Until then my L&H does an amazing job, and its sound is often smiled at by those with other options. I have a Vinaccia that needs some work and will eventually be my go to for classical. I am on the look out for a much more recent. When they cooperate they are divine, but cannot be relied on for exact music on any given day. Its too hot its too cold its to dry its to humid its too early I don't feel like it, and so on. The sound is not very bluegrassy at all, and when played with a pointy pick is pretty sparkly.Īll of my bowls are turn of the last century and are very cantankerous. I have a model A that has a very bowlbacky sound. This one has that wonderful accessory, the pull out leg rest to keep the mandolin from slipping off your lap as. Pretty much the ideal compromise, though not the first, or even second, choice for playing bluegrass.Yea I would agree. The middle child in the small Lyon and Healy mandolin family, the 'B' is pretty much the same in performance as the styles 'A' and 'C.' As with Gibson and other makers, the models varied more in decoration than tone or playability. The are not quite as sparkly in the treble as a good bowlback, with better bass response, but not as strong in the bass as the Gibsons. In my experience, L&H carved-top mandolins fill the sweet spot between Italian bowlbacks and the Gibson-style oval hole instruments. If you're looking at a long distance buy, it is a good idea to make sure there is a 48 hour return policy in case you find you don't like the L & H sound. Funny thing about that- the only soundman who couldn't dial that one in was using a $500 microphone and a $5000 board. Their instruments were often beautiful, original and wonderful sounding. L yon and Healy was one of the great guitar, banjo and mandolin makers of the late 19th and early 20th centuries.
Lyon healy mandolin style c plus#
Perhaps the best miking mandolin I have ever played was a L & H model B. Lyon & Healy (used, 1920) Style C Tag N o 78-7564 Used 422, carved back mandolin, in very good plus condition with original black hard shell case. Perhaps some of the C's have a little more bass than the A's and B's. There is much less variation between individual L & H mandolins than we are used to hearing among oval hole Gibsons.
![lyon healy mandolin style c lyon healy mandolin style c](https://cdn.shopify.com/s/files/1/0147/9412/9472/products/3a_3d8d80b3-3f1d-46d1-b2db-9c5b29890286_1500x.jpg)
The consistency of L & H mandolins is very noticeable. The mandola is related to the mandolin the same way a viola is related to a violin.
![lyon healy mandolin style c lyon healy mandolin style c](https://fretboard.s3.amazonaws.com/wp-content/uploads/2015/04/27145749/lyonhealyc_507-1.jpg)
Find Gear - lyon and healy style > Guitars Amps & More. They are really very flexible instruments, good for tunes and vocal accompaniment, and they also chop quite well. 1920 Lyon & Healy Style C mandolin Banjo, Violin, Mandolin, Guitar Amp. In short, L & H's have their own tone, and part of that tone is a more classical sound then we hear from Gibson. Some of the L & H's have a somewhat nasal quality that we do not hear in Gibsons, but that we do hear in bowlback mandolins. The harp has the Lyon & Healy sound and carrying ability which. In my experience, L & H model C's have sustain and projection similar to 'teens Gibson A models, but the tone tends to be clearer and quite a bit more focused towards the high end. 1928 Style A Mandolin 1920s Style B Mandolin 1920s Style C Mandolin 1925 Style A Mandocello.