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August Update 
 August 2014
In This Issue
Marketing, the "Old Way"
Product Highlights
Luthier's Tip: Attaching a V-joint
Q & A: Reader's Ask
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Upcoming Luthierie Camps...

F5/F4/H5/H4
 Construction:
       July 26 - 31, 2015

Tap Tuning:
       TBA

Tools & Fixtures
        TBA
 
Please visit our website or email Kali for more information about these programs. 

Dear Luthiers, 

Roger

 

I hope the summer weather has been favorable to you. Seems like Mother Nature is playing some feast or fury tricks on us with both excessive heat spells, and nasty storms. By all means keep you and your family safe first, but if they are all well, do consider how your instruments, wood, and work in progress are stored through this very hot and dry for some, and wet and humid weather for others conditions.

I'm happy to report that we've experienced exceptional success with the release of our Straight Up Strings for mandolin. We've had a lot of pickers test them, and a huge number of folks come back for Tri-Paks and Six-Paks with comments ranging from "these are great" to "I finally found MY strings!"

And for those of you who have been asking for heavy sets, your dream has come true. As you will see in the product section below, you can email us to get on the announcement list for heavy Straight Up Strings for mandolin which we plan to begin shipping the week of October 6, after we launch them at IBMA's World of Bluegrass.

The heavy set has the same compensated download feature and phosphor bronze wrap wire that our medium sets have, and are produced by the same manufacturer here in the United States. As with our medium set, the gauge selections take the Equal-loudness contours (ISO 226:2003) into consideration, but on the heavy set we raise the down pressures (and gauges) of the lower notes proportionally greater than the higher notes in a carefully plotted curve so that the human perception of the change in the intensity of the E, A, D, and G strings is balanced.

In other words, the gauge and tension of the E strings doesn't change but the gauge and down pressure of each of the other strings increases proportionally. It's a very exciting step in designing strings to get a balanced and enduring tone.
Just a reminder that if you do comparisons to other strings on the market, gauge alone does not tell the whole story - especially for wound strings. As you may recall from our email newsletter last month, there are many combinations of core and wrap wire selections to make up a specific wound gauge. The key is the download at the bridge for those string pairs that sit near the posts versus those pair that sit in the middle of the saddle. See our YouTube video on the concept.

If you have tried our Straight Up Strings, I want to give you a hearty "thank you," and I would really like to hear from you personally on your experience with them. We've put a huge amount of time and research into Straight Up Strings and your feedback (good or bad) is very important to me. Please drop me an email once you have tried them. If you have not tried them, all you have to do is go online to our site and with a couple clicks, they'll be yours.

And one more thing about strings... we realize that Priority Mail (our standard way of shipping through our on-line store) can be expensive if you just want one set of strings. So Kali is happy to send you single sets (only) of strings through regular First Class Mail - just email her after you order your single pack, and she'll refund you the difference.

As we wrap up festival season, we always look forward to Plymouth Bluegrassin' in the Foothills on September 19-21. Hope we'll see you there!

Thanks for building with us!

Roger

P.S. We've posted some new videos on our YouTube channel, be sure to check 'em out!
Marketing, the "Old Way"

In 1959, when I began to build conversion banjo necks, I prepared a brochure to let people know what I did and how to contact me. The effort was really "marketing 101" because the only way I could distribute the brochures was by hand, on a one-on-one basis. There were no "lists" available for banjo players for me to mail to, the worldwide web didn't exist, and there was really no place to advertise (Peter Kuykendall created Bluegrass Unlimited in 1966, Hub Nitchie [1929-1992] began Banjo Newsletter in 1973, and I founded Pickin' Magazine in 1974). My marketing universe was the New York metropolitan area, and my marketing community was the handful of pickers I knew, plus those banjo pickers who were friends of friends somewhere else.

