This is an ALL solid mahogany uke, finished in a beautiful oil varnish in our Roswell, Ga workshop. Elegantly simple purfling around the soundhole. No plywood to be found in this professional quality, American-made traditional ukulele. The Old Mill Soprano Ukulele has a rosewood fingerboard with inlaid dot markers. The bridge is rosewood as well. All internal bracing and linings are of the finest spruce.
This soprano ukulele has 13-3/4" scale length.
Standard Tuning for a soprano ukulele: g'c'e'a'…the 4th string is actually a higher note than the 3rd string.
Alternative Tuning: The most common alternative tuning is a'd'f#'b'
This instrument is fit with traditional ukulele friction pegs, but you can upgrade to the revolutionary Pegheds™ 4:1 ratio planetary geared pegs, which look exactly like really traditional violin-type pegs. See the images.
This full-size tenor ukulele is ALL solid mahogany, finished in a beautiful oil varnish in our Roswell, Ga workshop. Elegantly simple purfling around the soundhole. No plywood to be found in this professional quality, American-made traditional ukulele. The Old Mill Soprano Ukulele has a rosewood fingerboard with inlaid dot markers. The bridge is rosewood as well. All internal bracing and linings are of the finest spruce. This tenor ukulele has 17-3/32" scale length.
Standard Tuning for a tenor ukulele: gc'e'a'. This is almost like the soprano ukulele; however, the 4th string on a tenor is an octave lower than the 4th string on a soprano
Alternative Tunings: The most common alternative tuning is d'gbe' (with this alternative tuning, the 4th string is a higher note than the 3rd string). Tenor ukes are sometimes strung with special strings and tuned exactly like a soprano ukulele, but with a far more powerful sonority.
This instrument is fit with traditional ukulele friction pegs, but you can upgrade to the revolutionary Pegheds™ 4:1 ratio planetary geared pegs, which look exactly like really traditional violin-type pegs. See the images above.
The California Deluxe Open Back Banjo by Recording King (RB-024)
The California Deluxe has original detailing and a sweet open back tone players love. Select ebony graces the fretboard, the heel cap and the peghead overlay for extra-fine craftsmanship. The unique peghead inlay was designed by Greg Rich and features a traditional floral pattern.
With legendary craftsmanship and amazing features, Recording King open-back banjos are simply the best banjos money can buy. As with all Recording King open back models, this one has genuine pre-war replica parts. These banjos have meticulous detailing and graceful craftsmanship.
The California Deluxe also features a Whyte Laydie tone ring, a bound walnut rim, a walnut neck with a maple skunk stripe and a no-knot tailpiece. This model has dual coordinator rods, 24 brackets and nickel-plated hardware. The original peghead inlay features binding for greater strength.
The California Deluxe is a great banjo for frailing or clawhammer style banjo playing. With its unique detailing and graceful craftsmanship, this model revitalizes the Recording King legacy.
Specifications • Bound Walnut Rim • Recording King Deluxe Inlay Peghead with Binding • Walnut Neck with Maple Skunk Stripe • Whyte Laydie Tone Ring • Dual Coordinator Rods • 24 Brackets • Ebony Fretboard • Ebony Heel Cap and Peghead Overlay • No-Knot Tailpiece • Nickel-Plated Hardware • Remo Fiberskyn Head • Notched Hoop • Neck Width Under Nut: 30.5mm • Head Size: 11", medium crown (7/16" height) • Frets: 22 • Total Length: 38" • Weight: 6.7 lbs • Limited Lifetime Warranty
The California Open Back Banjo by Recording King (RB-012)
With a sweet, rich tone and a lightweight design, the Recording King California Banjo is a traditional open back banjo designed for old-time, frailing and clawhammer style playing.
With legendary craftsmanship and amazing features, Recording King open-back banjos are simply the best banjos money can buy. As with all Recording King open back models, this one has genuine pre-war replica parts. These banjos have meticulous detailing and graceful craftsmanship.
The California features a bound walnut rim, a walnut neck with a maple skunk stripe, a rosewood fretboard and a no-knot tailpiece. This model also features dual coordinator rods, 24 brackets and nickel-plated hardware. The peghead features the original Recording King logo with a star detail for a simple, classic look.
