Hello Everyone, from BRW!

  1. BRW Musical
    BRW Musical
    Hello everyone, I just wanted to let everyone know I've joined this group, and apologize for not doing it sooner. I had some trouble with my MandolinCafe account and could not get logged in when this group got started and then I just let it slip by me but I finally got it all resolved so here I am.

    At any rate, if any of you have any questions or just want to chat about my mandolins, I'll be here and I look forward to talking with you.

    happy pickin',
    Ben Wilcox
  2. Jim Nollman
    Jim Nollman
    Hi Ben,

    Nice to see you onboard. What number mandolin are you working on today?

    I have the 3-point oval mandolin. #65. I'm curious what you had in mind when designing this unique shape. I was first attracted to it, almost entirely because of its incredible beauty of design and choice of woods. I had been looking at lots of Lyon and Healy's, but was concerned about them not being loud enough. Then I heard one of your 3 points on a recording. I bought mine from the guy who played my future instrument to make that same recording.

    How many of these 3-points have you made? Did you have a specific sound or music in mind? Or was the shape determined by other instruments, such as an attempt to emulate the old Lyon and Healy, and with an extra point added primarily for keeping the instrument in place while playing, sitting down?

    I find the sound to be unique. I get a lot of compliments regarding its warmth and the huge pop of notes everywhere across the sound board. That very distinctive pop makes it especially loud for an oval hole. It's most unique character seems to be its chop. Because the bass is so lively, (almost like a mandola) I have had to develop a technique of using both chording fingers for damping in synch with the heel of my left hand to keep the bass from getting away from me. When its done correctly, the result is a deep warm woof, more like a Saint Bernard then the usual F5 terrier, if you get my drift.
  3. BRW Musical
    BRW Musical
    Hi Jim,

    With the LT-H4 I was going for something a bit reminiscent of the Lyon and Healy mandolins but with a lower third point (therefore the LT in the designation). I have only made a few of them (3 maybe..I'm not sure at the moment!), but they were made with a specific sound in mind. I wanted to make something that had some clarity and pop like an F, but had more of a bowl-back sound to it. It think it is a very unique sound and it can be very suitable for the right style of music or particular piece, but in a way it's sound is so unconventional that it really doesn't suit a lot of players needs, so I haven't made many. If I wanted I could make a much more traditional oval sound by changing the top shape a little and going with a lateral brace, but for these ones I've made I think they have a really cool sound....if you know how to play them!
  4. BRW Musical
    BRW Musical
    Oh...and you are right on about getting chop out of it. You can get a bit of a true deep chop out of it with a little damping, but it's not your traditional F-Style chop. Mostly though I think these mandolins shine on soft intricate pick work, or with loud fast rhythmic playing back back by the bridge. But definitely keep experimenting and seeing what you can do with it!
  5. Jim Nollman
    Jim Nollman
    These days I'm mostly playing traditional tunes as a duo, with a piano and occasionally as a trio with either a fiddle, and less often a button accordion or a flute. The LT-H4 really started to shine when we started slowing down the usually fast reels and jigs, and then reconstructed them via counterpoint and a constantly shifting syncopated chop. So yes, I agree, the unique pop of this instrument does indeed enhance intricate pick work and intricate rhythm.

    I think I've corresponded with both of the other owners of these 3 points. One of the mandolins is almost identical to my blond top, and the other one has a red top, and no purfling around the oval.
  6. BinkWms
    BinkWms
    I have Thomastik flat wound on my two point and love the feel and sound. What are ya'll using? I play mostly Scottish, Swedish, old time with fiddle players. Also added a tone guard, although I'm not sure I can tell any difference. Thanks.
  7. MandoPheel
    MandoPheel
    Right now I'm also playing Thomastik (mediums) strings and I like the rich tone. I've played Jazzmando JM-11's as well and liked the "pop" they had in contrast to the Thomastiks. I've been little disappointed in the volume at the bass end of the flatwounds I've tried and would be interested in trying some J74's. Anybody played J74s on a J-16?

    Phil
  8. QCS
    QCS
    Hello Everyone-
    I recently picked up an FT-MS Blackface that has a passive pick-up installed. Does anyone have this set up on one of theirs? This must have bee installed during construction, I presume. Anyone familiar with the equipment needed to plug the mando into an amp? I have heard of small pre-amps that are worn on your belt, but have not seen any up close. Any advice would be greatly appreciated. QCS
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