Summer Greetings

Dear Luthiers,
As the weather warmed and activity increased, our June was about as busy as it gets! We’ve been at work building your custom mandolin and mandola kits, and have especially enjoyed seeing the fruits of your labor. It seems those long, cold winter months many of you experienced yielded plenty of focused shop time. We love to see your projects, in-progress and finished, so please keep us updated either via email or feel free to post them on our Facebook page.

We recently announced several more Straight Up Strings endorsers! Welcome to the Straight Up Strings family: Jayme Stone (Jayme Stone’s Lomax Project) and Jesse Langlais (Town Mountain) on Banjo. On Mandolin, we’re happy to be represented by Don Julin (Billy Strings and Don Julin and author of Mandolin for Dummies), Andrew Marlin (Mandolin Orange), and Tristan Scroggins (Jeff Scroggins and Colorado) as our “Artist on the Rise.” We celebrated Andrew Marlin’s endorsement with a trip to see Mandolin Orange in concert in LA last month. The Steep Canyon Rangers happened to be in town, too, so we lucked out with a weekend of mighty fine North Carolina music.

Keeping with the North Carolina theme, we also recently hosted Mipso for a wonderful, warm and intimate house concert. Our next house concert will be in the Fall, so stay tuned.

A highlight of our summer is CBA’s Father’s Day Bluegrass Festival in Grass Valley, CA. Each summer, we load up the cars and trailer and spend a fabulous 5 days in the Luthier’s Pavilion, meeting many of you and sharing the triumphs (and challenges) of building and playing instruments. Between shifts, we made sure to see Dawg perform and several others, including Straight Up Strings artist, Bill Evans’ “Banjo in America” presentation.

This year was especially fun for us, as we have recently become CBA’s co-Area VPs for the Central Coast. We’ll be working on connecting and promoting the local bluegrass community, so if you’re local, please drop us a line and let us know if you’d like to be on that email list.

Be sure to stay in touch with us on FacebookTwitter and Instagram. We want to know what you’re up to, too!

Amy Sullivan and Kali Nowakowski
Straight Up Strings
by Siminoff Banjo and Mandolin Parts

From Roger

We’re gearing up for another Luthierie Camp to be held in about three weeks. We’re going to have six luthiers from around the country join us for a very intense week to learn all the phases of building a mandolin. At the end of the week, they will leave Camp with a fully assembled, top quality, tap tuned, white-wood mandolin that was constructed with their very own hands. Our Luthierie Camp program is very exciting for us. Kali, Amy, Nolan, and I finish the week in a rather exhausted and worn-out state, but we are always enriched by the relationships we have developed, the interactions we have had, and the wonderful things we learn from teaching others. Hope you get to join us one of these times.

I’d like to personally thank each of you who have tried our Straight Up Strings, and especially those of you who have taken the time to share your experiences with us. Our string program has not been an insignificant effort, but instead a rather intense on-going program that reaches back almost 40 years. Having it come to fruition and learning about the impact our strings have had on your playing is incredibly rewarding for us. And, as Kali and Amy point out, we’ve been greatly enriched by the many endorsers who have recognized the value of our efforts and have stepped out front to say so. If you have the time to provide us with some input on Straight Up Strings, I’d sure enjoy hearing from you.
Thanks for your continued interest in Siminoff Banjo & Mandolin, and thank you for your business. We do appreciate it and you!

Thanks for building with us…

Luthier’s Tip: Bridge Alignment

The soundboards of movable bridge instruments, like the banjo and mandolin, are driven by the downward pressure of the strings on the soundboard (“head” in the case of the banjo). The soundboard resists the strings’ pressure and pushes back on the bridge with an equal force until a stasis or balance point is reached. In this state, the soundboard is “loaded” and ready for any response or change in the strings’ pressure. When the strings are played, the strings’ energy and change in tension creates an interaction with the soundboard, the final result of which is the production of sound.

The connecting link between the strings and the soundboard is the bridge whose structure plays a key role in the production and quality of sound. The mass of the bridge must be balanced to the gauge of the strings and the power of the musician’s attack. Heavy bridges need heavy strings, and respond better to a heavy attack. Strings over bridge feet interact differently with the soundboard than those over the bridge’s saddle or arches – a key focus for us when we developed Straight Up Strings with their carefully compensated down pressures that adjust for where strings sit relative to bridge structure. The contact of the bridge’s feet to the shape and curvature of the soundboard is critical to good tone production.

