really lucky to get a george la foley mandolin it is a great instrument anyone else got one???? i am learning on it and am getting on quite well it has shown me the difference between learning on a good insrument and a less easy one, i am real lucky it really has a big sound, not a lot of info on the maker though so any more info greatly recieved!!!!!
The usual comment (in addition to congrats!) is to check at mandolincafe.com -- the people there have a tremendous knowledge of mandolins, their manufacture and their backgrounds.
Despite having a longstanding interest in the mandolin's various forms, styles, and brands, I'll confess to never having heard of a George La Foley mandolin until now. Foley, yes. George La Foley, no.
A Google search reveals a British-made bowlback from the 1930s by that name (at Hobgoblin). I'll assume yours is something similar. The Mandolin Cafe' suggestion is a good one. Check the Classical section for information about bowlbacks. Common problems with this style of mandolin are back separations and neck issues. the latter may manifest as a need to place the bridge on the tailpiece-side of the top cant (the crease) for proper intonation. Some vintage US canted-top mandolins (like those made by Vega) are built so that the bridge actually belongs behind the cant but that's not generally the case. Necks can't be re-set as on a guitar (or other mandolin) in the case of bowlbacks because of the way the back ribs are integrated into the neck end. So, neck issues can be a fairly big deal. In the US, it's pretty hard to find people to work on bowlbacks. Things may well be different elsewhere.
The common wisdom over at the Cafe' is that a bowlback you intend to play is worth getting put right because they can be very pleasing instruments in their own special way. They're strong on treble and not so much on bass. They can actually be surprisingly loud. While not producing what many people have come to recognize as the "mandolin sound," they're serious instruments with an illustrious history and can make wonderful music.
On the other hand, if the motivation is resale, it's unlikely that the cost of repairs would be recouped when you sell and those costs may well exceed the market value of the instrument.
george la foley mandolin
george la foley mandolin
really lucky to get a george la foley mandolin it is a great instrument anyone else got one???? i am learning on it and am getting on quite well it has shown me the difference between learning on a good insrument and a less easy one, i am real lucky it really has a big sound, not a lot of info on the maker though so any more info greatly recieved!!!!!
# Posted on June 30th 2009 by xavier 493
Re: george la foley mandolin
The usual comment (in addition to congrats!) is to check at mandolincafe.com -- the people there have a tremendous knowledge of mandolins, their manufacture and their backgrounds.
# Posted on June 30th 2009 by Mandogal
Re: george la foley mandolin
Despite having a longstanding interest in the mandolin's various forms, styles, and brands, I'll confess to never having heard of a George La Foley mandolin until now. Foley, yes. George La Foley, no.
A Google search reveals a British-made bowlback from the 1930s by that name (at Hobgoblin). I'll assume yours is something similar. The Mandolin Cafe' suggestion is a good one. Check the Classical section for information about bowlbacks. Common problems with this style of mandolin are back separations and neck issues. the latter may manifest as a need to place the bridge on the tailpiece-side of the top cant (the crease) for proper intonation. Some vintage US canted-top mandolins (like those made by Vega) are built so that the bridge actually belongs behind the cant but that's not generally the case. Necks can't be re-set as on a guitar (or other mandolin) in the case of bowlbacks because of the way the back ribs are integrated into the neck end. So, neck issues can be a fairly big deal. In the US, it's pretty hard to find people to work on bowlbacks. Things may well be different elsewhere.
The common wisdom over at the Cafe' is that a bowlback you intend to play is worth getting put right because they can be very pleasing instruments in their own special way. They're strong on treble and not so much on bass. They can actually be surprisingly loud. While not producing what many people have come to recognize as the "mandolin sound," they're serious instruments with an illustrious history and can make wonderful music.
On the other hand, if the motivation is resale, it's unlikely that the cost of repairs would be recouped when you sell and those costs may well exceed the market value of the instrument.
# Posted on July 3rd 2009 by devellis