Alembic Club

Some of us play, and work on other fine instruments... lately a few of them have come up in threads that went off into fun but unrelated tangents, so I thought we could make a permanent spot for these musings. I love to see other peoples baby pictures too.  
 
I'll go first...  
 
Here's my newest baby, taken moments after the case was opened on the day she came in to Fret Mill Music, 5/19/2014
 
 
 
and a couple days later, in better light.
 
 
 
 
 
What is it? Well, a couple years ago I had the C.F. Martin & Co. Custom Shop build me a 00-18 based on 1929-1932 specs, right down to the hide glue construction. The only exceptions to the vintage appointments are: a modern 2-way adjustable truss rod, instead of the inlaid ebony reinforcement of the time, and I had it fretted with standard tanged fretwire as opposed to the bar type fretwire in use until late 1934. To be completely technical, the shaded (sunburst) top is based on a 1933 Orchestra Model. Essentially, they built me a guitar they haven't made since 1932.
 
I sold two vintage Martins to offset the cost, and haven't regretted it yet. Well... I do miss one of them, but it belongs to a good friend and bandmate, who knows I'll strangle him if he ever sells it or defaces it in any way.  =)  
 
Comments? Who's next?

I have a parlor guitar that's about 100 years old.  The back is, I believe, quarter sawn oak.  V shaped neck like 100 year old Martins.  The maker is Eugene Howard and it was distributed by Wurlitzer.  I have found little info about this guitar or the builder.  Anyone?  
 
Bill, tgo

Wow...it's so bizarre seeing the old shapes with a
pristine and glossy finish...and the burst...    
 
Here's one of my mystery instruments. I'll post a link to a full album with big pics for the GSI(Guitar Scene Investigation) tonight.
I'll get some good shots of the bracing etc. I think it's an old old body paired with a neck from the 40's-60's??
It sounds big and pure, with alot of punch with a little energetic playing. The neck needs a reset and the top is a little bowed.
I have the steel strings tuned way low (C) until I have a plan for it's ailments. I'll have to find some nice low tension strings  
to keep things right.  
 
 Here's some teaser shots. Does anything look familiar ?
 
 
 
 
 
 
 
 

That body is reminiscent of Chicago-made Regal & Washburn guitars, but the neck is a puzzle. Most if the Regal/Washburn ones I've seen were braced laterally and had a lot of wood marquetry, but that looks like tortoise celluloid binding, which should help date it. I'd guess this side of 1930.

This one has X bracing. There's the end of a truss rod hiding in there. I've got the inspection mirror out and am going to try to get some inside pics.
Thanks for the input!

Not much help Bill, but here's a link to a UMGF thread on Eugene Howard... I've heard of them and read a little, but never seen one IRL.
 
http://theunofficialmartinguitarforum.yuku.com/topic/82475 (http://theunofficialmartinguitarforum.yuku.com/topic/82475)

The side shot seems to show more of a deviation from parallel at the 14th fret than the bridge, which indicates some loosening in the neck joint. A tiny crack at the heel cap translates into a major bow topside.
 
Usually if the belly at the bridge is the bigger problem, there's some corresponding rotation of the bridge (a dip in front and belly behind, which is what X-bracing was invented to combat)
 
http://tinyurl.com/o4bfuef (http://tinyurl.com/o4bfuef)
 
One thing to consider is that it's the height of Summer, when acoustic guitars go wonky anyway, especially if you live someplace humid. My mentor sometimes told customers; if the action is still too high at Christmas, then you have a problem.
 
I've seen repairmen drill a small hole straight through the *heel and neck block, and bolt them together with a large washer and nut against the neck block. They had first cut out a plug slightly larger than the bolt head to countersink it into the heel. Once they trimmed the plug and glued it back in place on top of the bolt head, you simply couldn't tell it was there.
 
It took him about twenty minutes, versus a couple hours for a traditional fire up the teapot neck reset, which requires pulling the 14th fret, drilling a couple of small holes in the fret slot and injecting steam (or solvents, depending on the glue) into the dovetail joint to loosen the glue.  
 
Then you have to saw through the fingerboard at the 14th fret so you can gently tap the heel cap with a soft mallet to remove the neck, clean the dovetail, reglue it and reverse the process.
 
All to close a 1/16 gap at the heel cap.
 
If you just don't feel like messing with all that right now, you can make it easier to play by tuning down a whole step and putting a capo at the second fret. (A lot of 12-string players do this, to drastically reduce the tension.) as a bonus, the position markers remain relevant.
 
I did a bunch of research on acoustic sites to find low(er) tension strings to recommend. Martin silk 'n steel are popular with collectors, but not with players. Their sound is just too much of a departure for the phosphor-bronze lovin' aficionados, I guess.
 
DR Sunbeams came highly recommended, because they use a round (as opposed to hexagonal) core, and because they make the winding a larger percentage of the mass, it increases their flexibility. (Good lord, I tried five different ways to put that, and it just gets more confusing. I hope you know what I mean.)
 
Somebody said they're a lot slinkier than others. There. I should have just said that.
 
Newtone has a new line of low-tension phosphor bronze strings specifically made for vintage guitars, called Heritage:
 
http://www.juststrings.com/newtoneacousticguitarheritage.html
 
Last but definitely not least are Rohrbacher strings, the world's first corrosion-proof titanium strings.
 
http://www.rohrtech.com/ (http://www.rohrtech.com/)
 
Two reviewers said that not only do they stay bright FOREVER, but they seem to be much slinkier than normal. (One guy said they bend as easy as the .009s on his Tele. Your mileage may vary.)
 
Lastly, Stewart-MacDonald has an insane amount of free information on their site:
 
http://www.stewmac.com/How-To/Online_Resources/ (http://www.stewmac.com/How-To/Online_Resources/)
 
(Click the first one, action + setup. See what I mean? Holy batman, Toledo! Don't tell anybody, or it'll put us repair guys out of business! Jeff Beck on setups? Lindy Fralin on pickups?)
 
Be sure to check out the DVDs and books by the Master Blaster of repair, Dan Erlewine, while you're there. It's a lot cheaper to buy a DVD and fix it yourself.
 
Can't wait to see the rest of the pics.  
 
 
 
* an old Guild D-40, with the flat heel. I suppose it would be the same with a Martin-style pointed heel, but I've only seen the procedure once.
 
(Message edited by Ed_zeppelin on August 20, 2015)

Great advice Ed,
I'll start thinking about addressing the belly once summer settles into fall.
 I liked the Silk and Steels ok, but they did seem to lack some gusto. I might order some heritage strings,thanks.
The Thomastik Infelds I use on electrics drape(?) nicely when held from one end,I'm guessing that translates into flexibility.
 
The neck seems tight,but I hear ya about those angles magnified. If the top comes down it might be close to right.  
I noticed the nut slots are cut low,maybe too low. I can cut a new nut.
 I might even consider refretting it with something nice.  
 
 Here's a link to some inside pics:  photo album (http://www.slickpic.com/users/ElWood/albums/YeOldeAcoustic/?wallpaper%20target=_blank)
 
Gotta run now ...thanks for your time !

That is a very interesting guitar Elwood... I don't recall having ever seen one exactly like it, and that's saying something because I've been looking for a very long time!. I do agree, the neck is almost certainly a retrofit. A body that old, (I still think circa late-30's/early-40's though the unscalloped braces suggest later 1940's) shouldn't have an allen head adjustment accessed from the soundhole. And the J.G. quote inside is a pretty cool extra! My best guess is, somebody somewhere did a cool franken-guitar.  
 
I had to dig for it, but here's a picture of the similar Chicago-made Regal I had.  
 

(https://club.alembicguitars.com/Images/449/212107.jpg)
 
 
I sold it a while back to the fella on the right... he uses it for gigs where he has to fly, and sent me this picture of it with the manager of the Texas Rangers. Story was, the band he plays with was playing the 7th inning stretch at a game, the manager saw the guitar on the big screen, and being a guitar collector, inquired about it. Best info available dates it to the late 1930's.  
 
Here it is head-to-head with a 1934 Martin D-18. It never sounded this good when I had it... not sure why. =)  
 
https://www.youtube.com/watch?v=hZPQic6HMEc (https://www.youtube.com/watch?v=hZPQic6HMEc)

I LOVE Thomastik strings, in spite of the horrible things I have to do with strangers in dank, dimly-lit places to afford them.  
 
I found a set of Thomastik Spirocore double bass strings in a dusty music store that looked like a backdrop for a musical version of Hoarders. They had obviously been on the shelf since God was a boy and were marked down to $150!
 
My wife, the Foghorn, is from Scotland. Imagine the conversation (fling your cutlery drawer against a wall for realistic sound effects) before she proved yet again what lousy taste she has in husbands, and approved. (I think it was only because she and my ancient German upright Brunhilde are both European.)
 
 
 
Words cannot describe the incredible difference in sound (the strings, not the Foghorn). That was '96. They're still on there. Gotta love stainless flatwounds.
 
So all this babbling is to say that I looked at their website and discovered that they make a new type of low-tension bronze strings called Plectrum especially for vintage guitar[ist]s:
 
http://www.thomastik-infeld.com/family-detail/Plectrum (http://www.thomastik-infeld.com/family-detail/Plectrum)
 
...a remarkable string that prompts comments like: ?l never knew a string like this existed!? [note: that sentence doesn't appear in the German version, for some reason] The combination of lower overall tension, hybrid arrangement of flatwounds (a,d,g) with roundwound low e, and silk inlays (for precise overtone balance) produces a beautiful, almost classical tone, with the warmth of bronze and the easy playability of a fine set of jazz strings. and because of its low, evenly balanced tensions, plectrums can extend the playing life of many fine older guitar[ist]s with weak bracing or other special age conditions.
 
What the heck is a silk inlay? Anyway, I'm getting a couple of sets, one for my pristine '57 Martin 00-15M and another for my *'39 D-45
 
 
*someday (sigh), if my line of barbecue-flavored personal lubricants takes off.

I can personally vouch for the TI Plectrums... I've used them exclusively on my vintage parlor guitars for years now. Full sound, low tension... love 'em. They are available in at least three gauges that I'm aware of; 11's, 12's, & 13's, but yeah, Ed Zep is 100% right, they're expensive.  
 
One of my buds who also uses them on my advice, is running a comparison on the TI Spectrum set right now... report to follow.

Great stuff guys!! thanks
 That Regal does look real close.That will help as I scour the web for info.
 I'll order some TI plectrums, and start thinking about fashioning(buying?) some clamps for the belly.
 
 Next up...my Alvrarez GY-1 prototype. I better double up on that string order.

I've got an interesting Alvarez story. I love pre1980 (or so) Yairis. Here's a plethora of catalogs and info going way back:
 
http://alvarezyairi.web.fc2.com/catalog/index.html#rare (http://alvarezyairi.web.fc2.com/catalog/index.html#rare)
 
Coincidentally, I had an itch way back in my plethora just last weekend.
 
If your GY-1 has a Modulus neck, wanna sell it?
 
So anyway since that's the Jerry Garcia model, you'll really get a kick out of this (if you don't, I can come over and personally deliver one).  
 
I've got a '75 Yairi DY-76 herringbone 12-string that EVERYBODY says is the best 12-string they've ever played. And it is. It's got action like a Rickenbacker 12, with a slightly skinnier neck than most 12s I've played. Booms like a cannon.
 
So I see an ad in the local want ads (this is '93 or so, pre-internet) for a 1965 Alvarez classical guitar. I thought it must be a misprint, so I call the guy. Nope, it's from the first year of Alvarez, made within months of Yairi leaving Martin to start his own company in Japan.
 
Dude says the bridge is funky, and he wants $200, period.  
 
I'm telling you this part in a little more detail than I normally would, so you can get a handle on what happened next and how it relates to this topic, in this hallowed place, and one of those rare high water marks in my life where I was able to prove that I'm a born bassist.  
 
Because I did something so damn DUMB - yet magnificent in its own weird way - that it could only happen to a bassist, and only other bassists would know what I mean.
 
I drove up and he was waiting by the door. I said; hi! And without a word, he turned and entered. I followed. We make a beeline to the guitar. He said; here it is.
 
And it is a 1965 Alvarez classical guitar. He picked it up and instead of playing it, as I expected, he hugged it tenderly. I got this at the PX in San Angelo, Texas on my way to the plane, the morning I shipped out to Vietnam.
 
Wow. Talk about intense. I looked at his face for the first time. I was shocked. A stark look I can only describe as wistfulness radiated out of him, but his words were clipped and deliberate.
 
I kept it with me wherever I went, but the heat and humidity wrecked it. He showed me the bridge, which had rotated about thirty degrees. Everything between the bridge and the sound hole is ... Well, off.  Behind the bridge is just a nice gentle arc.
 
Suddenly a woman walked in and kinda barked his name. The guy cringed like a startled turtle, trying to wedge his head between his shoulder blades. Hmm, somethin' going on there I thought.
 
He said you want it? and without even playing it or looking at it, I said sure! And dug out the dough. The woman barked again. We both cringed that time. I wanted out of there.
 
He started to put it in the case, but stopped and said; I just want to play it one last time. As a married man, I knew what that last bark meant, so I knew what a risk he was taking by being defiant. We could both feel the dragon nearby, and we both knew that particular roar meant that fire was next.
 
He launched into a finger picked melody in D, a descending progression any denizen of this hallowed site would instantly recognize or crawl back to trolling knitting forums for lulz.
 
A fat toddler waddled to the woman.
 
FRIEND OF THE DEVIL! I cheerfully blurted, delighted that we had become pals by virtue of our common musical bond. I beamed. (For decades, that's the part I remembered the most: what I must have looked like to them, standing there with a doofus grin, my lone comment seeming to have issued straight from the pits of hell.)
 
He instantly stopped and glared at me with pure fear and hatred. His jaw dropped. He looked at the dragon. Naturally, I looked at the dragon. There was a stout, furious woman glaring at me with the same enthusiasm a vampire has for *garlic bread.  
 
I did the startled turtle thing, and turned from the laser-like beam of some kind of off-the-rails CRAZY. I looked around me for the first time. There were crucifixes everywhere. Bibles everywhere. Huge, expensive family portraits. Bible verses carefully painted on cards on a tripod by the fridge. It was like I had come to right in the middle of a 700 Club demographic.
 
I might as well have walked into their home and announced in a clear, cheerful voice; LETS SACRIFICE THE BABY!
 
I left.
 
