to get one of those CNC machines.
The first year or two of the A models up to about the time the F's were rolled out had the tonebars reversed from what is normal due to a mis-reading of the print. Were you looking at the print from the back or from the top?
Will Kimble spent a lot of time with Bill Collings developing their mandolin line.
"your posts ... very VERY opinionated ...basing your opinion/recommendations ... pot calling ...kettle... black...sarcasm...comment ...unwarranted...unnecessary...."
The bass bar would be closer to the bass f-hole. When I look in the bass side f-hole on mine I can barely see the bar but not on the treble. Or you can stick your finger in your f-hole.
Gunga......Gunga.....Gu-Lunga
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