Darn, Thats old news too. I have not been to Nashville in years either. I hope the famous stores like Gruhn Guitars are able to keep going. Elderly Instruments in Lansing MI has a fairly good slection.
Last edited by MrMoe; Feb-17-2021 at 8:49am.
Most of the guitar-bodied 8 strings I've made have been long scale, but I've made a few OM's. Here is one from a few years back..
Its also possible to make a cheaper flat top Session King version or one with a Sobell-style soundboard. There are many options...
Nigel
https://www.nkforsterguitars.com/ins...itar-bouzouki/
Mr. Forester's is certainly loud with a lot of sustain. Very lovely and interesting Instruments! I am still having trouble quantifying Irish sound. While he puts the kettle on I am going to have some Jameson, after which I will be thinking of Glenlevet (attack and release).
The more I listen to octave mandolins, the more I think I'm misguided in what I'm after. I like playing melody on the mandolin and the tenor banjo. But most of what I see/hear on the octave is strumming chords to accompany others or for singing. Does the octave mandolin have too much sustain for melody playing? Does it get muddy sounding?
Try this on for size
https://www.youtube.com/watch?v=6EqVC20WdI0
One I built doing a variety of things
https://www.youtube.com/watch?v=v3yW...ature=youtu.be
Seems to me you may be over complicating things.
How much sustain gets in the way is down to your technique and playing style rather than the instrument itself. This instrument has a lot of sustain:
But because of Adams' technique, it doesn't 'get in the way." And it means if a tune demands sustain, it's there.
How muddy an instrument sounds is down to construction, and that is down to what maker you choose.
Nigel
http://www.nkforsterguitars.com
[QUOTE=nkforster;1810567]Seems to me you may be over complicating things.
How much sustain gets in the way is down to your technique and playing style rather than the instrument itself.
I agree 100%. My Instrument collection is mostly junky old Harmonys. When I play them the result is quite horrible. Pinched and sour seems to be my sound. I have a talented friend who is able to make any of my junkers sing like a Wood Thrush. Even the ones with bad intonation he can sort out with his touch.
Wow, thanks, guys. Thanks for posting those examples. Nigel, I wouldn't do justice to one of your instruments, but I'm now convinced I have to try an OM. I've built three Arm/Navy style mandolins, so maybe I'll look into building an octave. I just ordered a copy of Graham McDonald's book to get a little better idea. I'm aware of Don Kawalek's kits, but I like starting out at a nearby hardwood supplier. Thanks again. Very inspiring.
In my view, after having pondered the "place" of an OM for years and playing one, I think it's a wonderful melody instrument for Irish and Scottish trad tunes. But it needs some room to breathe. It doesn't do well playing melody along with other instruments unless those other instruments are giving it room to be heard, especially guitars that sit in the same range of pitch and timbre.
It's also my belief that it does best with slower tunes, because as an instrument it doesn't "speak" as quickly as mandolin for the faster Irish dance tunes, and slower tempos let you take advantage of the sustain. I use mine for slower tunes mostly because I love using that sustain. I play faster tunes on mandolin (or flute).
Anyway, here are two examples of an OM being used for melody at slower tempos. The second one isn't an OM but it's close: a "latmandola" with the addition of a low bass string.
Bookmarks