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OPTIONS

TOP WOODS

Each species of spruce will produce a unique tonal quality to the mandolin. If it’s penetrating highs, tear-jerking mid ranges or a bark bigger than the neighbor’s Great Dane you want, I can recommend the right top wood.

Northwest Englemann

Eastern Andirondack

Northwest Sitka

BACKS, NECKS AND SIDES

I use only the best highly-flamed Western Big-Leaf and Eastern  maples. Either one or two-piece backs are available in the Western species. Adjustable truss rods are provided.

HARDWARE

Either gold or silver Schaller 14:1 Tuners and matching Allen solid tailpieces are mounted on all of my mandolins. Oversized fret wire on a radiused fingerboard with a matching radiused  Steve Smith ebony bridge are standard.

INLAYS

The ‘Schneider’ and standard flowerpot in mother-of-pearl is inlayed on the headstock along with abalone dots at the 5^th, 7^th, 10^th, 12^th and 15^th frets. Side dots are also provided.

BINDING , COLORING AND FINISHING

I triple-bind all of my mandolins. I also try to duplicate that classic "Loar" look with a dark tobacco-brown sunburst. I  use lacquer for color and final coating and believe that when applied properly, lacquer provides long lasting protection and beauty while allowing the mandolin to naturally resonate.

Hard-shell cases are included with all mandolin orders.

OPTIONS

Fern Peghead Inlay

Varnish finish