With the cult status of the Strad-o-lin, why hasn't anyone re-used the name on a current production? Or is it such a weeniefied thing, only seven of us get it?
Weeniefied, nothing. These are the real thing, and we can't see why they're not selling for half a million dollars each. Anyway, there's 22 of us, not 7. In answer to your first question, I think there were Stradolin amps and clarinets a few decades back. Some shrewd operator must have seen the appeal of the name, but put it on the wrong gear. I guess someone must still own the name. Nice though to think of Strads as an extinct species.
The name was used in the 70's and 80's on some less than stellar imports. Someone might still own the name. If someone could make them like the original and sell them as cheaply as the originals sell they might have a market. Otherwise, it's left to those of us that have an interest.
"As cheaply as the originals" would be a stretch, unless you mean taking inflation into account. In that sense, aren't there any number of imports, and a couple of domestics that are the Strad-o-lins of the future? I know bupkus about imports, but say Mid-Mo's and maybe the Redlines?
Maybe the Mid-Mo/Big Muddy. I haven't seen Steve's Redlines up close and personal but keep in mind that these aren't arched top instruments, they have their own sound. The problem with manufacturing something new where there are quite a few originals around is that you have to compete with the original product at used prices.
David, you are one of the ones carrying on the tradition of building good simple instruments for players who are concerned more about sound than fancy appointments. I haven't played one of yours, but some of the modern flattops are terrific instruments at a very reasonable price, and I bet yours are too. But I've sometimes wondered why no "first world" operation is building pressed-top mandolins like the Strads. Is it a process that requires a lot of tooling up front? No doubt some of the imports are good instruments, but they all seem so anonymous (or corporate) to me.
Thanks Bruce. I left myself out because (1) mine weren't particularly cheap, and (B) I've sort of bowed out of mandolins until I get all the guitars done. You've nailed my building style though. I bet a heated "press-top machine", unless you could find something used, would be a pricy item. I couldn't imagine facing doing the same mandolin over and over all day, being an artiste' and all.
Recently I've seen pressed arched top guitars showing up on the market. Perhaps someone has found a way to bring it back.
I'm sure the plywoods of today are available with all sorts of woods & glues...will there be a search for best tone among them?
