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What's In Your Case?

by Bobby Clark

This is the first installment of a new column that will set out to get the lowdown on exactly what equipment professional mandolin players have with them, whether on the road or in the studio. I think it will be interesting, as well as, enlightening for mandolin players of all levels to find out the thoughts and preferences of the pros in regard to instruments, strings, picks, straps and anything else essential to sounding our best and protecting our instrument.

We'll get things started off by finding out what's in Joe Carr's case and my own. Right from the get-go you'll see that there is more than one way to skin a cat. So I hope you enjoy what I've got for you this time and I'm looking forward to finding out what some of the other folks are toting around with them.

What is your main mandolin right now? I play a 1995 Duff F-5. I also have a Triggs A model which is slightly oversized and will take mandola tuning.

How long have you been playing it? I traded a Gilcrest A model for it about 5 years ago.

What are the things you like most about that particular mandolin (the Duff)? This mandolin is very balanced. The lows are good and punchy and the highs are clear and bell-like. The Gilcrest had a great "chop" but the highs were a little muted. The Duff records beautifully and it looks like an old, well played F-5. I describe the tone as "pretty." It also plays and speaks well with low action. It is very much like a Randy Wood I used to own. (I loved that mando, but had to sell it.)

Any special setup? Who does it for you? The Duff has a flat fingerboard which is fine with me. I've never played an arched fingerboard to my knowledge. The action is pretty low which helps me play cleanly. I don't have anyone right now to work on my mando. Since it needs fretwork and headstock repair (!), I guess I'll box it up and send it away soon. There is no-one here in West Texas that knows mandos.

What type of case are you carrying it in? I am using a stock shaped F case. I was using a Superior padded gig bag until I broke the Headstock scroll - like Monroe did!

What type of pick do you use? After years of using Fender 1.14 mm picks, I've started experimenting a lot. Fender heavies are good and I was using a "clown barf" followed by a heavy Fender "California Blonde." I also have an assortment of Dunlop Tortex picks in .50, .60, and .73. They seem to work better for Irish stuff.

What advantages does it provide? The really thick picks were starting to hurt my right hand. I was getting really sloppy so I tried the heavy which worked better. The thin picks are better for triplets although the sound is "dinky."

What strings do you use and why? For many years I used a stock GHS set which stayed lively for a long time. It helps that I have dry hands. Currently, I've got a set of D'Addario flatwounds on it. I like them a lot. I'll probably try another set of these.

What kind of strap do you use? When I traded for this mandolin it had a thin rawhide or latigo type leather strap tied in a hangman's noose around the scroll. The endpin hole is open all the way to the inside of the mandolin and the strap in knotted in there. No matter what I do, the mando can not come off the strap. I like that security. The strap goes over both shoulders.

Any pickups, amps or effects? No.

Any microphone preferences for stage or studio? At live shows, I play through whatever is there. In the studio, I often use an AKG condenser. (the long silver or black one.)

Any other equipment you can't do without? I don't like any string noises from the mandolin so I have a small piece of leather under the strings above the nut and one under the tailpiece cover. I've been known to tape the strings behind the bridge with masking tape if I couldn't get them to be quiet!

What is your main mandolin right now? Jim Triggs F-style w/dark satin sunburst finish. (prototype "Bobby Clark Model")

How long have you been playing it? Ever since I got it on Christmas Eve, 2002. (I still have the '29 Gibson F-5 I've played since 1977 and bring it out on occasion.)

What are the things you like most about that particular mandolin (the Triggs)? Pure dry, woody tone. Also the shading of the satin sunburst is very close to my '29 Fern. I get a lot of comments on how good it looks. Also the playability is excellent.

Any special setup? Who does it for you? I go with a fairly low action ever since having a bout with carpel tunnel syndrome a few years back. Robin Smith presently does my setup work, but there are several great instrument repairmen in the Middle Tennessee area.

What type of case are you carrying it in? The rectangular tweed TKL it came in. The case is holding up real well, so far.

What type of pick do you use? .96mm Delrin 500 by Jim Dunlop. It's kind of a "Pepto-Bismol" pinkish color.

What advantages does it provide? Very close to tortoise in feel and sound, but much cheaper! Anything thicker feels too "clunky" to me. Anything thinner sounds too tinny. I play with the rounded edge for speed and fatter tone.

What strings do you use and why? I've been fortunate to have had a Gibson string endorsement since the mid-nineties. I like

the Bill Monroe signature set. They're a little heavier, which works well with my low-ish action. They've always been real consistent from set to set.

What kind of strap do you use? Doyle Lawson model by Showcase. I ordered mine in a longer length since I wear it over the left shoulder.

Any pickups, amps or effects? No.

Any microphone preferences for stage or studio? At a festival I play through whatever is there. With our band's sound system I use a Neumann KM184 condenser mic. I also use the same thing in the studio, sometimes a pair of KM184s.

Any other equipment you can't do without? Just a cheap Korg tuner & a rag to wipe the sweat off my strings and I'm good to go. Oh, and someone recently gave me four little round rubber dealies that go in between each pair of strings behind the bridge to dampen the vibrations. I also have added a nice one-piece Gary Price tailpiece to my Triggs.

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There is no mistaking the group's signature mandolin sound for anyone other than Oklahoma native BOBBY CLARK. Having won the National Mandolin Championship in Winfield, Kansas, the Buck White International Mandolin Championship in Kerrville, Texas, and the World Mandolin Championship in Des Moines, Iowa, Bobby can only be called a true mandolin virtuoso. Bobby began his musical career alongside another Oklahoma native, Vince Gill, as a member of the Bluegrass ReVue. After moving to Nashville in 1983, he became a well sought after instrumentalist and worked with Vassar Clements, Larry McNeely, Peter Rowan, Jim Lauderdale and the Bluegrass Cardinals and most recently spent the last 16 years with Mike Snider on the Grand Ole Opry. Bobby has recorded two solo albums and has worked on other album projects with the likes of Ricky Skaggs and Vince Gill. Bobby's original music has been heard on TNN and CMT as theme music for "Celebrity Outdoors" and "Southern Outdoors" as well as in the movie "Borderlines". Bobby recently engineered and played on the Emmy Award-winning soundtrack for the PBS documentary "Rachel and Andrew", which was recorded at his own TOP DOG RECORDING AND SOUND. All this, combined with his 25-plus years experience in bluegrass sound are a big asset to Williams & Clark Expedition.