Russ playing his Hyalite Octave Mandolin

On Feb. 13, 2001, I became the proud and grateful owner
of a Weber Absaroka Octave Mandolin, from "Sound To Earth".

The instrument is, quite simply, exceptional. I have owned and played a variety of octave mandolins: Trinity College, Flatiron, Russell-Celtic Cross, and one or two others that shall remain nameless, but nothing compares to the workmanship, tone, and playability of the Weber. This beauty has a less "nasal" voice than any other O.M. I have played, and possesses a dusky, smoky, whiskey-like warmth that was so lacking in the others. There is no tinny, treble sound on the high-end but rather a warm sweetness that rings like a fine crystal. The sustain is remarkable. Chords ring like a mission bell. The scale length is 22 inches, so getting around the fingerboard on fiddle-tunes etc. is not a problem, for anyone with half-decent finger dexterity.

This instrument is a musical chameleon, in that it adapts to almost any kind of music you'd choose to play on it, as its pleasing voice can accommodate any musical genre. Since Johnny Moynihan first introduced the bouzouki into Celtic music in the '60's, this type of instrument has come a long way, and gone through many changes, and is adaptable to so many styles of music. This is a carved top instrument so the tone is miles ahead of the cheaper flat-top models. It is not a one-dimensional sound and is as suitable to accompanying vocals as it is to cutting leads.

The other features that make this such a remarkable instrument are the quick string change tail-piece, and the incredible "Brekke" bridge. No more string change struggles, sliding the tail-piece cover off and sometimes holding the string loop in place with blood, sweat and tape and/or profanity! A simple angling of the loop, slide it under the cover, and twist - the string stays anchored firmly in place while you wind the string into pitch. The bridge is a story in itself. I actually lowered the action, with the supplied allen key, while I was playing! The design of this bridge is light-years ahead of any technology that exists on today's market. (Check out Weber's website.) There is a graceful, slight, "S" curve to the O.M. bridge with a solid, but not overbearing mass of wood that contributes, I'm certain, to the wonderful meaty tone and sweet sustain of the Absaroka. There is no metal, so the sound transfer is wood to wood. I'm so impressed with this innovation, I'm considering converting my other mandolins to Brekke bridges. As instruments of this quality and playability make their way onto the market and into the spotlight, I predict many guitarists will add O.M's to their inventory and convert, more than occasionally, to their use.

Mandolinists will find it easy (after some slight adjustment) to move "up" in size, and guitarists, to move "over." There is a treasure of sound potential here to augment a players versatility and repertoire by the addition of one of these fine instruments. Well done Weber! This is a life-time instrument suitable to almost any style of music you could dream up. Just ask "Mandolirium!"