The "Big Mon"
Since 2009 The 北方原野 "Big Mon" F style has been popular among professionals and enthusiasts alike.
Enlarged slightly from our standard F5 style and tuned for a very responsive and rich sound, this design has been featured on many albums by premier players and toured with substantially the world over. Inspired by the innovators and pioneers 共 acoustic music in the United States, the "Big Mon" design is a tribute to those intent on pushing boundaries while maintaining traditions. Please check out the “Big Mon 琴体 Size” page to learn more.
规格
护板: Ivoroid Bound Phenolic
上弦枕 Width: 1-1/8” (28mm)
指板 Radius: 5.7” at the nut, 7.7” at the 20th fret
漆面: High Gloss Hybrid 清漆
Color: 日落色
面板: Adirondack 红色 or Engelmann Spruce
背板 / 琴颈 / Sides: Highly Figured Maple
码桥 / 指板: Ebony
弦钮: Gotoh
拉弦板: Nickel-Plated Engraved Gilchrist/Northfield
Binding: Side Bound
All materials from North America, seasoned and matched in our Marshall, MI shop. Assembled and varnished in our Qingdao shop. Set up and final inspected in our Marshall, MI shop.
价格: ¥41,004
We often get asked about the tonal differences between Adirondack 红色 Spruce and Engelmann Spruce. It’s a very valid question with a subjective answer. While we can tell you which one we find to be warmer, which one we find to be brighter, which one works better for this style or with that ensemble - It is impossible to know for sure which one works better for you.
Here is a side by side comparison 共 Derek playing two Big Mon’s with the different top woods, same distance from the mic, same songs….. we’ll let you decide :-)
The responsive and rich sound 共 the Big Mon has been featured on many albums by premier players and toured with substantially the world over.
The 北方原野 Big Mon has a throaty and growly midrange backed by lots 共 volume with minimal effort.
Big Mon 琴体 Size
Our Big Mon 曼陀林 is something we created in our shop. In an effort to create a little more midrange and bass response, with a nice airy sound. The Big Mon body style is just slightly different than the standard size. We've increased the width 共 the body, at its widest point, by 5mm. We've also adjusted the depth/width 共 the sides a little in a few places. Everything is in proportion to this change, so it 条 in a slightly larger body overall. It's not very noticeable unless you compare it directly to another standard size by lining them up back to back. The change is subtle aesthetically, but immediately apparent in terms 共 sound. The re-curve carved into the top is extended a little and the top, out towards the edges, has been thinned a bit. All curves are maintained so that the shape is very pleasing to the eye. The body flows into the waist area and continues the line up the side resolving to a very nice circular scroll, with a slightly larger button in the center. We've also changed the thickness for the back accordingly and vary that depending on the type 共 material we're using. It's always a combination 共 the exact materials, the age and various properties 共 the wood and the construction.
So what did all these subtle changes do?
Overall, the sound produced favors a very throaty and growly midrange. It accentuates the D strings with a very airy and woody tone. When you play the courses in tandem, like the G and D sets or the D and A sets together, you really get that woody pop—and it doesn't go away as you venture farther up the fingerboard. One 共 the biggest advantages with the Big Mon is the volume it produces without much effort, which makes for a wonderful playing experience
