Darryl G. Wolfe, The F5 Journal
www.f5journal.com
this is really cool...i'll be watching...is there any way of documenting this on video too?obviously not the actual work,a slideshow?but maybe of some of the builders thoughts?inspection? just a thought...this is going to be a busy thread...good luck and have fun to everyone involved..
Here is a pretty cheesy shot right after I got the neck. It fit virtually perfect. It is not glued in here. I got both pieces off eb@y about 1-1/2 yrs apart. I guess there is some possibility that they were originally together, but I doubt it. The date on the photo is 10/2003..ha
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
You an count me in on the project. In addition to any work involved, I'd be interested in writing an article or two on it.
I've been keeping it under close wrap for the better part of a year now, but I'll throw out a little tease for folks. If you like this idea, there is a much larger project involving a big cast of some of your favorite builders that I've been spearheading and laying the groundwork for almost a year. I'll release the full details to everyone as a Christmas present in a few months.
j.
www.condino.com
Darryl, that sounds good, bring it on.
James, that sounds intriguing.
Gail Hester
We need a drooling emoticon...
Chuck
I am up for doing the binding. Got pretty much the same thing on my bench right now.
Someone want to make a new heel button? I can do that too, if need be...
If you don't have all you need already I can probable do a little work to it. Just bout any job still needed.
John Hamlett
www.hamlettinstruments.com
It looks like a great educational tool. I hope the questions keep coming as the project evolves. I'm wondering about the finish. It would make a nice pumpkin. And the plates, can someone examine and tune the top and back? Are they very good already?
Warning: I'm no luthier, but I have owned a 1920 A3 for many years. I think if you want the paddle head sound, you can get it pretty cheap. There are just alot of them. I'd think the process should include conversion to snakehead gradations on the top, which could end up necessitating the use of x- or tone-bar bracing. The little brace under the bridge location may not be enough if it were recarved.
There is a certain "feel" to these old wide-necked tubby mandolins. If you go to a 15-fret "A4-hybrid" design, I'd consider a narrower nut. Then again, I guess this would warrant a new neck and that's alot of work, eh?
This will be fun!
f-d
¡papá gordo ain’t no madre flaca!
'20 A3, '30 L-1, '97 914, 2012 Cohen A5, 2012 Muth A5, '14 OM28A
From the great posts on snakehead plate thickness dimensions that she's had up this year, I'd say Gail's got the numbers down well. If you want to convert the headstock to match, I'll take it on. I do grafts and conversions on mandolins on a regular basis. None of them are or were forgeries. If I'm working out a new headstock design, some days it is a lot easier to take one of my personal instruments and v-graft or hybrid on a new headstock rather than build a whole new neck just to try out a subtle design change before it gets worked into a customer's model. Complete scroll grafts are common on historic upright bass restorations when the neck has been trashed; I'm also a double bass builder and nerd.
As this progresses, it will get fun for all of us. I just hope we don't start getting calls from customers who are patiently awaiting their new build complaining, "If you weren't working on that %$#@&%! collaborative project with your buddies, mine would be finished by now!!!!"
j.
www.condino.com
Interesting project Darryl. Let me know if I can help, but it looks like the buss is pretty full already.
I think the mandolin should be kept close to period design, at least until Gail has had some time to read it.
If you want a project to go adventuring with, why not make a new one?
Actually thats not a half bad idea Michael. Why not make this one a more or less straightforward 'restoration' and then go a little pie in the sky and do a new one for next year? It'd be a great yearly fundraiser, I think, for the Cafe. I'd be game to help whatever needs doing, although I'm obviously not in the same league as the rest of you guys.
Agree..close to period design. I will send it to Gail on Monday and we can go from there
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
very cool idea, I'm looking forward to following this...
1924 Gibson A Jr. Snakehead
2004 Elkhorn A-5, #3
2016 White F-5, #6
How about an internal label with names and signatures of all the restorers? That would also be the place to acknowledge the Cafe.
In addition, a CaseNotes journal with additional comments from the restorers would be nice.
Emando.com: More than you wanted to know about electric mandolins.
Notorious: My Celtic CD--listen & buy!
