We are fascinated by the post-modern chic of the A-model mandolin by UK builder Nigel Forster. Having the fortunate opportunity of apprenticeship with internationally regarded luthier Stefan Sobell, he worked for Sobell several year until January 1990, then returned two years later where he remained until November 2003. The following year the young builder set up his own shop in Newcastle upon Tyne, where continues building original guitars, bouzuokis, and mandolins of his own signaure design. His notoriety increased, he has a following seeking what he describes as the "Forster sound--the key words power, fullness and playability."

Click pictures for close-up

We asked him several questions of his remarkable craft and processes:

JM: How are your mandolins different from the "traditional" instruments in concept and sound? (or how might they be the same?)

NF: There is much in common with a Gibson A model on a superficial level, but as any maker will know the main factors we have at our disposal to colour the sound of our work are the arching of the soundboard and back, the thicknessing of the plates, the position and shape of tone bars, the materials we use and the type of bridge we employ. By working with all of these my instruments have a very different sound to a traditional American instrument, but stay clear of the "tinkly" sound I often associate with European ones.

Let's face it, the best Bluegrass mandolins have already been made, but this cannot be said for the Celtic or Jazz Mandolin. What I was working towards was having the sustain and clarity of an English Mandolin coupled with the dark, woody bottom end of an American one. Many people making Mandolins for Jazz players try to get more sustain this is better achieved with an oval or round hole but because many players prefer the look of F holes makers find themselves sticking with that design as it more commercially acceptable. I prefer both the sound and the look of an oval hole so the decision is an easy one for me to make!

The main influences on these instruments came from three sources - Sobell being the first. It is difficult for me to make an instrument for it not to be influenced by the time spent with him.

The next two sources were a pair of superb Mandolins I played whilst stopping with a friend and customer over in Dallas, Texas. They were a Gilchrist F model and a Montelone Radio Flyer. These were the finest two mandolins I had ever played. Knockout! I had a good look at them and let them simmer for a year or so in a pot on a low heat at the back of my mind along with a Sobell!

JM: What distinguishes your mandolins from other contemporary builders? (playability, sound, design, etc.)

NF: I try to look forward with out ignoring the past. I like clean lines clear notes and no fuss. I try to build an instrument that provides the player with a source of inspiration and that offers no obstacle to producing the music in their hearts. It seems to me that a top quality Jazz mandolin and a top quality Celtic Mandolin may well be very similar instruments. People don't like to hear this sort of thing but it may be the case. But many folk want clarity coupled with richness. This is what I do best.

JM: What woods are available to you and how does this affect their sound?

NF: I have plenty of stuff available but I tend to be rather conservative in my choice of tone woods and rather more experimental in my methods of design and construction. I use European Spruce for my soundboards and American Maples for the back and ribs. The necks are always from my stock of 1908 vintage Cuban Mahogany. The best of the best! The Spruce I am using now is a very light and stiff batch of Czech Spruce. Some of it is very fine grained, but some really rather coarse, but I really do believe that closeness of grain and quality of tone are quite unrelated. I also have some rather nice Adirondack Spruce and I'll build with this when I have time. It should be interesting to compare.

JM: What goals/projects would you like to work on in the future that you haven't already accomplished?

NF: For the future--to keep working! It would be rather pleasing to see my mandolins played by more people. Those who have played them seem really bowled over and that is always a pleasing reaction. The designs will slowly evolve as they always have. Experimentation is so important to me, once you reach a certain level of skill,woodwork just becomes woodwork so making the same thing over and over would not satisfy me at all. No, the plan is to keep working and keep experimenting with the architecture of instruments.

Builder Website: NK Forster Guitars
My Space Page

Posted by Ted at July 3, 2009 5:52 AM