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Dear Luthiers,
Say goodbye to the postage pain...
When we first began promoting products through our web site, we searched for a way to make the postage calculation easy. From this, we developed a basic P&H (postage and handling) charge for each order, and an "XtraPost" charge for what needed to be added when ordering parts that required additional postage.
We learned from you that the "XtraPost" was clumsy to calculate, and we often found ourselves sending refund checks when customers paid too much for postage or calling folks to request additional postage when they didn't pay enough. It also made our website look busy (something we work hard to not do) because our pricelist had a column for the "XtraPost." To make a long story short, our "XtraPost" idea just wasn't cutting it.
We took a hard look at it and came back with a plan that copied what most mail order folks do (and do well). They use a simple table that calculates the postage and handling based on the total of the order. So, we tested a bunch of invoices to see how well that table worked both for us and for you, and it was better than the "XtraPost" method we were using. Simple, easy, fair. (There may be some unusual items that are a lot heavier or a lot lighter than those rated in the postage tables, and we'll advise if that happens.)
So, next time you look at our web site, you'll see that we said goodbye to "XtraPost" and have added a simple postage table to our order-form page.
Thanks to your input, you helped us clean up our act and our web page!
Thanks for building with us...
Roger Siminoff |
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String break angle - an important topic
This was an interesting year of communications. One question that came up several times was about how to make a tall bridge to compensate for a dovetail neck joint that was accidentally crafted with the wrong neck pitch.
My answers typically led us through a discussion about "string break angle," and I found myself thinking of the old sailing phrase, "Don't raise the bridge, lower the water!"
Although raising the bridge to compensate for severe neck pitch will solve the problem of achieving a playable action at the fretboard, it poses a real threat to the soundboard. Here's what happens:
The "string break angle" is the angle the strings make when they pass over the bridge, and this angle is very important bacause it determines the download on the soundboard at the bridge feet. A 16° string break angle is ideal. And, on a properly set up F5 mandolin with a 6° neck pitch, the resultant string break angle will be 16°. If the instrument is fitted with D'Addario J-73 strings, the download on the soundboard will be 45.5 pounds.
It is important to realize that a change of 1° in neck pitch will result in an increase of a 4° string break angle! So, if the neck angle accidentally gets set at 7°, the string break angle at the bridge increases to 20°, and the download increases to 62 pounds! (An Adirondack Red Spruce mandolin soundboard, properly graduated with tone bars attached, will rupture at about 80 pounds.)
None of this has anything to do with the physical height of the bridge - it is directly related to what angle the strings make as they bend over the bridge, and that determines how much of the load is directed toward the soundboard.
The problems associated with getting the neck pitch correct when setting dovetail joints - especially when doing them by hand - is one of the main reasons I strongly urge considering the "V" joint. It is much more forgiving and allows greater flexibility in setting the joint when arriving at the correct neck pitch. If you are interested in learning more about the various loads associated with string break angles, you might want to take a look this string break angle study in our web site.
If you are using dovetail joints, take great care in getting the neck pitch right. A pitch of 6-1/2° is fine, but I would refrain from using anything greater.
And, if you find yourself in a pinch with a neck joint you've put together that presents a string break angle of more than 16°, email or call me and we'll talk about various ways to solve the problem.
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What's New?
· Tap Tuning Microphone - We've been testing microphones, looking for the ideal one to use for tap tuning. Our goal was to find a mic with low noise, excellent mid-range sensitivity, and one with a somewhat constrained cardiod pattern at a reasonable price. "Cardiod" refers to the shape of the sensitivity pattern when the mic is viewed from its side. (In the case of a cardiod mic, the pattern is heart-shaped, thus the term "cardiod.") We're happy to announce that we found an excellent German-made microphone that is very well constructed and reasonably priced. We make a slight modification to it to reduce the cardiod pattern so it is a bit more directional, and we add a bolt for attaching it to your workbench or stand. The microphone, which comes with a 3' XLR-to-1/4" phono cable to plug into your compressor, can also be used as a great instrument mic. Part #826, $43.50.
· One-Piece Bridges - Have you been looking for a replacement one-piece bridge for your early Gibson instrument? We produce accurate replicas in Gaboon ebony, with intonation-corrected integral saddle. These bridges must be fitted to the soundboard to achieve the correct fit and are made tall enough to allow you to shape the base down to get the correction action. Available with or without the hole for the fingerrest support pin. Complete with set-up instructions. This is part #306 and costs $20.00
· Virzi Tone Producers - The Virzi Tone Producer was a device developed by the Virzi Brothers and featured as an option on Gibson mandolins in the mid-1920s. The Tone Producer is a wood disc that is supported by two feet attached to the inside of the soundboard. This disc provides a warmer tone by producing a greater range of the overtone series. We produce a replica of this tone producer with the "VIRZI" name stamped as on the originals, along with a replica of the original numbered Virzi label. Virzi Tone Producer kit is our part #390 and comes complete with stamped spruce disc, shaped feet, installation plate, and instructions. $30.00. |
Luthier's Tip: Making your linings fit flush
Because of the way kerfed lining is tapered, it is sometimes difficult to get it to fit flush to the rib when gluing it in place. Whether you use traditional clothespins or metal spring clips, one way to ensure that the lining seats flush to the rib is to alternate the angle of every other clip as you glue the lining in place. By doing this, you will ensure that pressure is being placed on the lining along its upper and lower surfaces. You will also find that you can get more clamps into a smaller space because each neighboring clamp will not interfere with the next. | |
Product of the Month: Siminoff Router Adapter
In 1967, I developed an attachment that went onto hand-held motor tools to facilitate the routing of the binding channel around the edge of mandolin bodies. The first version was a slip-on model for the early Dremel® moto tool. Following that, we developed a thread-on version for the later Dremel® tools, and we have been producing them ever since. While this tool has been copied, it has never been equaled. The #851 Siminoff router attachment will fit the newer Dremel® models, Dremel 400XPR, Grizzly #H3117 hand tool (interference fit), Buffalo Tools hand tool, Craftsman (9)61139, and Craftsman (9)61121. As we close 2007, I wanted you to share in celebrating the adapters's 40th Birthday, so I'm making our #851 adapters available to you at a special 20% savings through January, 2008. See coupon below. |
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