The location of the bridge on the soundboard is vital to proper intonation; an instrument with perfectly adjusted intonation sounds 100% better than one that is slightly off. Lastly, the vertical alignment of the bridge plays a key role in how the strings’ energy is transmitted to the soundboard, and how the soundboard’s energy is sent back to the strings (something we call a “restoring force”). The bridge in this photo was improperly fitted and is leaning far too much toward the peghead. In this position, it cannot do its job efficiently to drive the soundboard. Aligning it properly to be perpendicular to the arc of the soundboard will make a major difference in the sustain, clarity, and overall tone production of the instrument. Re-aligning the bridge will require re-shaping and re-fitting the bridge feet.


Dear Luthiers,

 We hope this email finds you enjoying the first signs of Spring, and if not, at least on the precipice of fine weather. We here in California are paying close attention to the weather, too, and surely talk as often about our drought as much as our U.S. Midwest and Eastern counterparts compare notes on the snow.
Speaking of winter weather, we made a quick trip out to Kansas City, Missouri in February for Folk Alliance International’s annual conference. While we were there, we connected with two new Straight Up Strings endorsers (look for a May announcement!) and basked in the all-hours availability of wonderful folk, Americana and yes, bluegrass, music.
We’ve also recently received some wonderful press in the form of positive reviews for our Straight Up Strings for Banjo in the February edition of Banjo Newsletter and additional coverage with a 3-page string article in the March Bluegrass Unlimited.

Cahalen and crew – many fine mandolins, including Loar’s own.
Other highlights: A shop visit from Cahalen Morrison and Country Hammer and Roger recorded a podcast with a major industry publication (we’ll let you know when it’s posted).
In the works this month: We’re designing some very special mandolin and mandola kits from handpicked, premium-grade woods as we change our focus to produce only master-grade mandolin and mandola kits with these select materials.
On May 7th, we’re presenting another house concert. This time,Mipso, the young Carolina quartet, will be filling the house with their sweet sound and uplifting songwriting. If you live nearby, you’ll want to catch this group!
Be sure to stay in touch with us on FacebookTwitter and Instagram. We want to know what you’re up to, too!
Amy Sullivan and Kali Nowakowski
Straight Up Strings
and Siminoff Banjo and Mandolin Parts

From Roger: What Was Loar Hearing?

The interest in tap tuning has grown tremendously over the past ten years and many builders cite my book, The Art of Tap Tuning, as the source for tap tuning inspiration and information.
As most of you know, one of the interesting features of the Gibson F5 mandolins that were signed by Lloyd Loar in the early 1920s is that they were tap tuned – a key attribute that gives these instruments their unusual rich and powerful tone, and a major contribution to making the +/- 275 Loar-signed F5 mandolins sound so much alike.11 years ago (February, 2006), the California Bluegrass Association (CBA) held a “LoarFest” in Bakersfield, California during which 25 owners of Loar-signed F5s brought their mandolins for all to see and hear, including Loar’s personal F5 which is still in my possession. As we listened to each of the instruments being played in the same room, it was both interesting and unusual to note that each instrument had a very similar tone. Aside from the fact that most of the instruments had different types of strings, and were being played by different people with different picking styles and different types of picks, there was a common voice among all the instruments unlike what one might hear from any grouping of 25 other mandolins. It was uncanny.

The similarity of tone in the F5s wasn’t coincidence – it was very much by design, and a testament to the fact that these instruments were tap tuned.

As I think most of you know, tap tuning is the art adjusting the stiffness of the wood and the size of the apertures to literally tune the various parts of the instrument to specific notes. The process is much as if you were making xylophone bars and had to remove wood until you arrived at the desired frequency for each bar.

But what is most interesting is that the concert pitch Loar was applying in the 1920s was not the same as the concert pitch we use today. In Loar’s time, concert pitch was C=256 (when C=256, A=431). Today, concert pitch is A=440 (adopted as the standard in 1971). So, here we have the case of Loar requesting that F5s were tuned to notes in the 1920s that we don’t use in 2010. In fact, C=256 is actually a quarter-tone off of A=440. This poses a very interesting question. Is what Loar was hearing in 1920 different from what we hear today?”

