Straight Up Strings by Siminoff

Diverse Trio of Mandolin Heavy Hitters Endorse Straight Up Strings for Mandolin

Mandolin playing members of bluegrass and Americana up and comers, Town Mountain, Front Country and Foghorn Stringband have each announced they’ve endorsed Roger Siminoff’s recently released balanced strings, Straight Up Strings for Mandolin. Phil Barker, Town Mountain; Adam Roszkiewicz, Front Country, Modern Mandolin Quartet and Small Town Therapy; and Caleb Klauder, Foghorn Stringband and Caleb Klauder Country Band will play the Straight Up Strings on stage and during recordings.

Phil Barker of Town Mountain
Phil Barker of Town Mountain
Credit: Jeffrey Socha

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Straight Up Strings for Banjo: Coming October 1

Balanced Banjo Strings to Debut at IBMA’s World of Bluegrass

Roger Siminoff, luthier, acoustician and developer of Straight Up Strings for Mandolin, has announced Straight Up Strings for Banjo will be available Wednesday, October 1 online and in-person on Thursday, October 2 at Siminoff’s Marketplace table at IBMA’s World of Bluegrass in Raleigh, North Carolina. Straight Up Strings are engineered with compensated down pressures at the bridge, to make allowances for acoustical differences in strings positioned over the arches of the traditional 3-footed banjo bridge, versus strings positioned over the feet. The result is string-to-string balance in tone, sustain, clarity and timbre, without changing the character of the instrument. Continue reading

Loar wasn’t a luthier…

I communicate with a lot of folks every day, and one topic that often takes center stage is the work of Lloyd Loar. These discussions often include comments about “Lloyd Loar being a great luthier.”

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Lloyd Loar
Lloyd Loar was clearly prolific, and he made a huge contribution to the world of music. Unfortunately, much of his work was so far ahead of its time that it just didn’t get the marketing and sales traction it was due. And, one must also consider that many of his efforts took place during the time of the Great Depression (1929-1932) – a time when there was neither money for musicians to purchase new instruments nor funds for entrepreneurs to invest in new ideas. Continue reading