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In the music community I play in, the only thing that matters is whether you can play this music, or not. Trying to chase down what "authentic" means on the level of individual instruments in this music is a fool's errand anyway. I DID follow that rabbit hole and actually began to reconsider my commitment to mandolin and CBOM instruments as my favorite music to play is ITM.Trying to chase down what "authentic" means on the level of individual instruments in this music is a fool's errand anyway. Because if you fall far enough down that rabbit hole, you'll end up learning the pipes. I actually called up CJ Dixon and got a set of pipes.If he had an uncle who had already established a reputation as a famous mandolin player when he was a young boy, then it had to be at least somewhat popular in Irish trad as far back as the 1930s and maybe the 1920s. Celtic is a marketing term, not something that many of us who play this music use to describe what we're doing.It's useful in that context when you're selling instruments or if you're in a band.I've used it myself when promoting a duo I play in (with gritted teeth, and only because it's the one term the clients understand). I also can attest to what you said about the pipes.I've been playing mandolin in local Irish and Scottish sessions for about 5 years now, and I've never been given the stink eye for playing a mandolin based on the Gibson F5. About 5 years ago I really started to "discover" the online debates about mandolin not having a long history in ITM.I own a celtic mandolin, made in the style of a Sobell, by Nathan Curry, a luthier here in Canada. Every now and then I find myself dreaming of an F style instrument, but articles like this remind me that I already have the instrument which delivers the sound I qualities I am looking for.A thoughtful article, Nigel, and it brings up some good points.
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