|
|
|
|
Shutt Mandolin | |
|
Dear Luthiers,
The Power of the Web.
The worldwide web has brought about a lot of changes It's changed the way we share information. It's changed the way we do business. It's changed how we do our shopping. It's changed how we communicate with people around the world. It's changed the way we publish content, and much more.
For folks who write technical books like I do, the web offers a new dimension to printed pieces that wasn't available before; the web provides a readily-accessible library for updated information.
We have such a place in our web site and call it "virtual content." It is an area dedicated to additions and changes to my books so that each book's content can grow as new ideas and techniques are added. And, as much as I hate to admit it, it is a place where I can call out an error that a reader has discovered, and a place where I can provide the correct information.
When you have the time, you might want to check out the virtual content pages. Merely go to our home page www.siminoff.net and then to "Books by Siminoff." Each book as a link to its own corresponding virtual content page. You might find some valuable info there!
Thanks for building with us...
Roger Siminoff
|
|
What if a Shutt was in the barbershop?
Things might have been really different if on that magic day in 1941, Bill Monroe had spotted a Shutt mandolin in the barbershop window in Miami, Florida instead of discovering his trusty sidekick, Gibson F5 Sr #73987.
You'd be building very different mandolins, and I'd be providing you with very different parts.
And, it very well could have happened. While we sing Lloyd Loar's praises for having developed the first f-hole mandolin with arched soundboard and backboard, an elevated narrow fretboard, and staggered tuners, Albert Shutt had already patented his mandolin design with these features before Loar began working at Gibson.
Patented in March of 1910, Albert Shutt's mandolin boasted all these features but they didn't have tone bars or braces, and the air chambers weren't tuned (a major feature that set Gibson's mandolins apart). The design was not only ahead of its time, but it was ahead of Gibson's time. But, unfortunately, Topeka, Kansas-based Shutt didn't have the marketing power, and possibly lacked the funding, that Gibson had when they set out to build f-hole mandolins in the early 1920s. And, the term of Albert Shutt's design patent was only seven years placing its expiration at 1917, just in time for the folks in Kalamazoo to get on the band wagon - so to speak.
Only our imagination can tell us what Rawhide would have sounded like with Monroe's fingers wrapped around Shutt's neck.
|
Product Highlights
· Fret Setting Tool - Here's a tool that makes fret setting easier. Our #830 Fret Setting Tool is made of aluminum with three flat sides and one side with a precision-ground 12" radius (so you can use it for either radiused or flat boards). The tool is "sacrificial" - that is, it takes the beating without marring the surface of the frets - and it will hold up for 30-40 fretboards before you have to replace it. Part #830 is $13.95 plus $7.50 P&H.
· End Pins - These beautifully turned and polished pins are made from either Gaboon Ebony or Indian Rosewood and are shaped to fit into a tapered hole in the tailblock. Ebony pins are Part #600 and are $5.50. Rosewood pins are Part #601 and are $6.50. P&H for either or both pins is $7.50.
· Pearl Position Dots - The original F5 fretboards featured ¼" diameter mother-of-pearl position dots, and that's just what we have. They come in a set of 6. (Inlaying them is easy; just drill a ¼" recess, apply glue, and press them in place.) Part #555 is $2.25 and the P&H is $7.50.
NOTE: Orders combined with other parts or tools will have lower total P&H cost. Please consult the Order Form page in our web site for a P&H table. |
Luthier's Tip: Solid Work Surface
Your work surface is a really important place. It should be made of something that can be cleaned easily, resists glues and chemicals, is flat and square, and is sturdy and solid enough to provide an excellent and stable support under pounding and hammering.
One of my favorite surfaces is a piece of 1" aluminum that is 20" wide and 18" deep. I use it for locking up mandolin rims, hammering fretwire into fretboards, clamping pieces down that need to be routed or chiseled, and so on.
The plate sits on top of a sturdy table and together they don't move under all of my pushing and pulling.
And, when it is time for a cleanup, a scraper or single-edge razor blade removes all glue residue, and I can clean the surface with any cleaning compound up to and including lacquer thinner.
Of course, an aluminum plate like this can be a bit pricey (I was lucky to have kept it from my printing and publishing days - our letterpressman used it to "lock up" type on). Another great surface would be a large piece of thick polished stone like granite or marble. | |
|
Product of the Month: Tap Tune Microphone
We have found an amazing dynamic microphone that is not only great for tap tuning, but will work as a wonderful instrument mic as well. The microphone is made in Germany by Behringer and has a cardiod pattern that we have modified to make it about 10% more directional. Comes with a bolt-on stand and a 6' XLR to ¼" phono cable. Part #826 is $43.50 - and for the month of April you can deduct $8.50 for an April-only special price of $35.00! Limit one per customer. P&H is $9.50. See the microphone here. |
|
|
