#14 The Black A4

[jclover]

Someone better than me ought to own it.

Someone better ought to have mine too. But I am sure glad they don't.

[Eddie Sheehy]

I'm starting a home for wayward mandolins to take the pressure off you guys...

[pheffernan]

I'm starting a home for wayward mandolins to take the pressure off you guys...

Starting?

[jclover]

I'm starting a home for wayward mandolins to take the pressure off you guys...

This is exactly the kind of caring, nuturing community that we have here at the Cafe! Thanks so much. Now, very slowly, step away from my mandolins...

[Nick Gellie]

Wayward mandolins! I thought Eddie that your place was for mandolins that were having a brief stopover and reprieve before being sold on to a more permanent homes to many a cafe member.

Any back to the topic of the post. Mike Black builds a consistently good sounding mandolin. I reckon they all sound good but with just slightly different appointments and looks. What amazes me about mine is that really sounds better when being played in a group. It really cuts through in the mid and top end. I was playing my Black #20 at the Nariel Creek Folk Festival in Oldtime sessions and was amazed at how it helds it own against fiddles and other mandolins and the occasional banjo.

[Dave Weiss]

#26 (A-1) sounds pretty darn good too...

[Gregory Tidwell]

How did Greg feel about being traded?

My wife was very, very pleased with the results.

I tell you what though, seriously, #14 is an awesome instrument. I am not the best mando player in the world. As a result I always felt guilty owning the thing. But I felt guilty that I traded it away too. Please do not misunderstand me, especially you, Eddie, who definitelty gave me a fair shake and a fair deal. I am happy the way it worked out. But that instrument really put a mark on my heart, and everyone who came into my home could easily see that it was the most beautiful thing that resisded within my 4 walls. Who ever owns it in the future is really going to have something special. The way it sounds; the way it plays; the way it looks. Just a remarkable piece of artistry/engineering in that mandolin.

I have pretty much entirely switched over to octaves now. I hope to be able to get one of Mike's GBOMs in the future.

[Randy Smith]

Wayward mandolins! I thought Eddie that your place was for mandolins that were having a brief stopover and reprieve before being sold on to a more permanent homes to many a cafe member.

Any back to the topic of the post. Mike Black builds a consistently good sounding mandolin. I reckon they all sound good but with just slightly different appointments and looks. What amazes me about mine is that really sounds better when being played in a group. It really cuts through in the mid and top end. I was playing my Black #20 at the Nariel Creek Folk Festival in Oldtime sessions and was amazed at how it helds it own against fiddles and other mandolins and the occasional banjo.

Nick, my experience playing with other instruments is very close to yours. My A2-Z #25 makes itself heard among with four or five instruments and while keeping an oval sound. Mike's work is wonderful.

Randy

[Nick Gellie]

Randy,

Mine is an A2Z too. I would not expect difference between the sound of an A2Z and an A4, just looks and appointments. I forgot to add that I had a similar number of instruments being played in the session.

[GKWilson]

It's a beautiful looking instrument, Gary. Does #12 have a Virzi?

No Virzi Pat.

[Randy Smith]

Resurrecting this thread as the new owner of The Black #14. This mandolin is my new favorite and I can't believe Mike Black doesn't get more buzz on this forum. If it had not been for a MAS enabling forum member who shall go unnamed (pheffernan) I might not have known about these mandolins. So here is a bump for Mike Black mandolins, maybe someone else will be as happy to learn about them as I was. Thanks Mike, you are a great luthier (and musician).

Jim,

I have Mike's A2-Z 25 and feel just as you do. Mike's work is wonderful--thanks for your post.