Specifications
• Bound Walnut Rim • Walnut Neck with Maple Skunk Stripe • Dual Coordinator Rods • 24 Brackets • Rosewood Fretboard • Heel Cap and Peghead Overlay • Recording King Peghead • No-Knot Tailpiece • Nickel-Plated Hardware • Remo Fiberskyn Head • Notched Hoop • Neck Width Under Nut: 30.5mm • Head Size: 11", medium crown (7/16" height) • Frets: 22 • Total Length: 38" • Weight: 6 lbs • Limited Lifetime Warranty
Late 19th Century 5-String Banjo by Old Mill Musical Instruments. The design (by Dr. Don Rickert) of this banjo is inspired by the actual 1870s fretted banjo pictured below.
This very cool instrument will have several modern touches, necessary for allowing the use of steel strings if the player desires. It can also be strung with the more authentic lower tension gut (Nylgut) strings.
Summary of Features:
Maple Neck
Headstock close the one pictured
Pegheds Violin-type planetary-geared tuning pegs...5th string peg in modern orientation (note: the internally geared tuners, which look EXACTLY like violin type pegs, are to necessary enable the use of steel strings, as well as making it MUCH easier to keep gut or Nylgut strings in tune
A double-action truss rod (to accommodate the added tension of steel strings)
Metal frets
11" rim
Maple dowel stick instead of a modern coordinator rod (see image(
The Ne Plus Ultra Open Back Banjo by Recording King (RB-036): The Ne Plus Ultra is the most incredibly crafted, meticulously detailed open back banjo in the Recording King collection.
The beauty of this model is immediate: the stunning "Tree of Life" abalone inlay on the peghead and fretboard was designed by Greg Rich and demonstrates his appreciation for the traditional pre-war style.
The rim is made from flamed maple and features binding for more style. Flamed maple is also used on the neck which also features an ebony skunk stripe. This model features a Whyte Laydie tone ring, a Kershner tailpiece, dual coordinator rods and 24 brackets.
This open back has a sweet, harmonious tone that's excellent for all styles of playing. There's a piece of history with every Recording King banjo, and the Ne Plus Ultra is a perfect example of this.
Specifications • Flamed Maple Rim with Binding • Tree of Life Peghead and Fretboard Inlay • Flamed Maple Neck with Ebony Skunk Stripe • Whyte Laydie Tone Ring • Dual Coordinator Rods • 24 Brackets • Ebony Fretboard • Ebony Heel Cap and Peghead Overlay • Kershner Tailpiece • Nickel-Plated Hardware • Remo Fiberskyn Head • Notched Hoop • Neck Width Under Nut: 30.5mm • Head Size: 11", medium crown (7/16" height) • Frets: 22 • Total Length: 38" • Weight: 6.85 lbs • Limited Lifetime Warranty
While you are at it you might want to check out the Kevin Enoch Tradesman Banjos that we carry.
Those who are really into Old Time music know that the Martin 000 guitar is the only truly authentic Old-Time period guitar. We have a good one for you.
Century Studio Series 626 12th Fret 000 by Recording King: The Recording King ROS-626 is a faithful reproduction of the Martin 0-Series steel string guitars of the early 20th Century. If you are looking for the most authentic guitar possible for Old-Time music, this is it. Because the 000 body style is MUCH smaller than a contemporary steel string guitar, although not as small as the Martin 1850s and 1860s gut-strung guitars, it is a plausible alternative to the Civil War reenactor who needs an instrument appropriately-braced for steel strings.
The ROS-626 Model 000, with its solid AA-grade Sitka spruce top and all-solid African Mahogany back and sides (no plywood!), the tone is warm and even, and the hand-rubbed nitrocellulose lacquer finish (NOT SPRAYED POLYURATHANE!) allows the sound of the wood to resonate clearly and powerfully.
This guitar is built with lighter bracing for more resonance, but still strong enough to accommodate steel strings, and the ebony pyramid bridge helps enable greater vibration from the hand-selected spruce top.
The Nitrocellulose lacquer finish is dried for 8 weeks in order to ensure that the lacquer is properly bonded to the wood. Both the gloss and matte finishes allow the guitars to sing powerfully and clearly.