I think of that every time I play that guitar. And let me tell you, it's wonderful. It's a shame I didn't get the chance to tell that story to Jerry. He'd have loved it. It had everything; an old Alvarez, Vietnam, bad choices of women... And an absolutely blessed guitar.
 
The rotation put the strings in precisely the right position to give it superb action. Dead flat on a dead flat fingerboard - a miracle in itself, knowing the hell this thing's been through - and a gentle dip on the inside edge of the soundhole to slope upward into the leading edge of that wacky, wonky bridge to give it just a little fight. Just perfect action. And the sound, holy cow.  
 
I looked inside it with a mirror once, and you can clearly see where Mr. Yairi started the fan bracing out as seven ribs, then changed it to five. The center rib (obviously made from some kind of Japanese willow, judging by how eagerly it bent under the bridge's trip around its axis) stayed where it was and he must have pried the outer three up (!) and eliminated two, splitting the difference in spacing among the remainder. I'm serious.
 
Because of that, I think it could very well be one of Mr. Yairi's first guitars. How could he have known it would go to Vietnam, by way of Texas, and wind up in Massachusetts in the hands of a babbling lunatic?
 
Pictures to follow, if I can talk somebody into resizing the pics for me (I'm on an iPad since lopping my big toe off, and iPad don't do that.)
 
I set out runnin' but I take my time...
 
 
 
 
* when the stakes are too high
 
(Message edited by Ed_zeppelin on August 22, 2015)

EdZ, you'll have to help me with some of the model numbers.  In the mid-eighties, I worked in a music store in Florida that did business with St. Louis Music.
 
Obviously, prior to my employment, evidently the store manager had gone to NAMM and must have had many, many drinks with the rep, as we had the entire A-Y collection from that catalog they published in those days.  To die for classicals, the 'lute-back' guitar that seemed like a wooden Ovation, a D45 lookalike, even the double-neck 6/12 acoustic.  We had a matching guitar of every page in that catalog !
 
He was embarrassed to the point they were all carefully stashed, as new.  I explained we should put them out, and he reluctantly agreed.  I sold the doubleneck later that day to a kid that had seen the Alex Lifeson ad.  
 
It was an amazing sight to see them all in a row,  we advertised it as a 'catalog sale'.
 
For me, back then Alvarez-Yairis were the most overlooked great guitars you could buy.  SLM under the Kornblums was a stand-up bunch, sorely missed these days.
 
Joey

Ah, grasshopper. The answers you seek are already yours. Click the link in my post:
 
http://alvarezyairi.web.fc2.com/catalog/index.html#pacific (http://alvarezyairi.web.fc2.com/catalog/index.html#pacific)  
 
...and scroll up. There's every Alvarez Yairi catalog and price list one could possibly want. Second from the top: St. Louis Music Supply Co. Alvarez by K.Yairi USA Catalog.
 
Click thusly and butterflies will waft you heavenward, for within we find every catalog, price list and dealer info from the 70s on up to 2010 or so. Canada, too. And Japan!  
 
You will find the fabled DY-98 Lute Back,  
 
http://alvarezyairi.web.fc2.com/rare_models/dy92/index.html (http://alvarezyairi.web.fc2.com/rare_models/dy92/index.html)
 
the double-neck DY-87 (Rush rocks, man),  
 
http://alvarezyairi.web.fc2.com/catalog/index.html#pacific (http://alvarezyairi.web.fc2.com/catalog/index.html#pacific)    
 
even the oddball customs like the 9-string DY-58:
 
http://alvarezyairi.web.fc2.com/cat1981/p27.html (http://alvarezyairi.web.fc2.com/cat1981/p27.html)
 
There is much to learn. When you can take the capo from my hand, it will be time to go.

Ed,  
My Alvarez doesn't have a graphite neck (if ya find two, would ya sell ME one ?).
This is from the early 90's,Lacewood , w/o any electronics (no extra holes for plastic preamp inserts ).
DY98's and DY99's comes to mind when you mention graphite.Is that right? Cool guitars!
 
 A few years back I was without any guitars around so I went a little music store, pretty quickly identified an Alvarez that seemed the best sounding acoustic of what was on the wall. I came back later to get it, my mom was with me...with no clues from me she found the same guitar to be 'the one'.  
 And a bonus,it wasn't even close to top of the line (225$ in 2006) . Probably not as durable as the 70's-80s versions,
but maybe I'll get the bridge to rotate that magical 30 degrees a bit sooner.
The top has already started to bow (no willow bracing these days?)
 
 I'll work on pictures of mine tonight. Ed you can send yours to *equortion at outlook .com* and I'll resize them.

p.s. 30 degrees seems like a lot .

My fretless bass is an Alvarez, I certainly think it is Korean, or otherwise Pan-Asian, from wherever the factory must have been at the time, silk-screened Alvarez St. Louis, Missouri logo and all. I bought it through eBay and had it sent to my country, which took about a month. Seems like mine was originally intended to be fretless, and somehow found its way to be a fretless one. If it was made by the previous owner, he didn't said anything about it, and if it was some kind of factory work, it was pretty well done anyway. (Eventually I ended up swapping its pickups for a couple EMG 40J's, and it sounds pretty nice actually).
 
In the meantime, I had a gig - my Alvarez had not arrived yet, I played that with another bass - where I shared the stage with another group, and the bass player was playing an Alvarez (a six-er, with the same silk-screened logo as mine, BTW). I tried to make small talk with him, and commented I was having a Fretless Alvarez coming my way in a few days, and asked him about his experience with his Alvarez bass. My surprise came with his response: Well, I' ve been doing fine so far with it. I had Mr. Alvarez personally make this one for me...
 
Needless to say, no more words were exchanged after that.

The reason I asked about the Alvarez GY-1 with a Modulus graphite neck is that Jerry had three of them made. Last I heard, years ago, was that he had given one away to somebody.
 
One of his main ones went for $102,000 at auction:
 
http://www.bonhams.com/auctions/15537/lot/22/ (http://www.bonhams.com/auctions/15537/lot/22/)
 
I have no idea where the other two are.

We just missed this one...darn!
 
sold DY99 (http://www.ebay.com/itm/Yiari-Guitar-Tree-of-life-1995-/181808106740?pt=LH_DefaultDomain_0&hash=item2a549b8cf4&nma=true&si=eNiXtfWf5AeGqThMUfWOmgslSYo%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557%20target=_blank)

...and one of those lute back Yairis-
ebay link (http://www.ebay.com/itm/Vintage-Rare-1981-Alvarez-Yairi-DY-92-LUTE-Acoustic-Guitar-Signed-by-Mr-Yairi-/231658556878?hash=item35efed0dce%20target=_blank)

I saw one of those Alvarez 9-strings once when I worked in a music store. (seems like a few of us here have done that!) I've never seen another since. I remember thinking it was a neat idea.
 
Only remember working on one Alvarez... don't remember the model, but it was built to resemble a Martin Style 35, with a 3-piece back, and bound fingerboard. Anyway, it had survived a house fire, and stunk (yeah, it's a real word according to Dr. Seuss) something awful, but it had a lot of sentimental value to it's owner. Incredibly, it got so hot in it's case, that the bridge came off, relieving the tension, thereby preventing the guitar from folding up. Ball-ends pulled right through the bridgeplate and the top, still had the pins welded to them. I guess the only thing that saved it was that plywood bridgeplate being so worn out. Not a single loose brace, no cracks anywhere... just a little fret sprout and that god-awful smell. I wouldn't believe it either if I hadn't seen it.  
 
So, we replaced the bridge, shimmed the bridgeplate, filed off the fret-ends, and sent it on the way... it still stunk, but it was playable. AFAIK, he's still got it.

My first guitar was an Alvarez 5014 (think 000-18 with -28 trim & a Gibson-style thumb screw bridge.
36 years later, it still gets >90% of my playing time.  Is it as nice as a Martin/Guild/Santa Cruz/etc?  No - but it'd nice enough to keep playing, and those divits under the first 5 frets are mine!
Does need a refret & new nut, though.
 
Peter

I buy and sell old music and humor magazines (Frets, National Lampoon, Keyboard, Guitar Player etc.) and sometimes I'll get some that REEK of musty basements, overly perfumed closets or homes that must be  like living in a four-bedroom ashtray.
 
I've found that most of the time, sealing them in a bag with the a cup or two of the cheapest powdered milk I can find (I buy it in bulk) works pretty well, except for really musty odors. In that case I use instant coffee (be sure to elevate the magazine on a cooling rack so it doesn't touch the coffee).
 
Last but not least is the nuclear option: put the magazine(s) or charred instruments - as the case may be - in a big garbage bag. Punch a bunch of holes in the lid of a large jar (I use mason jars), fill it halfway with peroxide, mix in a tablespoon of baking soda and put it in the bag, and squeeze out as much air as you can. Do this where you want it to sit for awhile, because it's a real pain to move it afterward.
 
The baking soda makes the peroxide release its extra molecule of oxygen, which attracts the volatile compounds in the stench.
 
I read about it in an interview with a rabies researcher who was required to test roadkill to detect rabies. The skunks were so bad his wife threatened divorce, and the stench clung to him (and his car) like crazy. So he asked a chemistry teacher at the local high school, who told him about baking soda and peroxide. And it WORKS.  
 
It's the best way to de-skunkify a critter, trust me. We tried it when our pooch got sprayed. He taught me a valuable lesson. Here it is: when your dog gets sprayed by a skunk, DONT OPEN THE DOOR AND LET HIM IN THE HOUSE.
 
Also, add a squirt of dish soap (not detergent, we use Dr. Bronner's all one dog soap) to break the surface tension on their coat and let the oxygen penetrate. It really is miraculous.
 
O yeah, another lesson: TOMATO PRODUCTS DONT WORK. (Peroxide's way cheaper, anyway.)

Ground coffee on a plate will absorb smells, especially in a fridge.

I've used the coffee before, and baking soda too, but that peroxide idea sounds interesting. I've used fabric softener sheets on smelly cases before, with mixed degrees of success.

Dang You, Picture Gremlin!  
(https://club.alembicguitars.com/Images/449/212214.jpg)
 
(https://club.alembicguitars.com/Images/449/212215.jpg)
  Just for that, here's a picture of my little monster with an older sister, a "Golden Era" OM-18GE, one of the very few of these made to 1930 specs, right down to the rosewood binding and banjo pegs.  
(https://club.alembicguitars.com/Images/449/212216.jpg)

The worst case scenario of items as discussed such as  old music/paper items /old instrument cases  /items that have fabric , etc , is MOLD and MOLD SPORES .   This can actually make you very ill!  There are many scientifically documented cases with a large variety of illnesses and allergies that can be caused and triggered from mold and mold spores . People with respiratory , Asthma and sinus conditions are the most susceptible. Just random bad smells are the least of your worries . The mold microbes can do real harm !  
 
        The first thing that I do with every smelly old instrument  case is physical cleaning and disinfecting . Chemical disinfectants and ultra violet light and vacuuming the interior is affective. Old magazines all paper and some fabric items can affectively be processed to eliminate mold spores and smells with an electronic ionizer.   You will have to have a tank or chamber to seal the offensive items in with the ionizer.    There are many arguments regarding various techniques regarding this procedure .
 
http://www.ehow.com/how_5855484_kill-mold-ionizer.html (http://www.ehow.com/how_5855484_kill-mold-ionizer.html)
 
http://allergyclean.com/article-youhavemold.htm
 
     
Wolf

I can't find the original article (seemed like it was from way back in the early 90s), but here's a reference to it from 1995:
 
http://www.ext.nodak.edu/extnews/pestqtrly/oct95/sknkrmdy.txt (http://www.ext.nodak.edu/extnews/pestqtrly/oct95/sknkrmdy.txt)
 
The original article was hilarious, about this poor schmoo who had to go around picking up road kill.

Forest asked me to resize and post these pictures of his vintage Alvarez...  He explains - It's been in its case for about fifteen years, and apparently some strings decided to play "Let It Go."  
(https://club.alembicguitars.com/Images/449/212287.jpg)
 
(https://club.alembicguitars.com/Images/449/212288.jpg)
 
(https://club.alembicguitars.com/Images/449/212289.jpg)

Thank you! I just realized that guitar is fifty years old this year! Wow, my bridge rotated more than that by the time I hit thirty.
 
I couldn't really capture the degree of rotation. I shoulda got the end of the fingerboard, so you could see how those strings line up like ... a jet landing on an aircraft carrier? (See, I can't look at it without thinking; this sucker went through a war!) ...  
 
I can't pick it up without playing Friend of the Devil, come to think of it.  I've always wondered what song he actually played, and by extension who ripped it off and tried to pass it off as a hymn. Like how our national anthem was originally a drinking song that invoked an obscure heathen deity. (Look it up.)
 
A small but significant construction technique that shows Sadao Yairi's (the founder, Kazuo is his great-nephew) attention to detail: the rosette is made of hundreds of tiny colored sticks, arranged in a beautiful pattern (as seen end-on), that were then sliced off and inlaid around the soundhole.  
 
Every dot is the end of a stick, if you will. There is one infinitesimal variation - one little dot - out of place. See if you can spot it. (It's an ancient technique handed down to Spaniards from the Moors, by the way. Yairi didn't invent it, but probably went blind perfecting it.)
 
I'll record it. You gotta hear it. It sounds so full and bold, without any of that nasal barking so common in classical guitars. It sounds ... like ordinance going off on a hot night in the jung... Oh, never mind.

That Martin 00-18SC is really interesting. I know the basics about Martin body shapes and appointments, and part of the allure of pre-war instruments is because the X-bracing is different somehow. (I could never afford the Longworth book, is what it comes down to.)
 
It also has rounded shoulders on the upper bout, and there seems to be a little more real estate between the end of the fingerboard and the soundhole, compared with newer double-otts (as an idiot, I'm fluent in Jethro).
 
There's a theme here, I suspect. One thing your double-ott (what does SC mean?) and Elwood's no-name guitar have in common is a body shape somewhat similar to a Gibson B-25:
 
(https://club.alembicguitars.com/Images/449/212297.jpg)
 
Your Martin has smaller upper bouts, I believe, and a little less real estate between the bridge and soundhole, I think.  
 
Fine with me. As a fingerpicker, I always thought B-25s were boomy in the 250k-500k zone, anyway. (Leo Kottke used them on his earliest albums, alternating with his Bozo guitars.)
 
Gimme an old OM with a C-1000 condenser mic pointed at the neck block from about a foot away. Fingerstyle heaven, I tell ya.
 
Maybe you can tell me why, since you own one. I've always wondered.