The answer is most probably, “yes!”

Loar did experience A=440 since the change to that concert pitch as the standard was being considered by leading worldwide music organizations before Loar’s death in 1943. (In fact, I have owned several of Loar’s personal keyboard instruments some of which he had tuned to C=256 and others tuned to A=440.)

As an interesting and surprising experiment, tuning the strings of a Loar-signed F5 to concert pitch C=256 (A=431) yields an instrument that doesn’t really sound very good. Same strings, same pick, same player, just tuned down a bit – but the result is a big difference in tone. So, when tuning the F5s in the early 1920s using C=256 as concert pitch, Loar was hearing something different from what we are hearing today. Hmmmm.

If the subject interests you, I wrote an in-depth white paper entitled What Was Loar Hearing? You might want to read it to get a better idea of what was going on with the tap tunings and concert pitches of the day. The white paper is free and can be downloaded from our website. And, if you have not read The Art of Tap Tuning, the book is still available from us here.

Luthier’s Tip: Scroll Protector

One of the tricky parts of preparing soundboards and backboards is carving the scrolls. In addition to shaping the volute properly, the low area of the soundboard and backboard near the scroll has to be shaped down close to the scroll and this requires forcing your gouges and chisels in the direction of the scroll. If the chisel slips or exits from the wood when you didn’t expect it to, there is a good chance the chisel will ding the scroll. When working on the soundboard, where the wood is a bit more delicate than the maple backboard, if the chisel were to exit with too much force, and strike the side of the scroll, there is a chance it could crack the scroll.

 An easy way to protect the scroll from damage is to place a leather caul in the scroll’s opening. The leather caul will act as both a protector and shock absorber. It will also help protect the cutting edge of your chisels. As an added feature, you will be able to work more confidently knowing that you have better control of where your chisel will end up.

As with any tool, stay focused on where your hands and fingers are. Unfortunately, inserting a leather caul in the scroll’s cutout doesn’t give your free hand any more protection, so please do be careful.

February Greetings

I hope your New Year is off to a good start and that you siminoff-133are making progress with your luthierie projects. I know we have many builders whose shops are either in their garages or in out buildings that are not well heated, and that makes it very difficult to do your work as well as manage the environment to protect you woods, adhesives, and finishes. If you are storing wood, please ensure that it is “stickered” (where boards lay on top of boards separated by slats of wood called “stickers.” And, also ensure that the vertical arrangement of stickers is one directly over the other so that the boards are not being bent. The stickers allow air flow through the boards and reduce the risk of condensation and mold.

We’ve had a busy December (thanks to you!) and as always, we’ve being very selective about the woods we purchase. We just came across an amazing lot of red spruce for mandolin and mandola soundboards and bought several hundred sets. So if you have project you are thinking of – possibly an instrument you are planning to build in the summer or after – this would be a great time to grab one of these soundboards while we have them. You’ll find the red spruce here, among our other soundboard options.

Straight Up Strings are really taking hold and we are receiving daily compliments from musicians who share their “new sound” and “new feel” stories with us. We have several dealers who now carry Straight Up Strings including Elderly Instruments, Gruhn Guitars (Nashville), and Sylvan Music (Santa Cruz, California) and we will be working on a focused dealer program in the coming months with the hope that you can purchase them from your local dealer. (Got a dealer near you who you think might be interested? Please email me and I will personally reach out to them.)

We’re also very proud of our endorsers who have come to know the value and benefits of Straight Up Strings for Mandolin. These include Phil Barker of Town Mountain and  Songs From The Road Band, Caleb Klauder of Foghorn Stringband and Caleb Klauder Country Band, and Adam Roszkiewicz of Front Country, Modern Mandolin Quartet and Small Town Therapy. Each of these artists has experienced new levels of sound from their mandolins which they attribute to Straight Up Strings.

And, as I promised last month, I am thrilled to report that Bill Evans has come aboard as our first banjo endorser for our Straight Up Strings for Banjo. In addition to the new sound of his 1930 Gibson Granada, Bill was very impressed with the new feel. “Right from the first,” he told us, “I noticed that the strings were incredibly consistent in terms of the amount of energy it takes to play with the picking-hand fingers.” His experience is based on the balanced down-pressure of Straight Up Strings that equates to a balanced side-pressure as the strings are pressed by the fretting hand. Bill’s choice is the medium gauge and he’ll be heading out on tour as Crary, Evans & Spurgin next month.

