"Good improvisation communicates harmonic progression melodically. Effective melodies manipulate harmonic content through the use of guide tones and preparatory gravity notes, masterfully woven in systematic tension, release, and transparent harmonic definition."
July 5, 2009 | How it's made; Luis and Clark carbon fibre instruments
Over two years of experience with a New-MAD (New Millenium Acoustic Design) Mix A5 mandolin has yielded a ringing personal endorsement, pun intended. The instrument hangs right in there with its competitive price-point wood peers in every way, sound and playability, but adds the benefits of climate resistance and a cutting edge cosmetic aeshetic panache. A true work horse instrument, it continues to impress the mandolin community with its mainstream acceptance, and of course, confound the traditional purist with its unanticipated legitimacy.
Special thanks to James Condino, progressive building authority in his own right, for pointing out a two-part Luis & Clark video series "How It's Made," that demonstrates how the manfuacturer builds their cellos, similar of course to the New-MAD mandolins which are contracted out of the same Clear Carbon facilities. This is a fascinating "under the hood" look at the process.
The videos help debunk common myths about these instruments. The instruments are not porous, they aren't just "stamped out" on an assemply line, and there are hours of hand crafstmanship necessary to seal, sand, finish, and place tonebars in acoustically strategic spots. We are also missing the incredible handiwork of Morrisveille, Vermont finisher Larry Sweeney (Squeakswe Finishes), known for his years of finish magic at Rigel Instruments and many other personal custom commissions.
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July 5, 2009 | How it's made; Luis and Clark carbon fibre instruments