Regarding the rosette on your Alvarez... that used to be the mark of a fine Spanish guitar. As you pointed out, tiny little pieces of marquetry arranged like a symmetrical mosaic. There are a few makers that still do this.  
 
On my little guitar, CS is the designation for Custom Shop. GE is for Golden Era, which is their line of vintage reproduction guitars. They also have a top-shelf line dubbed Authentic Series which are made as direct copies from scans of source guitars in the company museum. As I understand it, they are 100% handmade, not pulled off the production line and finished by the Custom Shop.  
 
Martin is nothing if not organized. Most of their styles and models (as written by Longworth and Johnston) were clearly defined by the late 1800's, the famous X-brace having been perfected by the mid-1850's. The next big evolution of guitars really began in 1929 when a (plectrum) banjo player named Perry Bechtel suggested they build a guitar with a longer scale, and more frets accessible. Martin responded by altering their 000 body, making the body wider at each bout, but shorter/squatter in length, producing their first guitar with 14 frets clear of the body, and a solid faced headstock. (as opposed to the slotted headstock which was the standard of the time) This also changed the location of the X-bracing on the soundboard, altering the responsiveness to a more focused sound. The resulting guitar was called Orchestra Model or OM. The OM designation only lasted until late 1933/early 1934, and was re-branded 000. Simultaneously, in 1931 the Dreadnought guitar was developed from an old pattern used to make Hawaiin guitars for another company. (Oliver Ditson) In 1934, the Dreadnought simultaneously evolved from a 12-fret to a 14 fret body, and became what we now recognize as a regular guitar. All their models followed suit in the coming years, each getting the new 14 fret re-design. Though the 12-fret pattern never went away, it faded to somewhat obscurity until the 1960's... something about a folk boom, or so I read. =)  
 
Obviously, that's the short version of how/when/why the Martin body shapes changed.
 
My little 12-fret Custom 00 is a throwback to a brilliant, very transitional time. I designed it very much with the same mindset as when I was deciding how to do my Custom Alembic.

I had time to take some shots of the Alvarez GY-2T. (I'll make them bigger next time,they are compressed too much ).  
(https://club.alembicguitars.com/Images/449/212521.jpg)
 
(https://club.alembicguitars.com/Images/449/212522.jpg)
 
(https://club.alembicguitars.com/Images/449/212523.jpg)
 
(https://club.alembicguitars.com/Images/449/212524.jpg)
 
(https://club.alembicguitars.com/Images/449/212525.jpg)
 
(https://club.alembicguitars.com/Images/449/212526.jpg)
 
(https://club.alembicguitars.com/Images/449/212527.jpg)
 
(https://club.alembicguitars.com/Images/449/212528.jpg)
 
(https://club.alembicguitars.com/Images/449/212529.jpg)
 
(https://club.alembicguitars.com/Images/449/212530.jpg)
 
(https://club.alembicguitars.com/Images/449/212531.jpg)
  The Lacewood really shimmers in person. It's got a pretty sparkly sound too...very Jerry . ...gotta run now, or nothing gets done ;)

Now at the other end of the guitar scale, here is something high tech that I came across this morning.  
 
http://pursuingtone.com/fusion-guitar-iphone-integration-amp-speakers-indiegogo/ (http://pursuingtone.com/fusion-guitar-iphone-integration-amp-speakers-indiegogo/)

The terrific thing about the Fusion is that with those DiMarzio X2N pickups, they're hot enough that on a 5-set gig, they'll recharge your phone !
 
Joey

I felt bad about the tiny porn. I think my new resizing method will be better...bear with me,  
(https://club.alembicguitars.com/Images/449/212627.jpg)
 
(https://club.alembicguitars.com/Images/449/212628.jpg)

I think I'm on the right track- one more,
 
 

What is that wood? Looks a little bit like quilted sycamore...

Lacewood...
Now I need to google quilted sycamore.

I see the gremlins ate the last pic.
That's ok ...I have more  
 

What a weekend... I played Friday, Saturday, and Sunday, got home a little after midnight and still managed to get in to work on time this morning. =)   The last leg of this road trip I got to play a show with my cousin, who is as crazy about vintage Gibson guitars as I am about vintage Martins and Alembics. Here's a couple of his go to axes... a 1943 Southern Jumbo, in correct, but restored condition, and an all-original 1944 J-45. I can't imagine two guitars made so close together and constructed so similarly to sound any more different than these... it's night and day, black and white, take your pick.   Let's see who here has a guess why that might be.    
(https://club.alembicguitars.com/Images/449/213959.jpg)

(https://club.alembicguitars.com/Images/449/213960.jpg)
 
(https://club.alembicguitars.com/Images/449/213961.jpg)

(https://club.alembicguitars.com/Images/449/213962.jpg)

Well, obviously, it's the inlays.....
 
 
Peter

Neck woods? One is maple and the other is mahogany?

72 years of cigarette smoke aging?

It looks like the rear brace  on #2 is way closer to the heel than the usual place. ?

Neck woods? One is maple and the other is mahogany?
 
In seriousness, I think you're close; IIRC, at least some J-45s had a mahogany top in those days - which I believe made them all-hog.  The SJ would be rosewood & spruce.
 
Peter (who would be much more certain if they were Martins)

The soundhole on A is bigger and slightly closer to the neck. The difference in picture angles makes it hard to tell for sure, but is the bottom bout larger on B?
 
In my opinion, based on my extensive experience I'd have to say that B was made after lunch.

Interesting National Music Museum display of a 1944 SJ
 
http://orgs.usd.edu/nmm/PluckedStrings/Guitars/Gibson/10867/SouthernerJumboGuitar.html (http://orgs.usd.edu/nmm/PluckedStrings/Guitars/Gibson/10867/SouthernerJumboGuitar.html)
 
The Southerner Jumbo, or SJ, was Gibson?s replacement for the Jumbo 55 model in 1944. A very limited number of pre-War instruments with Factory Order Number 910 had rosewood backs and ribs, which on later SJs were made of mahogany. The SJ also had fancier trim than the preceding J-55, with multi-ply, celluloid binding trim, rosette inlay, and a celluloid heel cap. NMM 10867 also features a golden banner decal on the peghead, ONLY A GIBSON IS GOOD ENOUGH. This slogan was used on decals between 1944 and 1946, when it was abandoned because of a rather aggressive Epiphone ad campaign that touted its instruments for When Good Enough Isn?t Good Enough.

I worked there for 18 months, during which time Henry the J ran that OAGIGE slogan as a classified ad in the Nashville paper seven days a week.  Hmmm . . . . . I wanted to change it to 'Only Good is Gibson Enough', but like I said, having worked there for 18 months . . . . I wouldn't have taken an oath for that, either.
 
IF I were to hazard a guess, and taking it that these really are very close blueprint-wise, there's always that 'If' factor with wood where 10 consecutive serial numbers will vary just because of the milled wood pieces.  My real guess would be (looking at the lacquer finish on the restored one) is the re-fin is new, a different chemistry than they used back then, and probably thicker.
 
But then, what the hell do I know?
 
Joey

Good points all! Coz nailed it a few posts ago.  
 
Actually the pictures didn't sufficiently show the major difference between them, and the sunburst finish obscured what clue there was to see. It's the top wood... the SJ is a spruce soundboard, while the J-45 has a mahogany top. I'd never played them A/B before this weekend, but wow, that mahogany responds completely different.  
 
My cousin is primarily a fingerstyle player... he uses a thumbpick and three bare fingers to do what he does, which is a mix of ragtime, blues, and miscellaneous. Most of the time he's playing a 1942 L-00, but he's acquired a taste for these J bodies of late. The dry woody tone of that mahogany J-45 I think suits his style much better. As a flatpick player, the sparkly clear highs of the SJ suited me better. Heck - I like 'em all!
 
On the Banner headstocks: I used to collect Gibson Kalamazoo branded guitars... one time as a spoof I made up some t-shirts with a picture of the Kalamazoo headstock stencil and added a photo-shopped banner that read When A Gibson Is Too Good. (lucky for me, ol' Henry the J didn't hear about it)
 
I might have mentioned before Joey, I tried my best to get hired on there at Elm Hill Pike one time, by most accounts, it's probably best for me that it never worked out. =)
 
(Message edited by edwardofhuncote on September 15, 2015)

I played washtub bass with a street band in Seattle called Jammin' Salmon in the early 80's, despite the fact that I'd never touched a washtub bass in my life. I didn't want to do it. I'll tell you that right now.  
 
I had to put one together quickly because I was flat broke and a group of the most astonishing performers ive ever met virtually forced me to.  
 
They did stuff like Louis Jordan's Ain't Nobody Here But Us Chickens and Cab Calloway's Minnie the Moocher in TIGHT four-part harmony. The original arrangements, off the records.
 
They said they needed a washtub bass(ist) and I fit the bill. I swear, I wouldn't have done it otherwise. But it's scary how close I came to missing one of the most greatest musical experiences of my life.
 
Jammin' Salmon entertained the tourists at the Pike Street Market, and places like Pioneer Square and the Space Needle.(By the way, if you're ever in a situation where you're forced to busk for a living, don't suck.)
 
Luckily, I knew someone who could make a washtub from stuff at a hardware store (instructions upon request) and about two hours later we were bangin' out insanely cool music in front of a huge throng of people. It happened that quick.
 
It was SO cool. Bass at its most primitive, just you and that string. Watcha gonna do, monkey-boy?  
 
The best part was that we made a LOT of money because this music made people dance. They couldn't help it. It gave me a complete education in the FUNCTION of bass. Just yankin' and spankin'. It doesn't get any more fundamental than that.
 
It's stupid simple to play, too, because nobody notices mistakes, at all. Ever. You watch. Everybody smiles at you and they dance, and give you money.  
 
The secret to a washtub bass is to prop the front rim of the washtub on something STURDY (

I'm glad your cousin has found his match - and if the L-00 is lonely, he can feel free to send it my way!
 
Peter

Coz, I'll post some more of my cousin's guitars sometime. He only has two Martins, the rest are Gibsons or National Resophonics. That old L-00 is pretty special... it's had some work done, but good quality work; neck set, refret, bridge reglue, and I personally fixed a pickguard crack that was threatening to break out to the soundhole, and that thin little piece of binding around it.  
 
Thanks for that Ed_Zep! Man I'm sure missing hearing Rice... He is in poor health these days, and hasn't made any public appearances for quite a while. He surely picked up where Clarence White left off with that old guitar.  
 
Many years ago, (say, probably 30) following a concert in a nearby High School, Tony saw 3 of us ogling that old D-28 in it's anvil case, and in his already gruff tone says Hell, y'all pick one on that old thing, you can't tear it up no worse than I have. Yeah, we did. There are fuzzy pictures somewhere.

In '04, my youngest spent the summer working on a farm in Bayfield, WI.  We went to visit him, and, it being Bayfield, I asked who was at Bigtop Chautauqua (home of NPR's Tent Show Radio); quoth he I looked & didn't see anybody.  Fortunatley for him, Dad was wise enough to look for himself, hip understand the implications of a listing for Peter Rowan & Tony Rice, and nice enough to spring for second row center.  Be advised, there was some pickin' going on that night!!  (Billy Bright on mandolin - I could read his mind: This is Peter Rowan; he's played with David Grisman and BILL FREAKIN MONROE and he hired `me to play mando - my young ass is validated!!) & Brynn Davis (at that point Brynn Bright) - oh my yes - on bass.  Great night; I'm more than a tad jealous, Forest.
 
Peter (who couldn't have hung, anyway)

Here?s a guitar with a story? I only know the last twenty-five years of it.
 
To start with, I found this guitar in a trash can on a Wednesday. I know it was Wednesday, because the guy who drove the town trash truck radioed me where it was... that particular address was on their Wednesday?s route. I was the town?s water meter reader, and I knew it like the back of my hand. The guys on the truck knew I worked on musical instruments, and brought me anything interesting, but this particular Wednesday, they were ?packed out? and going to the dump. It was getting ready to rain, so the driver called my radio number, (cell phones hadn?t been invented yet) and sent me over to rescue it. I didn?t think much about it at the time, didn?t even look very close. I remember it was filthy and mildewed, and smelled very much like a goat barn. Don?t ask how I know what that smells like.  
 
Skipping forward, the guitar stood in a dusty corner of my shop for another couple years. Then I met this girl who said she wanted to learn to play guitar. I liked her a little bit, and since she could sing like an angel, I kinda? wanted her to like me back, so in a fit of hormones or something, I totally went off the rails and set about putting the old guitar in playing condition.  
 
It was a mess, both inside and out? tuners were shot, many cracks, loose braces, plus the center seam of the back was separating. And it was still dirty, and still smelled a little like a goat barn. I knew that wasn?t gonna? score me any points, with the cold-hearted singer with the beautiful voice, so I started by a good cleaning. What? You didn?t seriously think ^that^ part was gonna? have a happy ending? (it kinda? did, but that?s later... MUCH later) After cleaning the years? worth of scuzz off, this charming feature appeared? someone, sometime had scratched the name ?Peggy? into the top, and carved a heart shape around it. I thought - awww? ain?t that sweet! Dude probably had about as much luck with Peggy as I did with the singer, but whatever. Hint guys ? never, ever scratch your love interest's name into a guitar? it doesn?t work, at least not the way you think it will.  
 
Anyway, that?s about when I started to realize just what a gem the trash truck guys had saved. This little guitar I had assumed was a run-of-the-mill, catalog guitar was actually a hand-made instrument, that didn?t bear much resemblance to any known maker. The back and sides were walnut, the back was even quarter-sawn and bookmatched. It had a spruce top, a mahogany neck, and a rosewood fingerboard, even rosewood binding, and an inlaid endpiece to hide the joint. It had the strangest bracing pattern I'd ever seen, something between a A-frame and an M... it was very rigid to say the least, but in all the right places. It had an odd shaped bridge clearly made to resemble a Stauffer style one but without points, and a straight uncompensated saddle. It even had homemade wooden bridge pins. Based on how sturdy it was built and how wide the string spacing was, I?m pretty sure it was meant to be played lap style, like a Hawaiian slide guitar. This much is certain - it was definitely not the first or only attempt at instrument building, whoever had made this had obviously advanced skills. Upon disassembly, I found the name I presume to be the maker, and a date scrawled inside on the treble rib, deep inside where it would never be seen? M. Jade ~ 1927. Don?t bother googling, nobody knows.  
 
