The story of my new F17 mandolin started in Baja California, Mexico in 2014. Apart from fishing in the Sea of Cortez, I also had the opportunity to play some bluegrass music with musicians of the local American community. It was there I met Wolf, an experienced luthier and old-time fiddle player, who lent me his 1916 Gibson A3 mandolin for a period of two weeks. Until then I had never examined these instruments with a short neck and an oval soundhole which were produced before the innovations of Lloyd Loar very closely, but this mandolin surprised me very pleasantly. Its sound was interesting with a focus on the mid-range of the spectrum and it behaved beautifully in front of a microphone. I took the time to study the details of the construction of this mandolin and have thought a lot about how to implement some features of its construction on an A5 or F5 style mandolin. I built the first three prototypes in 2017on which I was able to prove my assumptions.
The current Krishot F17 mandolin still has a very similar visual appearance to the F5 of Lloyd Loar although it is also influenced by the shape of older instruments as well as by the Gibson F7 that was built in the 1930s (this is a relatively lesser-known model even though Bill Monroe recorded some of his exceptional earlier work on an F7). I have not finalized the shape of the A17 model yet, but it will feature the same basic parameters as the F17: Spirit varnish, 14 15/32″ scale lenght, S-shaped sound holes with white or maple binding, recommended strings D’Addario J74 or J73.