Feature Summary:
BODY SHAPE: 12th Fret OOO TOP MATERIAL: Solid AA Grade Sitka Spruce BACK MATERIAL: Solid African Mahogany SIDE MATERIAL: Solid African Mahogany TOP BRACING PATTERN: Fully Scalloped X-Bracing TOP BRACES: Scalloped Spruce NECK MATERIAL: 1 Piece Mahogany NECK PROFILE: Vintage "V" NECK JOINT: Hand-Cut Dovetail FRETBOARD MATERIAL: Ebony SCALE LENGTH: 25.4" # OF FRETS CLEAR: 12 # OF FRETS TOTAL: 20 NUT MATERIAL: Bone NUT WIDTH: 1-13/16" HEADSTOCK TYPE: Slotted HEADSTOCK OVERLAY: Rosewood HEADSTOCK INLAY: None TUNING MACHINES: Grover Butterbean BODY BINDING: Grained Ivoroid ROSETTE: 3-Ring TOP PURFLING: Herringbone FRETBOARD INLAYS: Diamond and Square, Pattern 1 FRETBOARD BINDING: None BRIDGE MATERIAL: Ebony BRIDGE SHAPE: Pyramid Style SADDLE: Bone BRIDGE PINS & ENDPIN: Ivory with Black Dot PICKGUARD: None FINISH: Hand-Buffed Nitrocellulose Lacquer WARRANTY: Lifetime warranty
Today is the day that we plan to finish the downloadable print version of the 2010 Fiddlers' Convention and Fiddle Contest Guide (Southeast Edition), our preliminary 2010 Workshop Catalog, plus an announcement of a Red Hots performance that is not yet published.
Busy day, but feel free to buy something from the Adventurous Muse Store, because we have lot of bills to pay today as well :-)
Of course you have to buy something to get the free stool. We're generous, not crazy!
Two models (both really nice, but one is nicer)
The $600 Purchase Free Seat
On purchases from the Adventurous Muse Store of $600 or more (not counting shipping) you get a FREE Folding Camp Stool, pictured here.
It is a simple two pound, three legged structure that will hold 275 pounds. Collapses down to a package and wraps with an integrated Velcro strap.
Sit comfortably on the 11" wide saddle style stool seat. No more scratching your guitar or bruising your bowing arm in a cheap HEAVY chair from the grocery store. This portable seat is also perfect for golf tournaments, hiking, camping, hunting, the everywhere chair!
Compact, convenient, comfortable portable seat
Folds in two seconds
Rubber-tipped non-skid legs
Heavy 3/4" tubular steel frame, 1.0 mm thick
Powder coated durable finish
Saltwater resistant finish
275 lb. capacity
600 Denier polyester PVC backed for durability
Height 18" -- Seat Dimensions 12” x 12” x 12"
Folded dimensions -- 24 1/2" x 3 1/2"
2 lb. unit weight
Bar tacked and double stitched throughout
The $1100 Purchase Free Seat
On purchases from the Adventurous Muse Store of $1100 or more (not counting shipping) you get a FREE GCI PackSeat Portable Stool, pictured here.
The GCI Outdoor PackSeat™ weighs in at only 26 ounces. Lighter than all of it's competition, the PackSeat™ folds into a real small package with the innovative designed shock-corded legs.
Innovative power pouch attached to bottom legs acts like a snowshoe so that the chair resists sinking into soft terrain such as muc, sand and dirt. This pouch also gives the PackSeat the ability to hold 300lbs, and provides a handy place for storage.
GCI PackSeat Portable Stool
Super Strong anodized aluminum frame holds up to 300 lbs
Innovative shock corded legs
Folds into a neat package with innovative shock corded legs.
Convenient carry bag
Weighs in at only 26 ounces, lighter than all of its competition
Power pouch connected to bottom section of legs for added support and strength
We have updated the portfolio of currently available and soon-to-be available musical instrument designs by Don Rickert. There is a new link on the top navigation bar of this page to this portfolio.
Note about design of historic replica musical instruments
Obviously, Dr. Rickert did not design the original 1857 Martin guitar. With historic replicas, design has more to do with things like designing the internal bracing when no hard data are available and/or designing the tooling, jigs, etc. for modern manufacturing.
In 2006, one of the first things Don Rickert Design (which now sells many of its acoustic instruments under the Old Mill Musical Instruments brand) set out to do is to design and build the best acoustic baritone, more correctly called an octave violin, in the world. In our early days, octave violins and fiddles are the only instruments that we made.