So I fixed it, and gave it to the girl. She quickly gave up playing, and stopped talking to me after a lengthy discussion on how diverse our priorities in life were. I don?t think she ever appreciated what a cool little guitar it was, or how much love it took to put it back together. Whatever? I honestly missed the guitar more than her, but foolish pride won out, and I didn't ask for it back.
 
Years passed, like maybe 12 or 13? the singer and I got on speaking terms again, and I got the ?Peggy? guitar back. After a little tweaking, she was back in good order, this time with some new faux tortoise pins, and a brand new set of Stew-Mac?s ?Golden-Age? vintage replacement 3-on-a-plate tuners, in relic?d nickel finish. I even replaced the tattered wooden pickguard with a faux tortoise one to match the pins. Peggy was ready for another home, so I gave her to the young man who plays fiddle in my band when he went off to college. Peggy saw him through a degree in Engineering from Virginia Polytechnic Institute. (better known as Virginia Tech in the world of collegiate sports) Recently he came into a very nice old Martin 0-21, made in 1921, which he was able to afford due in part to being gainfully employed by virtue of that Engineering degree - and sent Peggy back home for some bridge work. I?m almost done with her? glued the new bridge on last night actually. Might see if he minds me keeping her for a while? I?ve enjoyed looking back at some of my early work, and thinking about what Mr. M. Jade would think if he knew his guitar was still around.

(https://club.alembicguitars.com/Images/449/214657.jpg)
 
(https://club.alembicguitars.com/Images/449/214658.jpg)
 
(https://club.alembicguitars.com/Images/449/214659.jpg)
 
(https://club.alembicguitars.com/Images/449/214660.jpg)
 
(https://club.alembicguitars.com/Images/449/214661.jpg)
 
(https://club.alembicguitars.com/Images/449/214662.jpg)
 
(https://club.alembicguitars.com/Images/449/214663.jpg)
 
(https://club.alembicguitars.com/Images/449/214664.jpg)
 
(https://club.alembicguitars.com/Images/449/214665.jpg)
 
(https://club.alembicguitars.com/Images/449/214666.jpg)

Couple shots of the bridge reglue. I had also shimmed the bridgplate inside, to relocate the bridge pin holes on the new bridge. Also note, I tightened the string spacing about a 1/4"  
(https://club.alembicguitars.com/Images/449/214674.jpg)
 
(https://club.alembicguitars.com/Images/449/214675.jpg)
 
(https://club.alembicguitars.com/Images/449/214676.jpg)
    This view shows how the headstock is not square to the body. The neck has the smallest degree of twist. I planed it out of the fingerboard before re-fretting years ago.  
(https://club.alembicguitars.com/Images/449/214677.jpg)

Spelling correction: Bryn Davies, here with Peter Rowan, Tony Rice, and Sharon Gilchrist in a beautiful version of Midnight Moonlight (https://www.youtube.com/watch?v=hm2fKs4Hm9M).

Good one Dave! Coincidentally, the guys I'm playing with this very evening almost always finish the last set with a jam-out version of Midnight Moonlight, inspired by none other than Peter Rowan.

I think both you repair guys should start a sub-thread entitled 'Weird S**t Found in Guitars on the Bench'.
 
Joey

Why not? I'll go first. =)  
 
I found an 8-track tape of the Eagles Greatest Hits Volume 1 inside a bass fiddle one time. I figure one of these days I'll find Volume 2 and maybe a player.  
 
I found a $5 bill in another printed in 1964.
 
I have basically removed the entire bolt and screw aisle of the local hardware store from basses over the past 30 years. I have been known to leave notes inside instruments for some future hack like me to find.

Thanks, Dave - at some point I realized that I had, in fact, misspelled both of Ms. Davies's names (well, 2 out of 3; got Bright, if ex-names count), but hadn't had a chance to confess my shame.......
 
Peter (WHo hopes no body will tell her, for fear she'll think I'm not totally enamored of her)

Here's one that needs some TLC. I wonder what the ball park value is as it sits, any guesses?
 
ebay 30's gibson (http://www.ebay.com/itm/Gibson-guitar-neck-for-parts-Vintage-Parlor-Mahogany-Circa-1930-/111778072662?hash=item1a067e0856%20target=_blank)

I'll check Spann's book this evening, but if memory serves, that FON (factory order number) should date that guitar to the mid-1920's. The headstock stencil supports that guess as well. Looks like an L-body flattop... given the extent of work it needs, I'd be surprised if it fetched much more than $100. I'd definitely do a fixer-upper on it.

Thanks,I might toss a bid out. I have projects galore, still I can't resist looking at others ;).
 
I have a Romanian classical that was rescued from the trash, I heard it before it's demise so I know it has potential. I'll post some pics as I start.
 Summers over; I see more time in the woodshop soon.

Elwood, I think this is an earlier model of the same guitar.
 
http://www.mandolincafe.com/ads/90336#90336 (http://www.mandolincafe.com/ads/90336#90336)  
 
In the ad, it says that A-frame bracing was in use until 1926-27. With Gibson of course, that doesn't necessarily guarantee anything, but that inked FON is good as it gets for dating them.
 
Good Luck! I have a soft spot for cool old stuff like that too.

There's a clip of that one being played:
https://www.youtube.com/watch?v=53VDnZXg2Ew (https://www.youtube.com/watch?v=53VDnZXg2Ew)
 
Do you think the ebay guitar had a birch back?
I'll have to look closer at the sides.

That could pass for birch though it looks more like mahogany... I've seen a handful of lower-end Gibson mandolins with mixed wood sides/back, but I'd guess they matched. It wouldn't be too hard to find another old guitar to salvage the back off of.  
 
FWIW, I have a 1914 carved-top L-1 with this same pattern... as far as I know, it's back and sides are birch, but it's hard to tell through all that purple varnish. =)
 
I'll post that one here sometime... it actually belongs to my childhood sweetheart, and has been in her family since new, but I've had it since 1999. She just leaves it with me.

Edward - Loved the story about Peggy, the trash can guitar.  My wife wondered if it was for Peggy Sue?  LOL.  But seriously, such a cool story.    
 
Stephen

Yeah Caveman, Peggy's a special little guitar. =) Barring anything unforeseen, I should be restringing it tonight. Dressed and crowned the frets last night, still have to make a new bone nut and saddle, but everything else is done.  
 
Elwood, I loaned that Spann Guide book to my Dad. I tore the house up looking for it yesterday evening, (hate when I can't find stuff) then suddenly remembered I had given it to him a couple months ago to look up an old Gibson banjo number. I texted him the guitar's FON, so he'll look it up for us this evening.

I appreciate that...thanks.

Okay, here it is according to Spann's Guide...
 
9317 is an L1. The next FON verified is 9323 Nick Lucas Special, both are 1929 manufacture. This guitar falls right between them, and I tend to think it's an L-1 as well. If you look through the lists, you see they usually made these in batches of even numbers.  
 
Good luck Elwood... hope you end up with it! I'll post some pictures of my old L-1 later today.

Elwood?s ebay find made me think of this one; here?s a 1914 Gibson L-1 carved top guitar.  
(https://club.alembicguitars.com/Images/449/216272.jpg)
 
(https://club.alembicguitars.com/Images/449/216273.jpg)
 
(https://club.alembicguitars.com/Images/449/216274.jpg)
 
(https://club.alembicguitars.com/Images/449/216275.jpg)
 
(https://club.alembicguitars.com/Images/449/216276.jpg)
 
(https://club.alembicguitars.com/Images/449/216277.jpg)
 
(https://club.alembicguitars.com/Images/449/216278.jpg)
 
(https://club.alembicguitars.com/Images/449/216279.jpg)
  This little gem belongs to a lifelong friend, who left it in my custody back in 1999. It needed some minor repair? back when we were kids (and sweethearts? :blush-blush she used to play the guitar, but gave it up in college in favor of choir. It?s been in her family since new, her great-grandmother?s actually. Her Dad also played it, and it?s rumored he was the guilty party behind the telltale holes through the rosette where a pickup was mounted. Anyway, we met up in Lexington, Kentucky one time while I was on the way to play a show in Louisville another hour and change away. I brought the guitar home and fixed it up? I remember fitting a new bridge as the original one was sagging badly. Maybe there was a loose side seam too. Next time we got together, she sang and played a tune on it, then handed it back to me? I?ve had it ever since.

Oh my, I do like that!  
 
Peter

I've been meaning to post links to the National Music Museum in this thread ever since the topic of Gibson came up:
 
http://orgs.usd.edu/nmm/collect.html#ndx (http://orgs.usd.edu/nmm/collect.html#ndx)
 
(Note that guitars are listed in different areas, particularly under plucked musical instruments)
 
Here's a general listing of early Gibson acoustic guitars:  
 
http://orgs.usd.edu/nmm/PluckedStrings/Guitars/Gibson/GibsonGuitarChecklist.html (http://orgs.usd.edu/nmm/PluckedStrings/Guitars/Gibson/GibsonGuitarChecklist.html)
 
About 20 years ago, I read about a luthier who wanted to recreate the lyre mandolin pictured on Orville-era Gibson labels. He did a good job, considering he was working from a tiny photo. Within a few months, the real thing showed up:
 
http://orgs.usd.edu/nmm/PluckedStrings/Mandolins/Gibson/12000/GibsonLyreMandolin.html (http://orgs.usd.edu/nmm/PluckedStrings/Mandolins/Gibson/12000/GibsonLyreMandolin.html)
 
I saw that instrument at Mandolin Bros. in a display case. Everyone agreed that it sounded awful.  
 
EDIT- this Gibson collectors' page has tons of awesome pictures unique to the site (the owner is a professional photographer)
 
http://www.oldgibson.com/
 
(Message edited by Ed_zeppelin on September 25, 2015)

Love that site Ed_Zep!

I meant to address a conundrum in your "Peggy" guitar, Greg.  Do you want to get rid of the scratched heart and name?  
(https://club.alembicguitars.com/Images/449/216507.jpg)
  The reason I ask is because I saw Dan Erlewine give a demonstration of his method at an ASIA symposium, and I'll admit I was very distracted from being surrounded by the most exquisitly-crafted instruments on the planet.   Something to do with using something to break the surface tension of the damaged wood and injecting steam in (or more likely, at) the indentation made by Peggy's hapless suitor (in lieu of the indentation he had in mind, no doubt).   Dan Erlewine said something about controlling the area where the wood swells so that it comes level with the surrounding wood, lacquer intact.   Then a little [something] on the tippy-tip of a Q-Tip to "melt" and spread the lacquer back in place, at absolutely the correct tint. I think he used superglue somewhere, but I know he does that for missing finish.  Can you fill in the pieces? I hate it when I almost learn something. Oh well, as a married man, I do that a lot.  Here's my attempt at "finessing" Cletus' technique for regluing the bridge of a fifty dollar guitar.;    
(https://club.alembicguitars.com/Images/449/216508.jpg)

Oh, that is horrible...maybe the worst. Only thing close to that I've seen is an old Vantage 335 type guitar (although it had a pointy-strat type headstock) which developed a loose jack...rather than the owner fishing the guts out through the f-hole, they decided to open up that corner of the guitar with a JIGSAW...yeah, really. They fixed the loose stuff then epoxied the section back in with match packets to fill the gaps...I gave it to my old guitar player...and he used it for some time; something wrong with that boy...

Where do you find this stuff Ed?! That's pretty bad, just... awful. FWIW, I think we got a few of Cletus' relatives running around this neck-o-th'-woods too. But that bridge job... that's 1st prize there man!  =)  
 
I took Peggy back home yesterday, good to go for a few more years. Next up, the guitar I loaned the young fella while I had Peggy in the shop. You vintage guys will get a kick outta' this one. :teaser:

I think things like Peggy and the pickup mounting holes are what make these older instruments interesting. To me these are the things that showed they had/have a life and story to tell more than some closet queen will ever have. I have a couple of antique instruments where I know some of their backstory and what I've done is write it down and placed with them so it doesn't get lost.  
 
Keith

(https://club.alembicguitars.com/Images/449/216989.jpg)

I don't think I'll bid on the gibson, I'll feel better if I finish a few before I take on more.
Any opinions on the old gretsch New Yorker F-hole acoustics? I have one in pieces (I think I have it all).
These are the ones with a stenciled sprayed logo.  
 
 Here's one for Ed Zep:

(https://club.alembicguitars.com/Images/449/217301.jpg)
 
 
 
ebay link (http://www.ebay.com/itm/Vintage-Harmony-Parlor-Guitar-/221898533426?hash=item33aa2eea32%20target=_blank)

I know the signs of a Magic Marker paint job when I see one. You can tell which strings were on when he did it.
 
Being fluent in moron, I know he did that because the hunk of metal he stole from his neighbor's chicken coop to splint that headstock was black, and he didn't want his workmanship to stand out. Humility, or just wanting to avoid those pesky explanations? You decide.
 
My favorite thing about those horrendous repairs is imagining the sounds. What does it sound like when your headstock snaps off in the middle of the 135th chorus of House of the Rising Sun? (Uncle dad threw a half-empty beer bottle at me an' tol' me t'play some Ernest Tubb, 'bout the time the floor slapped me upside the head.)  
 
What did it sound like when the bridge splits in half while you're driving a screw midway through it - he left the strings on, no doubt - and you just shrug and yell; mee-maw! Fetch the boat glue! And leave the damn screw sticking out? (Ah buttered that bolt real good and started to put another screw in the other end, but Judge Judy came on...)
 
The reason I like these monstrosities is because of the careful planning and attention to detail it takes to repair an instrument and leave no trace that I've done so.  
 
I like showing them to you guys, here, because Alembic strives for perfection in a similar manner, to combine disparate elements together so that it seems they were never apart.
 
And because I like laughing at morons. Especially the one writing this.
 
Here's one of my all-time favorites. I could look at it for hours. I'm not sure if it's genius or idiocy - or both - but I think it probably sounds AWESOME. (If it works at all.)  like putting your fist through a box of cornflakes, I imagine.
 
 
 
I love how everything wound up being off-center. Was it planned, or was he just wingin' it?

^LOVE IT!^
 
Confession time - I too have covered a multitude of sins with nothing but a brown Sharpie pen. Doh!
 
I always wanted to ask Keavin, (serialnumber12), does Ol'#12 ride in the trunk of that fine machine, or the backseat?

>>>>Only thing close to that I've seen is an old Vantage 335 type guitar (although it had a pointy-strat type headstock) which developed a loose jack...rather than the owner fishing the guts out through the f-hole, they decided to open up that corner of the guitar with a JIGSAW...yeah, really. They fixed the loose stuff then epoxied the section back in with match packets to fill the gaps...

