Simon ​Meyler  Music       

Meet my Babes!

I am lucky to own and play some class instruments.  Here I would like to showcase the skill and artistry of the craftsmen who built them;

 

 

Joe Foley F5 Mandolin

 

This is a 1996 custom build from Joe, modeled on the famous Gibson Lloyd Loar models of the 20th century.

 

Loar worked for Gibson from 1919 to 1924.  His contributions include building the instrument top with F-shaped holes, like a violin and introducing a longer neck, thus moving the bridge closer to the center of the body.    Loar-signed mandolins in fine condition are highly sought after by musicians and collectors with values exceeding $200,000.
 

The carved back and sides of this JF instrument are built from Irish Walnut, the soundboard of Sitka Spruce.  It is fitted with a Gold Plated Montleone style Tailpiece and Waverly Tuners with Ebony Knobs.  The Headstock is inlaid with Abalone.

 

It is a powerful instrument, hard to match with great clarity and sustain.

 

 

Joe Foley standard Mandolin

 

This instrument is another custom build from Joe.  I have it since 1993 having lived like a hermit for the two years previous to save up the cash to purchase it!

 

The back and sides of this mandolin are built from Brazilian Rosewood, a scarce commodity for luthiers now.  It has a Cedar soundboard which gives it a very distinct warm tone and I get great projection from the rosewood.  I can really hammer the hell out of this particular instrument and it always seems to hold its tuning.  A solid piece of work!.

 

 

 

Stefan Sobell Five course Mandolin

 

This is a large bodied mandolin with quilted Maple back and sides.  It has both a carved soundboard and backboard.  This instrument has a crystal clear sound, pretty much equal in bass and treble. 

The extra course of strings lends to extra versatility and it is great as an accompaniment instrument.  I currently have it tuned DGDAE.

 

I was almost four years waiting for this custom build and lucky at that, a very busy man.   I love Stefan's economical design obviously perfected over the decades and his signature tailpiece and headstock.  www.sobelinstruments.com

 

 

Georges Caucassonne Banjo-Mandolin, circa 1920

 

This Banjolin I picked up a few years ago.  I knew the instrument was of good quality when I first viewed it (not in playable condition then).  It has a mahogany one piece neck with a beautifully hand carved headstock.  The machine heads are made of brass and the top goatskin.  It has an unusual 'Tank' body.

 

After a little TLC and proper set-up it was brand new again.  As banjo-mandolins go, this one has a lovely sweet tone.  I use it to play over mandolin tracks, taking up counter melodies and harmony.  It can be heard on 'The Pooka', track 3 of 'Mandolinia'.

 

Despite a lot of research I know very little about the instrument and its builder although I occasionally see some elaborately decorated Banjos of his on auction.  If anyone has any info out there I would appreciate same?

 

 

Carlo Loveri Mandolin, cica 1895

 

About two years ago I rescued this little gem from certain death.  It was in a bad way when I purchased it.  It hadn't been played in years and was sitting in some musty old room.  It had a black fungus growth in its belly which had begun eating away at the paper lining inside.  You can see from the photos that it was down to the bare wood, all finish worn away.  There were lots of pearl binding pieces missing and it had one peg head which couldn't turn, but structurally it was sound with no cracks or warps.

 

Again I knew it was a quality build;  the timber soundboard is made from Spruce with a grain so close and fine the likes I have never seen before.  The bowl back is consructed from a high number of twenty seven rosewood ribs, a sure sign of quality.   It has a scratch plate and sound hole which is decorated with fine mother of pearl, inlaid into real tortoise shell (legal trade at the time but outlawed today, here here!).  It took me over an hour to cut, shape and file each of the chunky Pearl binding pieces which were missing, nine in total.  I am amazed to think that such fine delicate detail as that on the scratch plate was all done by hand craftsmen.

 

The peg head button tops are made of solid Ivory (also outlawed).  The problem with the broken tuner was that the bore hole in the Ivory button which covered the screw post had over the years worn to a larger size which meant that when the tuner was turned it revolved inside of the button.  A little ceramic filler done the trick!  The finish was carefully cleaned and lightly sanded, careful not to lose the patina and countless layers of French polish re-applied by hand.

 

Carlo Loveri was quite a respected luthier and known for his violins as well. The end cap lay out on the bowl of the mandolin as well as the two holes on both sides is a Carlo Loveri invention.  It has its original 'Carlo Loveri & Figlio' Label as it should be; signed in red pencil.  It is also  fitted with a silver metal tail-piece with an etched signature and decoration.

 

A couple of months ago I completed the restoration and strung it up with some very light gauge strings.  She's a lovely sweet clear 'bowl back/Italian' sounding mandolin with a super action and fret board which is quite easy to get around.    To think of the history, that it has been around for so long, through two world wars etc.  I love to take it out at home on  a quiet evening and pluck away!

 

 

 

'Hieronymus Bosch' Mandolin