Lyon & Healy • Wood • Thormahlen • Andersen • Bacorn • Yanuziello • Fender • National • Gibson • Franke • Fuchs • Aceto • Three Hungry Pit Bulls
Martin this is from Darryl's first post in this thread.
"I will also provide some sort of signed label and a certificate will denote all of the participants and their part in the effort."
I think the CaseNotes idea is a good one.
As for Buddy's idea of a team or committee built new instrument I know for certain that the Musical Instrument Maker's Forum have done it successfully at least once with an electric bass guitar. That was over 5 years ago. I think they may have done it before with another instrument as well.
After their success with the electric bass they decided to do it again with another bass. They started it (at least the planning) over 5 YEARS ago. The wood was acquired almost 5 years ago and sent to the first builder. There has been significant progress on the instrument in the intervening years but the bass still is not quite finished. Somewhere along the way it lost momentum and is creeping along.
Their current build is still being documented in a thread at the mimf.com in the Jazz Session section. The thread start date was July 15, 2004.
Last edited by Bill Snyder; Aug-28-2009 at 6:16pm.
Bill Snyder
This is an interesting project indeed. I am no builder and have nothing to offer except my own opinions, rejection of which would not offend me at all.
For several years I have had an idea that one day I would like to commision a mandolin or have one of my existing Gibsons re-built with modern designs but still retaining the vintage vibe.
My thoughts were that it would be really cool to have a mandolin that at first glance was an understated rather normal looking vintage mandolin, but upon closer inspection displayed some quality adornments and workmanship that really set it apart from the pack.
Things like full tortoise bindings; a tortoise (or black MOP) headstock inlay below the "The Gibson" logo; unusual but understated dot materials; and all of the "modern" appointments like radiussed board, new vintage appearing tuners, etc,,,
My thoughts were a mandolin with a very nice vintage, but somewhat muted initial appearance whose real intracacies only become truly apparent upon closer inspection.
A sort of classy understated display of really quality workmanship.
Sort of the opposite of the Rhinestone look.
With such an interest displayed here by some real quality builders I think that one of the challenges might be in trying to keep the mandolin from becoming "overdone"?
Anyway,,, just throwing it out there.
You never know, I might end up being a bidder.
Emando.com: More than you wanted to know about electric mandolins.
Notorious: My Celtic CD--listen & buy!
Lyon & Healy • Wood • Thormahlen • Andersen • Bacorn • Yanuziello • Fender • National • Gibson • Franke • Fuchs • Aceto • Three Hungry Pit Bulls
How about finish colors...
sunburst? tobacco-burst? natural? white face? blacktop? Other?
Love the idea of French polish!
What about bracing? Does this little guy have the Gibson single lateral brace? If so, how about an x-brace?
Darryl, More pictures! Give it the Mandolin Archive treatment!
Daniel
Tony Hannock
..long live the small fish..
gibson #28855 1916A
hester #026 F4, hester true A5..#034
joe gallacher '1' size and 00-21 12 fretters.
gibson lg-0 '68 (wood bridge, solid spruce top)
eastman slope shoulder jumbo (E10SS)
'63 strat, gibson '68 ES-335, guitar mill tele '53 Black Guard
Dang! What a great idea! I'm no luthier but I'd like contribute to this project in some way.
Would it be possible to set up a donation account (maybe via PayPal?) to help defray the cost to the volunteer luthiers of materials, shipping , and what have you?
I'm with Mandozilla - I would certainly like to contribute in some way and I like the idea of the Paypal method. If there is some other way (digital editing for example) that would be cool, too.
Steve
http://lutheriefromscratch.blogspot.com
Two things are infinite: the universe and human stupidity; and I'm not sure about the universe. - Albert Einstein
I don't think that any of the lineup of luthiers that have volunteered would accept anything for their portion of this effort.Would it be possible to set up a donation account (maybe via PayPal?) to help defray the cost to the volunteer luthiers of materials, shipping , and what have you?
This is a very nice and generous idea however in the spirit of the project, giving something back to the cafe, maybe a donation to the Mandolin Cafe in the name of the "restoration project" would be a better way to contribute.
Last edited by Gail Hester; Aug-30-2009 at 2:55pm.
Gail Hester
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