I've seen pix & write-ups on several Viva-Tones, but never a side shot or mention of the electronics; that is just the height of groovosity!
 
Peter

A DY-98 was just listed: ebay (http://www.ebay.com/itm/1992-Alvarez-DY98-Modulus-Graphite-Jerry-Garcia-Guitar-/181907794076?hash=item2a5a8ca89c:g:mK8AAOSwQTVV~eMk%20target=_blank)

Thought I'd revive this thread with another specimen from my vault of weird, but cool old stuff. This little guitar has been on loan to a co-worker to record with... he's been working on a finger-style guitar project featuring his own compositions using a variety of guitars. I have volunteered several of mine to the effort, but I am particularly glad to have this little fella back!  
(https://club.alembicguitars.com/Images/449/223340.jpg)
 
(https://club.alembicguitars.com/Images/449/223341.jpg)
 
(https://club.alembicguitars.com/Images/449/223342.jpg)
 
(https://club.alembicguitars.com/Images/449/223343.jpg)
  So, it's a George Washburn Model 1897, made almost certainly at the Lyons & Healy factory in Chicago around the turn of the century. (the *last* century that is...) From what I understand, the Model 1897 was replaced by Model 1905. The serial numbering system was particularly jacked-up on L & H or Washburn instruments, it?s like they just made up a numbering system that didn?t correspond to anything production-wise, and ran with it. Consequently, it?s near impossible to tell exactly when this guitar was made, but for what it's worth this one has the Model and Serial numbers stamped into the end of the headstock  (familiar, huh?) and also penned onto a paper label inside.  
(https://club.alembicguitars.com/Images/449/223344.jpg)
 
(https://club.alembicguitars.com/Images/449/223345.jpg)
   As you can see, Lyon & Healy made fairly high quality instruments, not quite on par with say, C.F. Martin & Co., but you can clearly see this guitar was meant to be direct competition to Martin?s popular Style 1-21. Brazilian rosewood sides and back, with a spruce top, cedar neck, ebony appointments? even the purfling and trim are very similar. The biggest structural difference is inside ? this guitar is braced laterally rather than X-braced, but even so, the work is meticulous and neat. Also note the carved bridge, with bone or ivory pins, and the higher quality tuning machines.  
(https://club.alembicguitars.com/Images/449/223346.jpg)
 
(https://club.alembicguitars.com/Images/449/223347.jpg)
 
(https://club.alembicguitars.com/Images/449/223348.jpg)
 
(https://club.alembicguitars.com/Images/449/223349.jpg)
   Maybe my favorite detail, check out this engraved inlay:  
(https://club.alembicguitars.com/Images/449/223350.jpg)
 
(https://club.alembicguitars.com/Images/449/223351.jpg)
 
(https://club.alembicguitars.com/Images/449/223352.jpg)
   This little guitar?s story? I got it at the Old Fiddler?s Convention in Galax, Virginia probably 15 years ago? just a lucky find. It needed only some minor work to get it back to playing condition. No, it?s not extremely valuable, because the reality is that not many people play parlor guitars anymore, but what a totally cool little guitar in a well-preserved state. Don?t see many like it anymore.

I have this old Harmony someone gave me. When I got it it had some horrible reddish finish on it and someone had cut the dovetail against the body and used a big-ass bolt to pull the neck back to lower the action...I could see it was all solid wood and thought it may be worth trying to save or at least I'd learn a lot trying. I removed the finish and redid in laquer, flattened out the bellied-up top, filled in the HUGE divots in the fretboard (whoever that cowboy was, I pity the wife-rough!) So I intended to remove the bolt and replace with a dowel to fill the hole and stabilize the neck...until my drill hit another dowel inside the neck heel which EXPLODED the heel and dovetail, breaking the fretboard at the 15th...so neck off, carved a new heel with dovetail and set the neck...alas, it still only would play cowboy chords as the action was still high even after shaving the bridge. I did however learn a lot in so doing this guitar and one day I might actually make it playable by 'slipping the block' as I ain't gonna touch that neck! it's hanging on a wall now, maybe one day...Tony

 Had to go looking for my old thread to post this...

The other day on another thread, I mentioned spending some quality time on the front porch with my 'favorite' guitar. Well, here she is... (what's left of a) 1950 Martin D-18. I played my first chords on this old guitar.

This one isn't anything special, at least not in the vintage guitar world. It's not a sought-after pre-1945 model with scalloped braces or Adirondack top and ebony appointments. Heck, it isn't even particularly desirable by collectors due the extreme playing wear (and outright abuse) sustained over it's 66 years. But it is absolutely hands-down-bar-none, the most stable guitar I've ever played. The action is lightning fast and low, the neck never moves with the seasons, the top is flat as a pancake, and the intonation is pert-near perfect... I'll take some credit for that last part. (I set it up that way years ago)

What I find most interesting about those battle scars is that they were obviously made by two different players. Most of the playing wear was made by a left-handed player, who almost dug his way through the top around the bridge. See where it had two original pickguards? It had to have been ordered that way, as evidenced by the bare wood underneath the now-missing upper one. I can only assume it was peeled off by the next guy, who beat her up some more, ambidextrously. Note also exhibit B, two different belt-buckle rashes on the back. No mistake, two different ruffians had possession of this poor old guitar.

I measured one time all the repaired cracks combined, for an astounding 30-some inches. Oh yeah, -I almost forgot- take a look at the bass side rib... it was replaced from the waist all the way to the tailblock. Imagine for a moment what it must have looked like to necessitate that repair. Did they use the guitar as a weapon in a bar-fight... who knows? I'm pretty sure Martin did the repair too... it's very solid, and typical of their warranty/repair work circa 1960's.

It's amazing this old thing survived this long... but she's been in my care for a little over 20 years now. I carried it on the road with me for a couple of them, but these days life is pretty tame. Oh sure, there's the occasional gig that comes along, I mean... a racehorse has gotta' run... but mostly we just hang out on that porch.  :)

What the heck, one more picture of that old logo... ;D

Nice account of your 'favorite'.

Oh boy, guitar CSI. I keep coming back to that interesting rib repair, because it looks like it's been repaired at least twice and one of those may have been a repair-repair. The older repair is the "box" cut out nest to the tailblock. You can tell because the finish checking extends seamlessly from the undamaged areas adjacent to it.


It really looks like the rib cracked and Cletus cut it free along the edge of the tailblock, because that's the only line that's parallel to any internal structure. Neither of the other lines are actually parallel to the top or back, but appear to follow the wood grain (especially that big honker between the "box" and the top). Martin would have just replaced that side, but I don't blame the Cletus for doing it that way. Anybody who has ever tried to fit cleats near the tailblock by ramming their arm through the soundhole up to their elbow and fiddling around blindly in there with glue and little pieces of wood is bound to say those two little words (one of which is "this") and break out the sawzall.


Much better to cut a square(ish) hole by the tailblock, reach in to cleat the crack near the top, glue the square(ish) piece back in and then jam your arm up to the elbow through the soundhole to cleat THAT. (Which is why I'm betting there it's not cleated.)


That brings us to the piece that was fitted in there, which was what I really wanted to talk about. Replacing a side isn't all that difficult. Take a slab of wood, bend it, glue. It's one of the few tasks that even has a little "close enough" margin to work with. But I can't imagine anything more difficult than replacing part of a side - the curved part, at that - cutting the end of the patch on the bias instead of a right angle, without replacing the previously damaged and repaired section.


One has to wonder what kind of catastrophe happened that caused the Cletus in question to go to so much trouble to preserve the older square(ish) repair while replacing the wood right next door, instead of just redoing nag everything you n one get-go. I'm not saying they did a bad job, though. It's held up for all these years and looks pretty solid, and the damn thing just oozes "personality." It's just one of those things that makes repair geeks go; "hmm."


There are a couple of other points of interest, but this thing has turned into an inquest as it is, so I'll be brief [pause for laughter]. I'm fascinated with the fact that it was once a lefty. Does it have the famous Martin "pickguard crack" on the topside of the bridge? And is the soundhole slightly larger than normal or is it my eyes?


Cool guitar. One of my all-time faves. I'd love to hear it (or at least paint it with house paint).

That might be what they did to fix that side like that, sure nuff Ed_Zep. I'll get a picture of it next time I got the strings off. I half expected to see popsicle sticks in there, but it's got a couple pieces of spruce sculpted to fit, and the cleanest glue joint you ever saw. Darn solid repair even if it is ugly. I swear it's an old Martin fix... these days, yeah, they'd just replace the whole side.

I've recorded a few things with that guitar, but here it is from last month at the Fiddler's Convention. I was using it to back up all my banjo-playin' buddies that night, like five 'breakdowns' in a row.  ;D

https://www.youtube.com/watch?v=wUoFIm-JtXw

http://youtu.be/fL5_yM04noc

*soundhole is standard size, but a little ragged.
**pickguard crack is right there under the B- string where it should be, but minor.

Quote from: edwardofhuncote on September 28, 2016, 12:13:44 PM

*soundhole is standard size, but a little ragged.
**pickguard crack is right there under the B- string where it should be, but minor.

*Ragged but right, as they say, and "more than any flat-foot in your camp can afford."

**what I meant was that because it was a lefty at one time, is there a pickguard crack around the 5th string from when it had the other pickguard?

Nope, no pickguard crack under the A. I'm guessing since that one was peeled off at least 40 years ago, it hadn't had time to shrink. The guy I got it from thought the guitar was older too, but told me he had only had it since 1978, and was never sure.

I dug this old thing out the other night... it's a mid-late 1950's Gibson lap steel, model BR-9. I got it, an old amplifier, and a metal-bodied National Duolian from a retired player some years ago.

The band I was in for twenty-some years wanted some 'gritty slide guitar' for one song we were doing on this 20-year anthology project, so I messed with it and came up with this:

The Weather: http://youtu.be/XF2p04d0k2A

(solo at 2:15, plus intro, and ridiculously long extended play outro)

The pictures are actually from the session where I tracked that tune. I also played bass on the cut, both bass guitar and upright, the latter making the final mix. For the record, I learned the song in E, but had to relearn it in F#, literally while in the booth.

(I cheated on the lap steel though... just tuned it up two 'frets')  ::)

Don't worry folks... it's been safely packed away again. I'd almost forgotten where the thing was anyway... can't be too careful about something like that falling into the wrong hands.  ;D

Been making a photo record for insurance purposes on a few guitars in my collection. Thought this old thread might be fun place to post the resized ones...


2006 OM-18GE  (Orchestra Model, Golden Era, Style 18 appointments circa 1930, to do a little decoding...)  I didn't get this guitar new, but I un-boxed it when it came into the store new, tuned it up and played the first tunes on it. I was in love, or something like it, but had to leave it there. A couple years later, it was traded back in by the original owner, and I bought it that very day... and had it ever since. This, and a custom-built 00 are my go-to guitars. Less often, a 12-fret Martin D-18. (working on files for them too)

This old guitar and I have a history...

I worked on it almost 35 years ago, when it belonged to a guy who I got my first paying job playing bass with. It had a broken headstock and a cracked top, and according to my chicken-scratch records, the bridge needed reglued and rescrewed. One of my sisters took lessons with it for a while. One of her boys plays today.

Years passed, decades passed, people passed...

A couple months ago it turned up in my buddy and mentor Ward's shop for a neck reset, and some bridgeplate work, some fretwork, and the knobs on the tuners were corroded and crumbled beyond usability. My headstock fix and the crack repair were solid as ever. Ward set the neck, dressed the frets, made a new bridgeplate and set her up again... it played like a new one.

It was destined for consignment at the Fret Mill... so I bought it.

1951 Gibson LG-2. Its the dryest, woodiest, guitar I have ever heard.

Nice reunion story!

Love it!

Peter

Coincidentally, a thread entitled "Restoring a Gibson LG2" was just started by luthier Scott Baxendale over at the Strat Talk forum.

Bill, tgo

https://www.strat-talk.com/threads/restoring-a-1950-gibson-lg2.596694/ (https://www.strat-talk.com/threads/restoring-a-1950-gibson-lg2.596694/)

That's a pretty close relative, there... :)

Caramel Pickups. (Seymour Duncan Hotstacks I think...) Courtesy of Bro. Elwood Blue... he loaded these into this cool old tortoise pickguard last year, just for me. It was just the ticket for my eighty-something Squier Strat.

My rarest non Alembic , an ALL Pernambuco custom Tonare Grand built by Steve Fischer for Ricky Skaggs when he was helping PRS develop their acoustics.  1 of 1 , they made 4 others with Pernambuco bodies.  Body, neck , fretboard and bridge are Pernambuco  .  This is the wood concert violin bows are made from . https://reverb.com/item/41891259-2010-prs-tonare-grand-pernambuco-adirondack-spruce

An old friend came back last week... the guitar I learned to play my first chords on long, long ago. 1950 Martin D-18. Played left-handed for a lot of its life. Then right-handed by at least one heavy-handed ruffian. Since the mid-70's it's belonged to a music mentor of mine, and had a pretty easy life with us. He leaves it with me for extended spells, this time (it sounds like) for good. As rough as it is, player-grade condition, it is in absolutely perfect playing condition. Needs nothing but a better player than me. 

Why, it's even been to an Alembic mini-meet-up!

This was in 2019, a year or two before I sent it home last time. As my hands began to fail again I found it too frustrating to play guitar... didn't make sense to keep it. 

It's nice getting reacquainted... lotta' history with this old box! 

What a great thread.

I'm new here, and have just started learning about Alembics, but have been collecting other stuff for a while.

Since there are a bunch of great acoustics here, I was going to post some stuff here, but when I posted, the image links came up blank.

Oops.

I'm guessing new users probably need to get images approved?

Quote from: edwardofhuncote on May 14, 2026, 04:56:51 PMWhy, it's even been to an Alembic mini-meet-up!

This was in 2019, a year or two before I sent it home last time. As my hands began to fail again I found it too frustrating to play guitar... didn't make sense to keep it.

It's nice getting reacquainted... lotta' history with this old box!

Well I think that may be a first for me, a bass with a capo, unless it is a string mute.👀🎶

Quote from: Nova Constellatio on May 14, 2026, 09:21:45 PM... I was going to post some stuff here, but when I posted, the image links came up blank ...

Welcome!

We just updated the board, and I don't remember if we have a picture limit for new members; but I don't think so.

Were you uploading a picture from your computer, or linking to a picture on another site?