I owned a graphics and printing company at the time, so preparing and printing a brochure was a rather effortless task. When Siminoff Banjo and Mandolin Parts became an official entity in 1962, I was plagued with the same inability to connect with the market at large and my services were relegated to the growing community of banjo and mandolin pickers I knew on the East Coast.

When Pickin' Magazine was launched in 1974 - an outgrowth of my avocation of bluegrass music and my vocation of graphics and printing - I took advantage of the magazine as an advertising vehicle and ran ads regularly to promote my banjo and mandolin parts business.

Our first official catalog was produced in 1974. It was an 18-page palm-size catalog that heralded about 20 products. It was followed in 1978 by another palm-size catalog that featured about 30 products. Catalogs were sent in response to our ad in Pickin' but still, my marketing universe was comparatively small.

Fast forwarding to 1998, when the worldwide web was no longer a fantasy, our business grew exponentially as we began to reach customers on a global basis. This included all of the United States, of course, but also Canada, Australia, Japan, Italy, England, Norway, Brazil, Spain, and more. The worldwide web kept its promise and we were literally marketing "world wide."

In 2005, my daughter, Kali knew a web "guru" who she felt could change the paradigm of how our website looked, worked, and felt (the previous version, which I developed, really needed help). Russ created a beautiful new look and a real online store for us, and re-worked our whole site (which, by the way, he and Amy just re-worked it again to be more powerful, and to be iPhone, iPad, and similar device-friendly).

Coming out of the publishing business - my "day job" for many years - I always believed in the virtues of a printed catalog. Not that I don't believe in computers - I do - but putting on my publishing hat, I've learned the difference in a reader's experience and "dwell time" when looking at a printed piece vs a web page. I've studied the differences in "push" and "pull" marketing (push is where something is stuck in your hands to read, and pull is where you have to dig for it, such as doing a Google search), as well as other demographic and psychographic issues related just how people research, shop for, and buy things.

Amy is a strong marketing person, and she and I have many deep discussions on how people shop online compared to how they shop from catalogs, and just how that experience is different and how it is the same. After a few years of back and forth on the subject, she said to me "Let's do a catalog of our key products and services. It will let our customers see us in a different light (literally and figuratively) and give them another way to think about what we have to offer." With that comment, we set out to create a meaningful and information-packed 32-page full-color catalog, and I am excited to let you know that such a catalog now exists.
Kali is popping them in every order, so expect to get one the next time you get a package from us. Can't wait? Well, email your mailing address directly to Amy and she will get one out in the mail to you.

We hope you find the information in our new catalog to be helpful and informative.
Product Highlights

susheavyStraight Up Strings for Mandolin, Heavy
We're excited to announce our Straight Up Strings for Mandolin, Heavy Gauge! Typically preferred by performers and heavy pickers, they'll be here in time for IBMA's World of Bluegrass in October. We'll have them for sale at our Bluegrass Marketplace booth on Thursday, October 2 from 10am - 12pm. They'll be for sale online on October 1 and start shipping the week of October 6 when we return. Email Amy and we'll let you know as soon as they're available online.
  
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ONE F4 Mandolin Kit and ONE A5 Mandolin Kit - Ready to Ship - $100 off
If you've been wanting to build an A5 or F4 kit, but don't want to wait the two weeks required for a custom kit OR you've been waiting for an epic sale, here's your chance to score a kit for $100 off! We have them in our shop, ready to ship.

F4 Kit

F4 Kit sold as is:
Level 1 (#710)
Gold Hardware
Dovetail neck joint
Was $642
Now $545 (+ P&H)

Only ONE available
Email Kali to order. First come - first served.

A5 Kit

A5 Kit sold as is:
Level 1 (#710)
Gold Hardware
Dovetail neck joint
Was $659
Now $559
(+ P&H)
SOLD - NO LONGER AVAILABLE

Luthier's Tip: Attaching a V-Joint

In my books and at our Luthierie Camps we show a simple and easy way to attach a v-jointed neck to the body to ensure proper axis, rotation, and most importantly, the precise neck pitch.

