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The Classical Mandolin Society of America Inc., or CMSA, is a 501 (C)(3) not for profit corporation committed to promoting the playing and study of mandolin instruments in the United States. The organization was founded in 1986 by Norman Levine.
Lyon & Healy Harps, Inc. is an American musical instrument manufacturer based in Chicago, Illinois and is a subsidiary of Salvi Harps, but also has a layered corporate structure. Today best known for concert harps, the company's Chicago headquarters and manufacturing facility contains a showroom and concert hall. George W. Lyon and Patrick J ...
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A back-up ring is a rigid ring that holds an elastomeric seal or plastic (such as Polyethylene) connection to its designed shape and in its correct place. Back up rings are commonly used with O-rings, lip seals, and as reciprocating shaft seals. They are also used for piping connections joining two different materials - typically one flexible ...
Four years later, the company officially re-introduced the Regal name [1] in Chicago, establishing their factory there. Lyon & Healy set Regal up as an independent company in 1924. During its first years of existence, Regal only marketed 4-string instruments such as ukuleles and tenor guitars. The production of 6-string guitars would begin later.
A hand-held tungsten carbide knife sharpener, with a finger guard, can be used for sharpening plain and serrated edges on pocket knives and multi-tools.. Sharpening is the process of creating or refining a blade, the edge joining two non-coplanar faces into a converging apex, thereby creating an edge of appropriate shape on a tool or implement designed for cutting.
The Mandolin "Estudiantina" of Mayenne, France around 1900 when Mandolin orchestras were at the height of their popularity. A mandolin orchestra is an orchestra consisting primarily of instruments from the mandolin family of instruments, such as the mandolin, mandola, mandocello and mandobass or mandolone. Some mandolin orchestras use guitars ...
When mandolin orchestras were being organized in numbers, the members became aware of the problem of adding bass to their orchestras. In trying to play the bass range, many mandolin players were reluctant to switch to the contrabass, because they saw its bowed action as an intrusion into their plucked-string world.