Quote from: jazzyvee on May 14, 2026, 11:15:54 PM

Quote from: edwardofhuncote on May 14, 2026, 04:56:51 PMWhy, it's even been to an Alembic mini-meet-up!

This was in 2019, a year or two before I sent it home last time. As my hands began to fail again I found it too frustrating to play guitar... didn't make sense to keep it.

It's nice getting reacquainted... lotta' history with this old box!

Well I think that may be a first for me, a bass with a capo, unless it is a string mute.👀🎶

I don't remember specifics of brand, but Dave's bass capo allowed for selectively capo'ing some strings at the fret while leaving others open. Especially useful for his compositions. 

I bet they make a 5-string version. 😉

Quote from: David Houck on May 15, 2026, 05:20:26 AM

Quote from: Nova Constellatio on May 14, 2026, 09:21:45 PM... I was going to post some stuff here, but when I posted, the image links came up blank ...

Welcome!

We just updated the board, and I don't remember if we have a picture limit for new members; but I don't think so.

Were you uploading a picture from your computer, or linking to a picture on another site?

I think the size limit is still in place is all, Dave. I'm using the same resizing I was before and it seems to accept these just fine. I did get a "FILE TOO LARGE" (or something) warning for one I forgot to resize once. 

I was linking images from a site — I'll try again here:

(https://i.ibb.co/gFrK9rNh/IMG-0817.jpg)

(https://i.ibb.co/zTyNWccS/IMG-9335.jpg)

(https://i.ibb.co/bMwkQkKP/IMG-1860.jpg)

(https://i.ibb.co/WWBxYm3T/IMG-2897.jpg)

Quote from: edwardofhuncote on May 15, 2026, 05:34:58 AM

Quote from: jazzyvee on May 14, 2026, 11:15:54 PMWell I think that may be a first for me, a bass with a capo, unless it is a string mute.👀🎶

I don't remember specifics of brand, but Dave's bass capo allowed for selectively capo'ing some strings at the fret while leaving others open. Especially useful for his compositions.

Thanks Greg.  It's called a Spider capo.

Quote from: Nova Constellatio on May 15, 2026, 05:42:33 AMI was linking images from a site — I'll try again here:

(https://drive.google.com/file/d/1tWAYjO6UqE3lLs166Mnwun3LXj_byZg1/view?usp=drivesdk)

(https://drive.google.com/file/d/1lOnUCAVOWOB24SUszu2dTyo3txBPCYSu/view?usp=drivesdk)

There should be two images.

There's something wrong with your links.  Within your post, I was able to link to a picture from a different site, but I was unable to get your google drive links to work.  Perhaps there's a sharing setting on google drive.

Quote from: David Houck on May 15, 2026, 05:55:28 AM

Quote from: Nova Constellatio on May 15, 2026, 05:42:33 AMI was linking images from a site

There's something wrong with your links.  Within your post, I was able to link to a picture from a different site, but I was unable to get your google drive links to work.  Perhaps there's a sharing setting on google drive.

Try this (I don't know if this will work):  On your google drive page, can you right click and open the picture in a new tab?  If so, copy the link from the new tab and insert in your post.

Sorry for the thread hijack Greg.

Quote from: David Houck on May 15, 2026, 06:02:47 AMSorry for the thread hijack Greg.

No worries, Dave... the whole premise of this old thread was kind of a hijack. 🤣 Hopefully we can get the new David sorted out and see some pictures. 😉

Quote from: Nova Constellatio on May 15, 2026, 05:42:33 AMI was linking images from a site — I'll try again here:

(https://i.ibb.co/gFrK9rNh/IMG-0817.jpg)

(https://i.ibb.co/zTyNWccS/IMG-9335.jpg)

(https://i.ibb.co/bMwkQkKP/IMG-1860.jpg)

(https://i.ibb.co/WWBxYm3T/IMG-2897.jpg)

Got it to work.

Wow, definitely worth waiting for! I spy an Oliver Ditson... uhhh... is this an 11? I came a gnat's nose of buying one a couple years back, and passed in favor of a 00-21. And an early 30's Martin 00-18? Gibson U-body harp guitar in the back for bonus points. No guesses on the L-body archtop.

Welcome!

The first is a '34ish L-5, then a Ditson 11, then a 1936 000-18S with a U-style harp guitar looming in the back. The 000-18S was a special order that originally had seven strings that was converted to six by Berkeley luthier John Lundberg in the late '60s.

Quote from: Nova Constellatio on May 15, 2026, 08:25:02 AMThe first is a '34ish L-5, then a Ditson 11, then a 1936 000-18S with a U-style harp guitar looming in the back. The 000-18S was a special order that originally had seven strings that was converted to six by Berkeley luthier John Lundberg in the late '60s.

Double Wow. I have only ever seen one original 7-string in-person. I assume it had the banjo key in the center-top of the headstock? That would explain the S designation. Special order for sure. Love the Ditson too. The one I was looking at was a bit rougher, had a few repairs but generally pretty good ones. I've been fascinated with those for years. 

Let me see if I can find one of my older Martins. I only have a couple truly vintage examples now. 

It had a banjo tuner there, but the hole was filled at some point. Here's another odd banjo-adjacent Martin that you might get a kick out of:

(https://i.ibb.co/wZVyrPtK/IMG-0210.jpg)

Crazy cool, a Paramount! Very rare.

1930 Martin 0-18.

I don't have this guitar anymore... it belongs to the guitar/mandolin player in another group I play in. It was a special little guitar though.

*in the background stand here. (the guitar being tuned-up is a 1933 OM-18...)

I love the pickguard, and that OM18 is no slouch.

Found another OM:

(https://i.ibb.co/0pmqBsZp/IMG-0296.jpg)

(https://i.ibb.co/SD1yXH18/IMG-0299.jpg)

(https://i.ibb.co/5x4RtYVy/IMG-0298.jpg)

(https://i.ibb.co/vC3jqXC4/IMG-9532.jpg)

Nice! Early gold foil decal noted. I will guess late 1932, early 1933? The '33 OM-18 in the previous post was part of the last batch of 24 stamped in December that year. It has some interesting transitional deets... the outer body binding is black celluloid, but the endstrip is rosewood and purfling is alternating rosewood/maple. It does not have that early decal. The ebony nut on Style 18 hung around into 1934 at least. This guitar's bar frets were replaced with T type ones years ago, 🫣 which (predictably) resulted in the neck bowing like a ski. It was straightened out and refretted with bar frets a few years ago. 

It's a late 1931 that — incredibly — only had two prior owners before I got it around ten years ago.

Quote from: Nova Constellatio on May 16, 2026, 07:34:42 AMIt's a late 1931 that — incredibly — only had two prior owners before I got it around ten years ago.

Amazing. This must be among the very first Martin guitars to ever receive a logo.

For those following, Orchestra Model was developed in 1929 for Perry Bechtel, a banjoist, and officially introduced in 1930, the advent of the 14-fret clear-of-body guitar with a solid-faced headstock. Up until this point, most (not all) Martin guitars had slotted headstocks with 12-frets clear, and elongated bodies. That was the norm. This new headstock presented a couple issues. The side-mounted tuning machines for one. The earliest OM's had banjo pegs, (like my Golden Era 1930 reissue here) and the same heat stamped brand into the back of the headstock. For a few years, Martin guitars would receive both a brand into the back and a logo on the front, but I believe the Orchestra Model was the genesis for that. 

David's OM-28 here has one of the very first of the familiar looking gold foil script decals ever used. They have a distinctive, unique look. 

How about something wackier?

(https://i.ibb.co/hxBGJX54/IMG-1511.jpg)

(https://i.ibb.co/Gfs5wCWs/IMG-1516.jpg)

(https://i.ibb.co/JwTn6Q7h/IMG-1517.jpg)

(https://i.ibb.co/4xGDXTx/IMG-1510.jpg)

(https://i.ibb.co/p62ynFc6/IMG-1512.jpg)

(https://i.ibb.co/Zp9pXFrQ/IMG-1518.jpg)

The description says that the flowers are all inlaid?  In the pictures the inlays look really nice!  Is the back inlaid as well?

I'm in love!

Peter

Quote from: David Houck on May 18, 2026, 08:07:25 PMThe description says that the flowers are all inlaid?  In the pictures the inlays look really nice!  Is the back inlaid as well?

Everything on the sides and back is top notch marquetry work — I'm not sure why the back was missing.

(https://i.ibb.co/PGDFPFM6/IMG-9399.jpg)

(https://i.ibb.co/RpFQPh6R/IMG-9400.jpg)

Great googly moogly!
I'll trade you one of my sons for that.  No grandkids, mind you, but sons?  Take your pick!

Peter

Ivory bridge, I'm assuming?

Peter

It is ivory — my understanding is that this one was part of a small group of Bohmanns that were found in the attic of his former workshop in the '60s or '70s.

Quote from: Nova Constellatio on May 18, 2026, 03:00:31 PMHow about something wackier?

Yessir, that's nice. 😎

I've never seen one in-person, just read about them. Yours looks like the presentation grade model. Jake Wildwood sketched out what looked like a double-X bracing pattern on a plainer one. The curious part of me always wonders if there was an evolution in them? I love to see stuff like that... art you can play.

*again, for those following, Robert Corwin has a nice page on his site too: https://vintagemartin.com/Bohmann.html

I'm pretty sure this one is later than the catalogue, based on the headstock/tuners. It's a pretty sounding guitar, but can't hold its own next to a Martin of Larson Brothers production.

Quote from: Nova Constellatio on May 19, 2026, 09:44:11 AMI'm pretty sure this one is later than the catalogue, based on the headstock/tuners. It's a pretty sounding guitar, but can't hold its own next to a Martin of Larson Brothers production.

Somewhere waaaaay back in this thread you can find another Chicago-made parlor-sized guitar. I sold it in a recent downsizing, but it was a Lyon & Healy factory George Washburn... a 223 from the late 1800's. Just a twitch larger than a Martin Size 1. I had promised it to a guy I worked with if ever the day came. He plays it regularly now.  :)

I had a 000-sized, x-braced Washburn from that era that I let go in a trade. Old Washburns don't get the respect they deserve. I'm particularly fond of the Tonk Brothers models with the smiley bridges — they really punch above their weight.

Quote from: Nova Constellatio on May 19, 2026, 12:35:20 PMI had a 000-sized, x-braced Washburn from that era that I let go in a trade. Old Washburns don't get the respect they deserve. I'm particularly fond of the Tonk Brothers models with the smiley bridges — they really punch above their weight.

Keep speakin' my language, David.  ;D

You might enjoy this fella's channel... his main axe is a '35 D-18, but Kenny loves old Gibsons, Regals, Washburns and Harmonys too. Just about any old guitar makes his list. We've been buds for years, decades now, and a couple guitars in his collection used to be mine. Including a late-40's Regal Milord. (I think it's way back in this thread somewhere too) Here's one of those Tonk Bros. guitars on a short.

https://youtube.com/shorts/JJ8g-evM_kU?si=e8Xe5hJ3ujio3X11

I've never owned one, but played a couple. The last one I remember was at the shop of a luthier who was working on it. He'd never seen one and wasn't sure what it was. They aren't commonplace here. 

I love how their OM-ish guitars sound. Roy Bookbinder had an incredible one for sale around ten years ago, but it was pricey.

Seems like I remember he sold off a few guitars a while back. Norman Blake decluttered his locker too. Between them they flooded the market with hyper-cool stuff. 🤣

Here's one not likely to see many of. It's my Cousin's dream guitar; a Late 30's J-35 reimagined by Wayne Henderson. I forget all the bartering that went into that transaction but it's a great guitar. Wayne really nailed that vintage Gibson sound.

He's an incredible builder — I don't recall seeing anything Gibson-inspired by him.

Norman sold a bunch, but I just gave up a National resonator to him a few months ago.

Here's another fun Chicago-made guitar from the '30s for you (this one's Spanish Style, not a lap steel):

(https://i.ibb.co/MkGYpdtJ/IMG-9440.jpg)

(https://i.ibb.co/VW36kg7h/IMG-9441.jpg)

(https://i.ibb.co/n8DPN72n/IMG-9444.jpg)

(https://i.ibb.co/LzK6DZyp/IMG-9442.jpg)

(https://i.ibb.co/4nxQnDC7/IMG-9443.jpg)

Had to go look that one up.  It's apparently a rare Model 401.

Not only the first production solidbody Electric Spanish, but also the first hum-cancelling pickup — each string has its own coil.

Quote from: Nova Constellatio on May 21, 2026, 11:34:31 AMHe's an incredible builder — I don't recall seeing anything Gibson-inspired by him.

Norman sold a bunch, but I just gave up a National resonator to him a few months ago.

Here's another fun Chicago-made guitar from the '30s for you (this one's Spanish Style, not a lap steel):

(https://i.ibb.co/MkGYpdtJ/IMG-9440.jpg)

(https://i.ibb.co/VW36kg7h/IMG-9441.jpg)

(https://i.ibb.co/n8DPN72n/IMG-9444.jpg)

(https://i.ibb.co/LzK6DZyp/IMG-9442.jpg)

(https://i.ibb.co/4nxQnDC7/IMG-9443.jpg)

I never of Mr. Henderson going Kalamazoo, either; that's right groovy!
I have friend who collects (and plays out; "Wow, DK, is that...."  "Yeah, here, play it!"  And hands me a ginyooine Rickenbacker Frying Pan, or an oval-hole archtop from a maker you would know but which is evading my brain at this moment, or.......)  who has a large number of Slingerland Maybell instruments; I'll have to ask him if he's familiar with that one.

Peter

I'll bet he's got one — they're worth chasing.

Quote from: Nova Constellatio on May 21, 2026, 11:34:31 AM....
Here's another fun Chicago-made guitar from the '30s for you (this one's Spanish Style, not a lap steel):

(https://i.ibb.co/MkGYpdtJ/IMG-9440.jpg)

Now that is a new one on me... lap steels, yes, Slingerland, check, Spanish-style... and not lap steel? Wha? Never. Come to think of it, Rick Turner made a thing a few years ago made on the idea of an old KayKraft, had a Rickenbacker type horseshoe pickup. It was a roundneck guitar, meant clearly for slide style. Nothing like this though. I'll have to look for pics of my lap steel... haven't had that thing out in a couple years. Mine is a 50's Gibson BR9. Pretty sure just a P-90 in a poplar board with a plastic fingerboard. I played it on exactly ONE recording. 

