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First, we'd like to say that a finish process like this is difficult for us. We've always tried to build very "clean" instruments with nice finishes, and varnish will never have the same appearance of our traditional lacquer finish. We are using an alkyd resin varnish that, by its very nature, will shrink, wrinkle, get "dull" and d o a host of other things that we are not accustomed to seeing in our finish. Small imperfections cannot be sanded and touched up as with lacquer. It does not have the sheen or gloss of lacquer, but has a deeper looking luster like early oil varnishes from the 1800s or the early Loar instruments. Orville Gibson used shellac, prior to Loar, which is evident from scraping the finish off of old instruments. Lloyd Loar used an oil based, alkyd resin varnish like that used on good violins. It was brushed on and sanded off. To "shine it up", they would French polish it with a spirit varnish or shellac, which would often result in a "tacky" or "gummy" finish. We're trying to get a glossy look with the alkyd resin, while at the same time, trying to avoid the "stickiness" of shellac. It has been a challenge, but one that we've enjoyed.
Over time, the woodworking industry has always tried to develop easier and more durable finishes that still look good. The musical instrument industry is no exception. Varnish is certainly a step in the opposite direction in this regard, which is by no means a bad thing. The process takes a lot more time, both in application and drying, and is certainly not conducive to volume production. The difference in tone, however, helps to make up for this. The varnish seems to create a faster response with deeper and warmer treble, and a greater overall dynamic range. Putting tonal differences into words has always been challenging, so our best advice is to get one in your hands and let the mandolin speak for itself. We think you'll be pleasantly suprised.
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