Category Archives: 2005

Brentrup Mandolins Built in 2005

2005 M22V

2005 M22V Oval Hole F4

Said Hans “The 22V has a 14 fret neck, and elevated fingerboard extension.”

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2005 Stealth Prototype

2005 Stealth Prototype

Said Hans “When pushed, it works well for bluegrass, and has a heck of a WOOF. It also has a rather jazzy sound to it when you back off.
The whole idea was to make a non-F-5 that sounded like one. I was also trying to get a bigger sound out of it and consequently thought that moving the soundholes out would make for a larger vibrating area. Reverse dolphin holes were chosen because they follow the rim of the instrument and cut across a minimum of grain lines. They sit approximately 1” (total) farther out that regular F-holes. I don’t think that the shape of the holes makes much difference. The Lestock “pointlet” was chosen at the last minute for those sitdown folks that like to plant the instrument on their knee. It makes a lot more sense than the F-5 point, and doesn’t dig into your leg.
In all, I’m quite satisfied with the prototype. It’s Italian spruce and very hard flatsawn maple back. I feel that I could direct the tone qualities with top and back materials with the same predictability that I use for my M23’s. I’ll have it at IBMA for those interested in a test drive.”

2005 M-4C (oval hole)

2005 M-4C Oval Hole

From Hans “Instrument features such “period” touches as large position markers, 3/32″ tortoise side dots (turned them from some .090″ binding), black plastic T/R cover, thinned down binding on fingerboard, pearl nut, and ivoroid buttons. The crowning touch was installing the beautiful tortoise pickguard by Cumberland Acoustic. Tuners are “aged” Gotohs treated with P/C board etchant, stained ivoroid buttons, and eyelets…make them work just like the old F-4 tuners. Am considering switching to Schaller bushings.¬†As close as I could come to the original rosette…has the holly next to the herrinbone. Only difference is that there are more herringbone’s than the originals. The fingerboard is slightly wider than an F-5 and slightly narrower than an F-4…it’s 1-5/32″ at the nut, and 1-9/16″ at the 12th fret”

 

2005 Model 32C (3-Point Mandola)

2005 Model 32C (3-Point Mandola)

100th instrument Hans made, tuners are Schaller with the buttons from a shot set of Handels, sitka spruce top.

Hans said “I really enjoy the 3 pointers because they are so different. This one took about 300 hours, as I had to carve the top and back plates completely by hand. I hate to even think about a ‘cello! I usually spray the finish and hang onto the neck, and this one weighed a ton while spraying. The scale length is 16″ and it’s a twelve fret neck. The pickguards on all my instruments are contoured to match the fingerboard extension.”

Hans said “Here’s a shot of the “twins”…M22C mandolin and M32C mandola.”

Early build pics

Comparison with F-5

Beginning the varnish blackface

 

2005 M21V German spruce

2005 M21V German spruce

F-hole A5, tortoise binding,

Hans “The customer wanted a rich dark sounding mandolin, hence the Bigleaf maple back. I like the “mandolin size” quilt. It’s what I expected from the combination of woods…rich, complex, and dark”

2005 M22C Classic Red Spruce (3-Point)

2005 M22C Classic (3-Point)

3 pointer with a slightly tinted blond top. It’s West Virginia red spruce with silver maple back. The tuners are Schallers; the buttons replaced with original Handels from a shot set of tuners.

Said Hans “I chose silver maple as a part of my continuing experimentation with the tonal qualities of this instrument’s shape and size. I would use European (sounds fabulous on this body), but the flame on the flatsawn silver is so “period”. I always try to get wider grain W.V. red spruce for my instruments. I have chosen exceptionally wide grain for the 3 pointers, mostly because of the look, but who knows, that may contribute to the overall sound of the instrument.”

805103-I M23 (F5)

Signed August 2005, varnish F5 mandolin with tortoise binding, Italian spruce top, 1 & 1/8″ nut, and a radiused fretboard.