I just repaired a Maybell Slingerland parlor guitar for one of my shop customers. It had brass frets, and a couple of them were bucked. Couple high spots here and there. I dressed them up and restrung it. I didn't take any pics, because I've kinda' gotten away from that for shop customers' stuff, but this one had a cool stencil art on the top of three horn and lyre-playing Cherubs. Very colorful. (here's one just like it)

https://jakewildwood.blogspot.com/2017/01/1930s-regal-made-slingerland-maybell.html?m=1

And somewhere on the planet, I own a Maybell Slingerland guitar-banjo. I loaned it out to a guy who used it in a musical. He was primarily a guitar player who needed to make banjo sounds for whatever production he was in. I should probably just write that one off. 

I had a MayBell with that very decal on it ages ago. It wasn't a terrible guitar.

Sent the pix to my friend; he has 3 of them, each slightly different.

Peter

If he's in California, I may have met him a while ago - this one doesn't have a serial number, and needs its tuners, knobs, and cord restored. The big plus is that it has a good neck angle.

DeKalb, IL.

Peter

I've got two and there's a guy in Southern California with three, so I guess they clump together.

Well, if you're that rare, you want numbers for safety, I guess......   8)

Peter

I've had a theory for a while, that whatever it is that causes those of us to collect whatever wedge of collected items we do, also causes them to gather in small geographical pockets. At one time, I had a huge collection of Kalamazoo instruments... one of the Gibson "house brands". I had one or two of everything, banjos, guitars, tenor and plectrum, even a Hawaiian, and mandolins. I came within a 6-pack of buying a Kalamazoo mando-bass one time, and chickened-out because it needed work I wasn't sure I could do. I sold the last of them to help fund my first Alembic.

Here's that BR9 lap steel. I've had it for 25 years. It was a gift, along with a Supro tube amp that doesn't work anymore but probably could. I don't think the chrome nut is correct. I replaced the crumbled tuner knobs many years ago. I'd actually like to take another swing at this... these look too new. I can do better now. The plates are bone stock though.

I'd love to get my hands on a mandobass. The giants of the mando family are always fun.

I love the color schemes on '59s Gibson lap steels — the pastels are always so cool.

Late '40s or early '50s Supro Comet I found in the one pawn shop in Zaneville, OH, in the mid '70s for $25; never figured out how to work it*, so I gave to my buddy Bob for his 30th b-day.  That would have been '81 or '82 (not everything from those days has been fully retained), and he's still gigging it.  It doesn't show in the pic, but the finish is mother-of-toilet-seat pearloid.

*Though one day in '79 I sat in the basement/jam room/room my formerly-a-closet bedroom opened onto of the sort-of-commune where I was crashing while looking for another gig, higher than a kite; plugged into my Gibson BR-1 (same pawn shop, same time frame, same price) through an MXR delay.  Started tapping the bar at various points on the string, adjusting the delay, got a rhythm going, and had a fine old time for a good while.  Finally went upstairs & one of the girls living there gushed "I love your music!"  At that point in time, I knew about 4 chords & part of a pentatonic scale on Spanish guitar, and (as stated above) nothing on the Hawai'ian.  Got a kick out of that........

Peter

Quote from: cozmik_cowboy on May 22, 2026, 09:37:23 PMFinally went upstairs & one of the girls living there gushed "I love your music!"  At that point in time, I knew about 4 chords & part of a pentatonic scale on Spanish guitar, and (as stated above) nothing on the Hawai'ian.  Got a kick out of that........

Peter

And a monster was born.  ;D

Quote from: edwardofhuncote on May 22, 2026, 02:47:03 PMI came within a 6-pack of buying a Kalamazoo mando-bass one time, and chickened-out because it needed work I wasn't sure I could do. I sold the last of them to help fund my first Alembic.

It's not Gibson (or a mandobass), but since we were talking Chicago earlier, here's a fun Mandocello:

(https://i.ibb.co/FLDr5n75/IMG-4382.jpg)

(https://i.ibb.co/WNy9Zs0m/IMG-4381.jpg)

(https://i.ibb.co/qLyDCWtW/IMG-4384.jpg)

(https://i.ibb.co/WvX5jdTw/IMG-4383.jpg)

Good stuff, David. Lyon & Healy? I like the inlaid pickguard style. Never had an honest-to-goodness mandocello but did a converted archtop guitar one time.

I do have a Boston, Mass. made Vega mandolute. It's made kind of the same shape as the storied cylinder-back, but without the points, and mine is mahogany and flat. When I got it, it had been crushed. I took the back off to repair the top, and as an experiment I made a secondary soundboard, like the Virzi "tone producer" and fit to it. I was young and curious. 😆

Those inlaid pickguards though... how'd G they do that?! That would be a giant pita even now.

That's a cool mandolute — Vega did some pretty interesting things during that period (somewhere I have a really fabulous cylinder top guitar with its neck off, because a luthier I hired never finished its neck set).

The Mandocello is a Stahl by the Larson Brothers — I really wish more people did inlaid pickguards. They're gorgeous. I'm going to have to do some digging now to find pictures of a fun New York-made guitar from the early '20s, that has a perfect inlaid pickguard on it.

Quote from: Nova Constellatio on May 24, 2026, 10:34:09 AMThat's a cool mandolute — Vega did some pretty interesting things during that period (somewhere I have a really fabulous cylinder top guitar with its neck off, because a luthier I hired never finished its neck set).

The Mandocello is a Stahl by the Larson Brothers — I really wish more people did inlaid pickguards. They're gorgeous. I'm going to have to do some digging now to find pictures of a fun New York-made guitar from the early '20s, that has a perfect inlaid pickguard on it.

Any chance of a Howe-Orme?  :o

(forgot all about Larson Bros. Yep, another Chicago shop) 

The thing about those inlaid pickguards... the relief cut. How'd they get them so uniform? The outline isn't the issue, though some are kinda' tedious, but how did they chisel the spruce out so perfectly flat? I guess you can always flush up the celluloid or whatever material by careful scraping and sanding, but even that is tricky. I gotta' try it sometime. 

I had a tiny Howe-Orme cylinder top with an adjustable neck for a while, but I ended up using it as partial trade on the 1936 000-18S that I posted last week. It was a cool instrument, but was thin sounding.

Here's the other inlaid pickguard guitar I mentioned earlier (obviously, I didn't take these pictures). It's a Galiano by Ciani, similar to Nick Lucas's, and virtually identical to the one play by Pops Stoneman.

These were made after Ciani handed over the shop to D'Angelico, and this one hung in D'Angelico's shop until he died. My guess is that it's the earliest identifiable guitar that he built.

(https://i.ibb.co/kgbkMwr4/IMG-7760.jpg)

(https://i.ibb.co/qYQj7xnF/IMG-7761.jpg)

(https://i.ibb.co/PscF2kF3/IMG-7762.jpg)

(https://i.ibb.co/whbdHyC9/IMG-7763.jpg)

(https://i.ibb.co/btff5n4/IMG-7764.jpg)

Quote from: Nova Constellatio on May 24, 2026, 11:09:25 AM<snip>

Here's the other inlaid pickguard guitar I mentioned earlier (obviously, I didn't take these pictures). It's a Galiano by Ciani, similar to Nick Lucas's, and virtually identical to the one play by Pops Stoneman.

These were made after Ciani handed over the shop to D'Angelico, and this one hung in D'Angelico's shop until he died. My guess is that it's the earliest identifiable guitar that he built.

Wow.  Beautiful. 🤩 

Indeed, a pearl inlaid pickguard inlaid into the top... a double-whammy of cool. We don't get to see a lot of from that guitar's "family tree" here, but the Stonemans are well-known to this day in my little part of the world, Bristol being just a short drive. I've only ever seen pictures of Pops guitar though. You had to do pretty well in the 20's and 30's to afford nicer instruments like that, and they did very well. Bristol Virginia/Tennessee (the State line literally runs through the middle of town) is known as the "Birthplace of Country Music" due in large part to folks like the Stonemans. 

Other details I notice; the marquetry. It's amazing. I wonder if it was imported or made onsite? I've read different accounts. The engraved tuning machines. Do you know who manufactured these? The bridges on these are so interesting. The little ornaments at the wing tips remind me of Panormo bridges. It may be coincidence, but it certainly goes well with the rest of the design. I notice you have it strung with TI Plectrum 11's... so it must be braced lightly. Or you just don't want any unnecessary tension? 

Anyway, thanks again for sharing such cool stuff!  8)

Quote from: Nova Constellatio on May 24, 2026, 11:09:25 AM... Here's the other inlaid pickguard guitar I mentioned earlier .. a Galiano by Ciani ... These were made after Ciani handed over the shop to D'Angelico, and this one hung in D'Angelico's shop until he died. My guess is that it's the earliest identifiable guitar that he built.

Very nice!

Quote from: edwardofhuncote on May 25, 2026, 06:53:19 AMIndeed, a pearl inlaid pickguard inlaid into the top... a double-whammy of cool. We don't get to see a lot of from that guitar's "family tree" here, but the Stonemans are well-known to this day in my little part of the world, Bristol being just a short drive. I've only ever seen pictures of Pops guitar though. You had to do pretty well in the 20's and 30's to afford nicer instruments like that, and they did very well. Bristol Virginia/Tennessee (the State line literally runs through the middle of town) is known as the "Birthplace of Country Music" due in large part to folks like the Stonemans.

Other details I notice; the marquetry. It's amazing. I wonder if it was imported or made onsite? I've read different accounts. The engraved tuning machines. Do you know who manufactured these? The bridges on these are so interesting. The little ornaments at the wing tips remind me of Panormo bridges. It may be coincidence, but it certainly goes well with the rest of the design. I notice you have it strung with TI Plectrum 11's... so it must be braced lightly. Or you just don't want any unnecessary tension?

Anyway, thanks again for sharing such cool stuff!  8)

I'm not sure about the marquetry or tuners — I'd bet there was someone supplying marquetry in the same way engraved mother of pearl fret markers were.

The TIs were on it when I got it. It's got fairly heavy ladder bracing, and now has Schoenberg brass 11s on it. I'd bet it can handle 12s just fine, but it sounds incredible the way it is.

Quote from: Nova Constellatio on May 25, 2026, 12:12:28 PM...
The TIs were on it when I got it. It's got fairly heavy ladder bracing, and now has Schoenberg brass 11s on it. I'd bet it can handle 12s just fine, but it sounds incredible the way it is.

Well, here's a tip for you and a little plug I don't get a thing for. I used to use the TI Plectrums religiously on my parlor-sized guitars that really didn't need full-on light-gauge steel strings... loved 'em. Then the things just got too expensive. I haven't shopped them lately but I bet they're over $30/set now. It's not that I'm cheap, it's that there are other low-tension stings that'll do fine for a 1/3 of that. I started using GHS silk & bronze on my Martin 00's and other very lightly braced guitars. They're usually $10-$12/set. And when you got a blamed closet full of lumber to restring... 🤑

Quote from: edwardofhuncote on May 25, 2026, 01:19:40 PM

Quote from: Nova Constellatio on May 25, 2026, 12:12:28 PM...
The TIs were on it when I got it. It's got fairly heavy ladder bracing, and now has Schoenberg brass 11s on it. I'd bet it can handle 12s just fine, but it sounds incredible the way it is.

Well, here's a tip for you and a little plug I don't get a thing for. I used to use the TI Plectrums religiously on my parlor-sized guitars that really didn't need full-on light-gauge steel strings... loved 'em. Then the things just got too expensive. I haven't shopped them lately but I bet they're over $30/set now. It's not that I'm cheap, it's that there are other low-tension stings that'll do fine for a 1/3 of that. I started using GHS silk & bronze on my Martin 00's and other very lightly braced guitars. They're usually $10-$12/set. And when you got a blamed closet full of lumber to restring... 🤑

Thankfully, I don't have too many things that need low-tension strings. I was using D'Addario Silk and Steels, which I never really liked much. I'll give the GHS a try the next time something needs that.

I use a lot of D'Addario strings in the shop, and we carry them in the store I do repair work for. These GHS though, I buy online, simply because we don't carry them. I like the gauges better for some shorter scale guitars. 

https://www.stringsbymail.com/acoustic-guitar-strings-7/ghs-20/silk-and-bronze-587/

I don't care much for the Silk & Steel sets Martin has, they just wear out too quick, but I haven't seen a D'Addario set. Will hafta' check on them sometime. 

I really prefer the sound of brass on acoustics, and I don't think there are any low-tension options there, so I don't really play the super delicate guitars a lot.

I stumbled on the alembicized Telecaster thread and got a kick out of it. I've been playing around with partscasters for a while in the hopes of learning a thing or two, and have a stable of them — hopefully they aren't contraband now that Fender is getting litigious.

Here's a relatively recent blackguard I did (with a few minor changes to the standard recipe):

(https://i.ibb.co/HLCndyc1/IMG-2209.jpg)

(https://i.ibb.co/n2mRVnd/IMG-2207.jpg)

(https://i.ibb.co/69BsTtZ/IMG-2208.jpg)

(https://i.ibb.co/zWjKSQmk/IMG-5142.jpg)

Nice.  8)  Love that custom neck. 

What's the story on the brass saddle there?  ??? 

.

Quote from: edwardofhuncote on May 27, 2026, 03:10:29 PMNice.  8)  Love that custom neck.

What's the story on the brass saddle there?  ???

It's a Van Dyke-Harms monolithic saddle. They're compensated hammered brass, and can be ordered for any radius. I've found them to be a huge upgrade on teles.

The guy who makes them also makes machined steel and brass hardware that I really like, but they're not aimed at a vintage aesthetic:

(https://i.ibb.co/HDZtHgDF/IMG-1330.jpg)

Quote from: Nova Constellatio on May 27, 2026, 03:55:27 PM

Quote from: edwardofhuncote on May 27, 2026, 03:10:29 PMNice.  8)  Love that custom neck.

What's the story on the brass saddle there?  ???

It's a Van Dyke-Harms monolithic saddle. They're compensated hammered brass, and can be ordered for any radius. I've found them to be a huge upgrade on teles.

The guy who makes them also makes machined steel and brass hardware that I really like, but they're not aimed at a vintage aesthetic:

(https://i.ibb.co/HDZtHgDF/IMG-1330.jpg)

I agree about the aesthetic of the machined bits on the blonde/blackguard, but that could look great on a different Telecaster. I could see that looking awesome on a piano black one or even on Dakota red. Definitely on an overt custom. Teles are like the hot-rods of the electric guitar world to me.