We’ve heard from Jim Hatlo that he’s written an article on strings for the March 2015 instrument issue of Bluegrass Unlimited magazine. Jim worked with me at

FRETS Magazine and was very involved in the string development articles and Frets String Clinic columns we were preparing then. I look forward to reading the article and I wanted to alert you to look out for it, too.

We’ve just come back from The NAMM Show in Anaheim, California. NAMM (National Association of Music Merchants) is an organization that is now in its 115th year, and this is our opportunity to meet with many of our vendors who come from around the world to show their goods. The expectation is that 70,000 attendees will pass through the NAMM doors during this four-day weekend. During the event, we were very excited to receive a plaque from Joe Lamond, president of NAMM, commemorating our 50 years in the music business. Pictured below are me, Kali, Amy, and Joe Lamond, NAMM President and CEO.

Lastly, but by no means least, we are now gearing up for our July 2015 Luthierie Camp. This will be our 16th Camp and the program has been as enriching for us as I know it has been for our Campers.  During this camp, you can build an F5, F4, or A5 mandolin, and you leave with one that is tap tuned, and fully assembled. While there are some tasks for you to do when you get to your workbench (there’s just so much we can do in a program-=packed week) all the critical tasks are completed. Kali says she still has a few still open as of this writing. If you are interested, this is a great time to contact Kali and make you reservation.

Thanks for building with us…


From Kali and Amy

We’ve been busy keeping up with your orders (thank you!) and enjoyed an action-packed January. Among the highlights was being at NAMM with Roger when he received the award presented for 50 years in business. We also learned about a very special video archive they’ve been compiling. Do check it out!

On January 31, we presented a house concert with 10 String Symphony. Along with their two 5-string fiddles (=10 strings), this duo filled the room with their voices, banjo and, sometimes, metal mandolin(!). They’re currently touring the West Coast, so be sure to catch them if they’re coming to a venue near you.

Luthiers Tip (Fish Glue):

I’ve received several emails from folks wanting to know more about the hard (fish) glue we sell. Fish glue is a great substitute for hot hide glue (HHG), and its bonding characteristics and hardness are similar to HHG. However, unlike HHG, fish glue can be worked cold, it’s always at the ready, it’s open time is about 15 minutes (compared to 10-15 seconds for HHG) but it has a long clamp time (about 12 hours). Hard (fish) glue can be diluted and/or cleaned up with water, and it softens at about 150°F-160°F just like HHG. I’ve never experienced problems with it softening or releasing in high humidity. Further, it has a very long shelf life and can quickly be brought back to a usable consistency with water.

During our Luthierie Camps we give the luthiers a piece of rib stock, and have them put similar-size dabs of hot hide glue, fish glue, Titebond Original glue, Franklin’s Liquid Hide Glue, Titebond II, Titebond III, and Gorilla glue on the board and label what they are. The next day, they do a very simple hardness test by poking the dried dabs with an X-Acto knife.

Part of the experiment is to notice how the various glues shrink (or bubble in the case of Gorilla glue), and how some of them shatter if you hit them harder with the knife (guess which two shatter. Then we do a heat test, and I suggest they take the boards home and do a soak-in-water test.

Next time you place an order, try one of our small bottles of Hard (fish) Glue, and so some tests – I think you’ll be very pleased. And if you have many of these glues available to you, try this easy experiment, I think you’ll learn a lot.

Next month, I’ll talk about the attributes of some of these other glues.

Luthiers ask:

Q: I’ve heard about a tool called “magic probe” that measures thicknesses of soundboards and backboards on assembled instruments. Do you recommend these?

A: There are several similar magnetic devices and they work reasonably well. If you are doing a lot of measuring, or need to know measurements on instruments where you cannot remove the soundboard or backboard, then a magnetic measuring device is a fine tool to have. My comment that they work “reasonably well” is that where critical measurements are needed, having the soundboard or backboard off the instrument and using a deep-throat micrometer is the best way to derive precise measurements. One problem with the magnetic probes is that if the ball gets caught by a piece of dust or a small indent in the wood or anything that causes it to lag behind the measuring head, then the distance from the ball to the measuring device could be greater than the actual thickness of the part and it could yield a faulty measurement.