The axis speaks to the lateral alignment of the centerline of the neck to the centerline of the body. This is important to make sure that the strings go straight down the fretboard, over a bridge which is centered side-to-side, and straight to the tailpiece. The rotation refers to how the neck is oriented in the body to ensure that the top of the frets are level to the top of the bridge saddle (although during setup most luthiers and musicians raise the bass side of the bridge a bit to compensate for the larger orbit of the heavier strings and prevent buzzes). And, of course, the neck pitch is the angle at which the neck joins the body to achieve the proper string break angle of the strings passing over the bridge (we offer a template to measure string break angles). This ensures proper download of the strings to the soundboard via the bridge.

The original Loar-signed F5 mandolins had a 5.5� neck pitch. We recommend 6� for a little bit more of that bluegrass "chop," and this delivers a 16� string break angle However, please be aware that neck pitches greater than 6� can pose some severe structural problems for bridges and soundboards.

One great feature of our V-joint is that it offers the advantage of having about .5� (half a degree) of movement before the neck is glued in place which helps to achieve great accuracy for axis, rotation, and pitch.

The fixture I recommend is a board with a "surrogate bridge" cradle that supports the soundboard at the right height above the fretboard plane of the neck to ensure precise neck pitch. It also allows for aligning the axis, and the cradle and neck attaching method self-aligns the rotation. (The use of this fixture is shown in my book The Ultimate Bluegrass Mandolin Construction Manual and we have full size drawings of it in our ProSeries Templates and Fixtures Drawings #DTF5.)

Over the years, I've used several methods of pulling the headblock up to the neck heel, and have made small U-shaped cauls to go against the neck heel so that I could effectively clamp to it. Nolan (one of our luthiers) showed me this very simple way of using a long clamp to draw the head block up to the neck by attaching the other end of the C-clamp to the clamp that holds the neck to the board. Daaaaah! (Thanks, Nolan!)

Check our YouTube channel for a library of instructional videos.
Q & A: Readers Ask

Q: Seems obvious to me that having two strings for each note on a mandolin makes it louder. But tuning can be a hassle. Is there any reason that you couldn't make a four-string mandolin?

A: Yes, the mandolin could certainly be made as a four string instrument (and some electric mandolins are made this way), but the two strings per course serve a greater purpose than just loudness. Mandolin strings are very short compared to guitar and banjo strings - in fact, the scale length of the mandolin is basically half that of the guitar and banjo. Short strings vibrate with less amplitude than longer strings. This relates to how loud they are as well as to the actual width of their path of vibration. Because of this, the shorter strings don't sustain as long as longer strings do. By having two strings per note, each of the strings helps to energize the neighboring string (as long as the neighboring string is tuned to the same pitch) through two phenomena: 1) a "restoring force" where energy from one vibrating object is transmitted to another object that can vibrate and helps the other object vibrate, and 2) "sympathetic vibrations" where an object that is sensitive to a particular frequency can be set in motion by another object generating the same frequency. So, to answer your question, the two strings need each other to product not only a louder sound, but an enduring one, as well.

Have a question? Be sure to send it in and we'll answer it in an upcoming issue. We won't post your name, and chances are, if you have a question, someone else probably needs the same answer!
 
August Promotion:
Siminoff Koozie with 6-pak Straight Up Strings

 
We debuted these fun front-back printed Koozies at Grass Valley. When you buy a 6-pak of our Straight Up Strings in August, we'll send you a Koozie!
 
Enter "Koozie" in comments when you order a 6-pak!
Free Koozie
       

August Promotion: Free Koozie with purchase of Straight Up Strings 6-pak.

This promotion is not valid with any other offers and does not include sales tax and P&H. Discount valid August 1, 2014 - August 30, 2014.


You must enter Koozie in comments when ordering online.
              Offer Valid: August 2014