It has been a while since we posted any information about our Octave Violins. Many of the old postings are out-of-date, so we decided that a new article about the instrument that gave us our start.
If you have ever wondered about baritone violins (aka baritone fiddles or octave violins), hopefully this new essay will tell you what you need to know to get started in your quest for knowledge.
The first thing you need to know is that "baritone violin" is the name given to two distinctly different instruments. The first type of baritone violin is a member of the "new" violin family known as the Violin Octet. The baritone of this family of instruments is a huge instrument, with longer string length than a full-size 'cello. This is not the instrument that we make; however, if you wish to learn more, take a look at:
The second type of instrument often called a baritone violin is the violin-like instrument played under the chin, which is played like a regular violin, as it usually (but not always) has the same critical ergonomic dimensions as a standard violin. This is the type of instrument that Don Rickert Design™ designs and builds, in collaboration with the Helena, AL-based Fiddarci Lutherie™. This type of instrument played under the chin is properly called an "octave violin" or "octave fiddle"
Origins and Resurgence of Octave Violins and Fiddles
Research of the historical literature revealed that the practice of re-stringing standard violins with large diameter strings in order to play an octave lower has been around for quite some time, possibly hundreds of years. There is anecdotal evidence that more than a few early 20th Century jazz violinists/fiddlers made their own octave fiddles in such a manner. There was even a large-bodied (but still played like a violin) German instrument in the early 20th Century called an “OctavGeige”, which is simply German for “OctaveViolin.” The great jazz violinist and Professor at Berklee College of Music, Christian Howes, owns one of these rare instruments.
Except in the case of electric instruments, such as one used by Jean Luc Ponty on a 1975 recording, octave violins/fiddles in their acoustic form have been thought to be, of necessity due to their small size, quiet instruments requiring amplification when played in an ensemble of instruments. For many designers of innovative musical instruments, coming up with an acoustic baritone violin with good projection and deep timbre seemed like overcoming the known laws of physics.
In theory, you can simply replace the strings on your violin with either the Super-Sensitive or the Thomastik-Infeld octave strings and you have an octave violin. In reality, you will have to have at least some moderate luthiery work done, such as widening the nut grooves. Also, unless your string height is quite high already (that would rule out most fiddlers I know, including myself), you are going to need a higher bridge. No matter what, the converted instrument is going to be rather timid (i.e. disappointing), a predictable result of stringing a violin to play well within the 'cello range.
Purpose-Built Octave Violins vs. Converted Standard Violins or Small Violas
Purpose-built octave violins:
Instruments in this category are those that are built solely for the purpose of playing an octave (or more) lower than a regular violin. There are only a few lutheries that make these on a large scale such as Fiddarci Lutherie. Tim Phillips, located in Wales, U.K. makes an octave that often gets good reviews; however he only makes several per year. Gianna Violins either sells or used to sell (we can't tell from their website) a "Grizzly" octave instrument; however we consider it to be a converted viola and will stop at that. David Ravinus used to make a purpose-built octave, but seems to be focused on his famous and highly-regarded violas these days.
Converted Standard Violins or Violas (usually small violas):
These are instruments with larger diameter octave strings and the necessary setup changes, such as larger string grooves at the nut and bridge. Some of these instruments sound quite nice; however, it is rare to find one that will have the sonic power and volume of a purpose-built instrument. A notable exception might be a high-quality Maggini copy converted to an octave instrument. In fact, Don Rickert Design / Old Mill Musical Instruments sells an Octave version of a Maggini violin reproduction that will amaze you.
The most important difference between Magginis and other violins is that they were designed prior to Stradivari and an accurate replica is considerably larger...about a centimeter greater body length and 1 to 2 mm higher ribs and high arching. We estimate that a Maggini copy can have 5 to 10 more cubic centimeters of airspace in the soundbox. This makes a huge difference. With the right strings, Magginis sound great as octave violins and we sell quite few to VERY happy customers.
Who Plays Acoustic Octave Violins and Fiddles?
In some cases, beginner fiddlers who cannot stand the high pitch of a violin or the large size of a full-size viola will start their musical journey on an octave violin; however, the most prevalent players are serious advanced amateur and professional musicians, many of whom are recording artists.
