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News

Citterns under construction.

After a long period building only guitars, I’m now working on citterns again. I hope to have two ready for spraying in the next few weeks. I’ll post pictures soon.
Double-decker guitar.

I’m also working on my first dreadnaught in several years, and my first ever 14 fret dreadnaught.

Here it is ready for its fingerboard, after which I’ll shape the neck, camber and fret the fingerboard, make the bridge, and shape it to the soundboard.

After final sanding it will go to David for lacquering.


Instruments currently under construction

At the moment I have four instruments under construction, an unusually large number for my shop. Two are New World guitars (one with a Douglas Fir soundboard, the other standard Italian spruce) and two are citterns, one four course and one five course.
And Angie, yes, the four course cittern is yours.


http://www.sobellguitars.com/news-page/page/6/

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Making a virtue of necessity

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African Blackwood New World

Last weekend I visited Martin Simpson and saw and heard the African Blackwood New World guitar he collected just a week or so ago. He used it (along with both MS Models) at his Queen Elizabeth Hall gig in London last Thursday.

Here is Martin trying to remember how to finger C major in standard tuning.

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These are the first citterns I’ve built for a couple of years, ready for David and the spray booth. They’ll be there for around a month, after which making and fitting the bridge, fitting the tailpiece and stringing up will take another week or so.

My apologies to those who’ve been waiting so long, but I’m making good progress. The next two citterns/octave mandolins are now also under construction.

When I’ve made inroads into my existing orders I plan to re-open my mandolin family order book.

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14 fret Dreadnought

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Oiling fingerboards

Over the last week I’ve been reminded about the importance of oiling ebony fingerboards.

Ebony is a very dry wood which can readily absorb moisture from (and lose moisture to) the atmosphere. When this happens the ebony can expand or shrink more than the neck wood and thus bend it back or pull it forward. Much as a bi-metal strip bends at different temperatures.

The problem can be solved by oiling the fingerboard. This gives it a water resistant layer which inhibits the take-up or loss of moisture.

For many years I used lemon oil for this, but the latest acid-catalyst lacquer is not resistant to it, as were earlier versions.

If you were lucky enough to obtain a bottle of Squirroil (the manufacturers of which seem to have disappeared), this is ideal. Otherwise I use walnut oil, a light oil which penetrates the ebony to some extent. I would also expect proprietory brands of guitar fingerboard oil to be effective.

Rosewood contains more oil, so should not be as likely to suffer this problem. Not that oiling rosewood fingerboards can do any harm.

This issue re-surfaced a week or so ago when a guitarist in the south of France called and said that after over a year of a completely stable neck, it had pulled back to the point of serious string buzz. This was just after the start of a period of heavy rain and humidity.

While adjusting the truss rod solved his problem, another change in atmospheric humidity would almost certainly require him to reverse this adjustment. Proofing the fingerboard on a regular basis should be a better long term

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New finishing technique

The two citterns shown on 6th October are back from the spray booth. David’s finishing has always been the best, but he’s now using newly available polishing soap and mops which give even more shine.

Для перевода в данном случае английского текста в интернете есть программы переводчики, а так же функция перевода есть во многих современных браузерах.

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New Jacobson "Leviathan" - Mandocello/GOM instrument design

Marty Jacobson - Oct-15-2013, 10:16pm

Hello everyone. I've had a lot of interest in some kind of Guitar-Bodied Octave Mandolin for a while.

I've decided to develop two new mandolin-family instruments. The first one, which I'm currently calling "Chimera", is for shorter scale instruments and higher tunings, accommodating scale lengths from 17" to 22" or so, depending on the аpplication. Examples: Mandola, Octave mandolin, short scale cittern, Waldzither, "tenor lute", etc.

The larger instrument, which I'll post images of here, accommodates scales from 21.5" to 26" or longer, and is designed to work well all the way down to a second-octave C (which is the lowest string on a cello).
Examples: Long-scale bouzouki, Mandocello, tenor guitar, Long scale CGDAE cittern, "liuto cantabile" (24"), etc.

It is called "Leviathan". I had numerous problems to solve in designing this, and have spent who knows how much time working towards this over the past two years.

My primary goals were to produce a design which was:
1. Appropriate for me to manufacture, minimizing time number of components
2. Ergonomically improved over other Guitar-bodied mandolins out there.

A mandocello is not a guitar, and there are differences in how most people play them.

What I have come up with is a design which is I believe is visually striking, but most importantly, it just feels right. It is a pretty huge instrument, but in the arms it feels like a much smaller instrument, and is well balanced. If an individual prefers, it can be played the same way as a guitar-bodied OM using the upper waist, or they can use the leg cutaway.

I've gotten a lot of valuable feedback from many members of the forum, thаnks to everyone who contributed.

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Marty Jacobson - Oct-16-2013, 9:27pm

Just for fun, here are a few permutations with no cutaways, just a neck cutaway, and just a leg cutaway.

I know the leg cutaway looks strange, but once you hold it... it just feels right.