I’ve been using a new National RM-1 resonator mandolin for virtually all our gigs for over six months now, and I’m generally happy with it. I find the tone to be solid for both rhythm and lead playing, and the volume is unmatched in any mandolin I’ve ever tried. There is one major annoyance with the RM-1, though: the tailpiece.

Ordinarily, one would never even think about a tailpiece, let alone find it a source of annoyance. The new Nationals, though, have a unique design. They’re cast of solid brass or steel, with posts for the loop string ends, and channels set into the metal to hold the strings in place en route to the bridge. The strings go through the channel, and then under the end of the tailpiece. This helps ensure sufficient tension when the strings go across the biscuit-style bridge.

The mass of the tailpiece is great — it contributes to improved sustain and tone. But there are two major problems with the tailpiece:

1. The string loop is held in place by tension and tension alone
2. The space the strings pass through after they pass through the channel is almost impossibly small

Because the strings are held in place by tension alone, one must either keep the string at tension while putting it on or hold the string in place while bringing it to tension. Neither is ideal, and the margin for error is small. I frequently find myself contorting into awkward positions to keep the string from slipping off the post while I bring it to tension. Also, the biscuit-style bridge has a protective cover, so the strings have to pass under that cover. One has to pass the string under, and grab it on the other side, all while either keeping the string at tension or holding the loop in place with one hand. If the string slips off the post, it’s really a drag, because, as stated above, the space through which the strings pass en-route to the bridge is almost impossibly small.

One has to thread the string through the channel and then under the forward edge of the tailpiece. Not too hard in theory, but difficult under any of the following situations:

• When one is trying to keep the string at tension with one hand
• When one is working with a very thin string, such as a .010-gauge e string
• When one is on a dark stage
• When one is in a hurry

Usually, one has to bend one end of the string to get it to pass through the tiny space and the channel. There are two ways to do it: bend the loop end and go in backwards, or bend the straight end and go through forwards. Going backwards is actually easier, but I worry about bending part of the string that will be in use — it may weaken the string and contribute to breakage. So instead I bend the front end of the string and thread it through, which is not fun. There’s not a lot to grab onto with a .014 or .010-gauge string. If it flops around, it’s like trying to grab wet linguine with boxing gloves. This is made all the more difficult by any of the factors listed above. Particularly so in a situation where there is a string break, as the strings on each side of the space make for very little room to maneuver.

These contortions and frustrations contribute to an unusually high number of string changing’s number one casualty: the puncture wound. I just restrung my mando, and I have blood all over my left hand from the clipped ends of strings poking through my skin whilst I held the string in place.

I’m interested in hearing from other folks who are playing these new Nationals as to how they deal with the tailpiece. I may go to the hardware store and grab a little alligator clip to hold the loop in place during string changes. Any other coping strategies would be apreciated.

You can see a large picture of the tailpiece on the National website.

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My new National resonator mandolin