Most makers of acoustic Octave Violins target their instruments to skilled “alternative” violinists and fiddlers looking for a new lower voice, allowing him or her to play low pitched musical parts almost as low as a ‘cello, without learning a new instrument, as the notes are in the same places on the fingerboard as a regular violin. The only new skill to learn is the proper use of a heavier viola bow (see Bow Debate). Some (a minority) octave violin players prefer a regular violin bow to a viola bow. These violin bow players are generally highly-skilled musicians who use the lighter violin bow to accommodate their unique styles of playing.
Octave Fiddles are the Ultimate Second Fiddles
A good second fiddler, of which there are far too few, will often mix chordal accompaniment with playing the main melody in unison with the main melody an octave lower (especially when playing a baritone/octave fiddle) or a harmony melody. Different regional styles will emphasize different techniques for the second fiddler; for example, in certain regions of Ireland, simply playing the tune in various combinations of unison and an octave lower is favored. In other styles, the second fiddler plays primarily chords; which works particularly well with a baritone fiddle. A viola is sometimes used as well for the same purpose.
A recent post, reproduced here, demonstrates a regular fiddle playing second to a viola.This one you have got to hear! The treble range and tenor range instruments just blend together in a magical way.
Keep in mind that some players actually prefer converted violins for their style of playing. For example, a major proponent of converted violins, Darol Anger, plays what might be described as a rhythmic-percussive style and a purpose-built octave instrument is simply too bassy and rich in overtones for his taste. I am certain that I did not articulate this very well and I will be hearing from Darol to correct my current understanding of his viewpoint :-)
One more point about converted violins:
There actually are certain violins that play very nicely as octaves after conversion. As previously mentioned, we have had very good results from conversions of high-quality Maggini violin reproductions, which are considerably larger than violins based on the Stradiveri or Guarneri paterms, which have become the standard...Maggini died 15 years before Stradiveri was born.
Models of Don Rickert Design / Old Mill Musical Instruments Octave Violins
In a collaboration with Fiddarci Lutherie, Don Rickert Design / Old Mill Musical Instruments makes two purpose-built (designed to be octave violins) related instruments, designed by Don Rickert with a lot of inspiration from the 19th Century artist, musician and inventor, William Sidney Mount.Old Mill Musical Instruments also sells an extremely powerful and sonorious octave violin based on a high-quality Maggini violin reproduction. The Maggini is a favorite of players who favor the look and feel of an antique classical violin.
Our baritone (octave) violins and fiddles are being played by some of the finest musicians in the world, including the Swedish group Vasen, David Greenberg, Alasdair Fraser and talented and gracious Natalie Haas (one of the world's finest cellists), who has said very nice things about us and her instrument on her website. Darol Anger (father of the modern octave violin) performed with this instrument as well and says some VERY nice things about our company on his website.
Things are really getting interesting with alternative instruments of
every stripe... Can you believe these amazing pocket travel violins?
Believe it! these folks ( Ringholz and Rickert) are also building
straight-out Octave violins... and they are wild! (Darol Anger)
In an earlier posts, I presented more or less a summary of what various musicians use to play octave violin or octave fiddle. In that post, I mentioned that the extraordinary 'cellist and also really good fiddler, Natalie Haas, uses a French-style 'cello bow on her octave violin. Natalie has since informed me that she is now using a violin bow. I did not ask her the characteristics of her bow, as we had other business to cover; however, I assume (i.e. if I were her), I would choose a "heavy" violin bow...actually, with some exceptions such as the the ultralight IncrediBows, ALL violin bows weigh in the 56-58 grams range. A "heavy" bow is one whose balance point is further away from the frog, so that it feels heavier and "grabs" the strings with more force.
The Glasser's core, as far as I know, is proprietary or I was not paying attention when I was told. The CodaBow's core is composed of Kevlar strands. The Glasser is slightly stiffer, the octagonal shape contributing somewhat to this stiffness, as the octagonal is far stiffer than the Glasser round shaft version of the same bow, which I do not like. The CodaBow has a round shaft but it is plenty stiff, just not so much so as the Glasser.
I have to say, I love both bows. I suppose that the CodaBow feels a little bit more like a really good wooden bow, but nowhere near as bouncy. The CodaBow seems to have a bit more "pull" when a lot of two string chords are involved. The Glasser is a bit faster on melody parts.
Bottom line is that one needs both, but if I had to choose one, I would choose the CodaBow for octave violin, as most of my octave playing is chordal "second fiddle" accompaniment.