I'm not sure which Telecaster thread you found (because there's a few here) but I took one on a couple years back for giggles. The one I did was an H/H equipped body to start with, and had that nice back carve too rather than a slab. It never really sounded much like a Tele at all, but I especially liked the neck pickup solo'd. (more on that later) I had a set of Alembic activators in it, which was Mod 1. That required an adapter plate for the bridge pickup and a half-bridge. (maybe you saw this?) Anyway that project ran a course and I learned a lot from it. The Alembic parts wound up going to a Club Member here, I put some different electronics in it for a while, Mod 2, and last year I sold it, opting to keep a different 'Roadworn' Telecaster that just felt better to me. I just ran into the guy who has my 'Super-Tele' project the other day... I had worked on his Taylor guitar for him, and since he was in my shop anyway, I dug around and found the original pickups and electronics and gave them to him. It was getting played on a recording project so at least that guitar is getting a new life.

Here's the one that stayed... it's a mutt, an earlier Roadworn that I bought from another upright player who was paying for some lessons. (why didn't I do that?) Anyway, he had Jim Mouradian install a set of Danny Kortchmar sig. Sheptones in this one, so it's hogged-out under the pickguard. I didn't care for the white plastic, so I mounted a search for a bakelite blackguard cut out and drilled for it. Had an aged pearloid on it for a season too. Nah... had to go.

I don't know what else to say about this one... I'm not much of an electric player to start with, but this one just feels right. I don't fight it. It's light as a feather too. Stable, needs very little adjustment. And Jim shielded it well, so it's pretty darn quiet too. Back when I had a couple tube amps here, this thing was something else. Still fun on the porch with a modeling amp.

*oh yeah, that bridge pickup has the Tele 'bark' that you listen for, but the real draw for me on this one is that neck humbucker. Soooo sweet. This particular set is specifically balanced, many mixed Telecaster sets are not.

Nice Tele!

Can you tell me how to post a reply with a photo on this new site?  Thanks :)

Quote from: rv_bass on May 30, 2026, 05:51:30 AMNice Tele!

Can you tell me how to post a reply with a photo on this new site?  Thanks :)

Using my mobile Rob, I use the preview button at the bottom left, then use the "Click or drag files here to attach them" option. There's probably an easier way.

Quote from: edwardofhuncote on May 30, 2026, 05:59:05 AM

Quote from: rv_bass on May 30, 2026, 05:51:30 AMNice Tele!

Can you tell me how to post a reply with a photo on this new site?  Thanks :)

Using my mobile Rob, I use the preview button at the bottom left, then use the "Click or drag files here to attach them" option. There's probably an easier way.

That's the only way I know to do it on my laptop & desktop; I was hoping the site would give us copy & paste capability.  Alas.

Peter

Quote from: cozmik_cowboy on May 30, 2026, 07:51:02 AM

Quote from: edwardofhuncote on May 30, 2026, 05:59:05 AM

Quote from: rv_bass on May 30, 2026, 05:51:30 AMNice Tele!

Can you tell me how to post a reply with a photo on this new site?  Thanks :)

Using my mobile Rob, I use the preview button at the bottom left, then use the "Click or drag files here to attach them" option. There's probably an easier way.

That's the only way I know to do it on my laptop & desktop; I was hoping the site would give us copy & paste capability.  Alas.

Peter

I've been using image hosting, and just pasting the bb link on mine. Not the easiest way either, I'm afraid.

Quote from: edwardofhuncote on May 30, 2026, 05:27:21 AM*oh yeah, that bridge pickup has the Tele 'bark' that you listen for, but the real draw for me on this one is that neck humbucker. Soooo sweet. This particular set is specifically balanced, many mixed Telecaster sets are not.

That balanced set is a good idea — I put one together with an old patent number I had kicking around, and couldn't get it to balance. It was also an alder body, and the neck ended up sounding too flabby to me.

I wonder whether the steel saddles you have there are contributing to the bark.

Beautiful guitar.

I picked up this '67 Starfire bass.  I have Series pickups, hum canceling pickup, and PF6 card, just need a Series harness.

That's going to be a super cool project.

Was telling Rob the other day, the wear on his new Starfire is remarkably similar to mine, at least in severity. It's a different pattern for sure, but somebody was rough on these two '67's. 

As to Tele p/ups:  People always talk about the bridge, and it's all well & good, but to me the real Tele magic resides in the neck p/up.
Of course, I'm talking Tele p/ups, not 'buckers; snob that I am, I consider one so equipped to be a Tele-shaped guitar, not a Tele (which doesn't mean I don't have impure thoughts about Bill's Alembicized Tele; loved playing it!) 

Peter (who will freely admit that he's a grumpy old fart set in his ways)

I'm a big middle position on the tele fan, myself. Here's one from Autumn of 1954 with steel saddles from right after their return, and a lot of rust:

(https://i.ibb.co/8DGKHRbV/IMG-1977.jpg)

(https://i.ibb.co/qYDBw68C/IMG-1986.jpg)

(https://i.ibb.co/jZz0MqwY/IMG-1978.jpg)

(https://i.ibb.co/N22x63NK/IMG-1979.jpg)

(https://i.ibb.co/N2NyNm75/IMG-1971.jpg)

(https://i.ibb.co/KpkxD1sZ/IMG-1976.jpg)

Quote from: Nova Constellatio on May 30, 2026, 02:48:20 PMI'm a big middle position on the tele fan, myself. Here's one from Autumn of 1954 with steel saddles from right after their return, and a lot of rust:

(https://i.ibb.co/8DGKHRbV/IMG-1977.jpg)

Now there's a Telecaster.  8)

Gibson-ian!

This one stays where I can reach it.

Couple more nerdy details...

I've always wanted to build an F-style guitar or bass. They're so cool.

Quote from: Nova Constellatio on May 31, 2026, 09:18:21 AMI've always wanted to build an F-style guitar or bass. They're so cool.

Those Style O scroll-body guitars were really something. I played one, (don't ask me how many) years ago on consignment at the store. It had that beautiful black top and red crimson varnish sides and back. It may have been the defining moment when I decided that was what I really liked aesthetically. Many years later I restored a trashed (literally found in a trash can) Kalamazoo KM-32 archtop in that same scheme. 

The Style O guitars are so interesting — I've never seen one in person that didn't have a cracked heel, which I find odd.

I have lusted after a Style O for years, despite never having encountered one in the flesh (in the wood?).
They are beautiful.

Peter

Beautiful and the height of weird early Gibson cool. The earlier non-mandolin style ones are super interesting, too.

Last year, there was an IRS seizure auction in Oakland that had three of the Orville Gibson-made early large bodied examples in it. Unfortunately, they all went for moon money.

That was the sale that the D'Angelico-made flattop I posted earlier came out of.

Another wacky instrument that showed up at the IRS seizure sale — this 1939 Gretsch Synchromatic 400 belonged to Artie Narvaez, who played in Artie Shaw's orchestra for a while. In 1946, it was loaned to Django for a while he was touring the U.S.

My understanding is that he hated all the archtops he played while he was here.

(https://i.ibb.co/sv6JcqCQ/IMG-9474.jpg)

(https://i.ibb.co/hxNJVshm/IMG-9475.jpg)

(https://i.ibb.co/3yP63GCY/IMG-9476.jpg)

That's pretty wild, and with some history connected to it. '39 is getting near the tail-end for 'art-deco', but I swear that's what your Gretsch makes me think about. The name 'Synchromatic' kinda' conjures up gearworks to start with. 

Quote from: Nova Constellatio on June 03, 2026, 05:58:33 PM... 1939 Gretsch Synchromatic 400 ...

(https://i.ibb.co/sv6JcqCQ/IMG-9474.jpg)

That guitar looks really cool; and yes, art-deco.

I wanted something to match the spun aluminum lamp.

I posted this to the "name your instrument thread" and realized it was too far afield (no Alembics) so I'm moving it.

I've never named a guitar, but I have a few that came with names on them:

(https://i.ibb.co/Fddr6wc/IMG-9501.jpg)

(https://i.ibb.co/bMcmjQ7L/IMG-9500.jpg)

(https://i.ibb.co/RTyRHwxm/IMG-9502.jpg)

(https://i.ibb.co/RGL89Pzc/IMG-9503.jpg)


(https://i.ibb.co/8TrP1wm/IMG-9504.jpg)

(https://i.ibb.co/MD2xdqH7/IMG-9499.jpg)

(https://i.ibb.co/p6snMxQY/IMG-9494.jpg)

(https://i.ibb.co/6cj58dWZ/IMG-9492.jpg)

(https://i.ibb.co/WNGv30d1/IMG-9495.jpg)

Hey David, I have the same Black Bird!

Bill, tgo

Good stuff! 

I gotta' jump this morning... doctor appointment, then up to spend time with my friend and mentor Ward Elliott. But I have a Gibson with (sort of) a nameplate and a story. 

Quote from: lbpesq on June 04, 2026, 10:06:06 PMHey David, I have the same Black Bird!

Bill, tgo

The dingus!

Peter

This is a fun twist on the Misc Thread, because I get to post about a couple of my musical heroes along with their instruments.

First up, my '51 Gibson LG-2. I rediscovered this guitar at the store I do repair work for a couple years ago, for sale on consignment. It looked familiar and for very good reason... I had worked on this very guitar waaaaay back in the late 80's, early 90's when Dad and me had a little shop in the basement of the office building where he worked. One of his very good friends and musical buddies had found this old Gibson LG-2 in a rummage sale for cheap, headstock broken off, several cracks, the bridge lifted and generally an unplayable mess. He gave it to me to see what I could do with it. Didn't even know or care what it was, but figured at $20 if it was a Gibson it might be worth fixing. So I did. Wasn't too bad... back then, a busted up LG-2 wasn't worth much anyway. The headstock repair is still solid to this day. The neck has been reset. A bunch of the braces had to be re-glued. And we had to make a new bridge because the original split. I replaced the junk tuning machines too. All-in-all, it's a great little player.

What else you have to know... I got my very first paying gig playing bass with this same guy who found this little guitar long ago. Jim DeHart. Jim was an N&W railroad man and a through-and-through bluegrass frontman. His main axe was a 1961 Martin D-28 he'd gotten from a genuine folkie named Bernie Coveney, who honestly preferred his Augustino LoPrinzi guitars. Jim was always afraid somebody was going to steal that D-28 so he wanted Dad and me to inlay his name in MOP up the fingerboard. We just couldn't do it. We compromised by making him a small personalized inlay in the first fret only, a lower-case d♡. Jim loved it. And it didn't completely destroy the aesthetic of that beautiful guitar. So almost 40 years later when I bought Jim's LG-2 from the family, it crossed my mind to inlay it like that D-28... but instead I opted for a custom truss-rod cover. Nobody knows what the hell it means, and I love telling the story. I did keep the original truss-rod cover, in case... you know.

Oh yeah, the gig. I made $34. My cut of $100 at a New Year's party. First dollar I ever made playing bass. 1988/89.

*the last picture is meant to show the heel detail... I hate seeing strap buttons mounted into endgrain locations. The more I thought about it the more it irritated me. So I plugged that hole, touched it up, and relocated it.  Sorry. Guitar OCD.

I was thinking about posting this one in my Shop Thread, but all it really needed was some minor setup work and a restring. It kinda' fits with what we were running here; names on instruments. This is a wild one... I've known this mandolin most of my adult life, and heard it before that. Before it belonged to my good friend and musical mentor (same fella who left me the old D-18) it was actually built for Jimmy Gaudreau, mandolinist with a whos-who list of clients. This was his primary instrument from 1983-1992 while with the Tony Rice Unit. It's quite distinctive in video and pictures. My friend knows him well, and bought the Gaudreau O'Brien after commissioning a second one for himself. He left the original truss-rod cover in place with Jimmy's signature engraved. Here's a link to Jimmy's page... he's got a running documentary of his many mandolins including this one. Great stories too!

https://jimmygaudreau.com/mandolins/

The connection to us; that radically radiused fingerboard became a design feature for several instruments we built for this same guy. My Dad was fascinated by it.

What is that, a four inch radius?!? Now I have to find a mandolin...

Quote from: Nova Constellatio on June 06, 2026, 06:14:44 AMWhat is that, a four inch radius?!? Now I have to find a mandolin...

If you hadn't asked, I might have remembered. It's extreme. And it's compound too. Jimmy liked it so well that he had his next mandolin, a classic Paganoni modified so it had the same setup. I hadn't heard that one before.

*anyone who is just casually reading/following... this is very unusual, mandolin fingerboards are typically flat, no radius at all.

Yummy!

Peter

Quote from: edwardofhuncote on June 06, 2026, 06:20:11 AM

Quote from: Nova Constellatio on June 06, 2026, 06:14:44 AMWhat is that, a four inch radius?!? Now I have to find a mandolin...

If you hadn't asked, I might have remembered. It's extreme. And it's compound too. Jimmy liked it so well that he had his next mandolin, a classic Paganoni modified so it had the same setup. I hadn't heard that one before.

*anyone who is just casually reading/following... this is very unusual, mandolin fingerboards are typically flat, no radius at all.

I'm a huge fan of compound radius boards that start out low.

Here's a humble looking "mandoline" that's got a fun story:

(https://i.ibb.co/spGtdChb/IMG-9524.jpg)

(https://i.ibb.co/4RTW2nBC/IMG-9526.jpg)

Snakehead! A-1...? Cool provenance too.

I was always amused that the A-2 was followed by a Z, making it sound phonetically like; A-to-Z. Lloyd (or somebody) had a sense of humor.

I don't have it right now, but the '23 A-4 (ahem) "inverted headstock" is out on loan. Here it is with my aforementioned 1919 A-model "Uncle Charlie". Most people never notice, but the snakehead Gibson is really just an inverted and trimmed version of the standard paddle. Note the position of the center notch at the top end. It results in lessening the mass of the headstock and allows the strings pull straighter across the nut. It's simply flipped. The snakeheads are somewhat sought-after by collectors and players.

That O'Brien looks really nice; and that radiused fingerboard is pretty cool.

I love snakeheads and I love A-3s, and those bastards discontinued the model a year too early for me to get both.

 >:(

Here's what I spent my day working on:

(https://i.ibb.co/4ZpDQHYS/IMG-9543.jpg)

Quote from: Nova Constellatio on June 06, 2026, 10:53:09 PMI love snakeheads and I love A-3s, and those bastards discontinued the model a year too early for me to get both.

 >:(

A white-top A-3 came in the store last month with the client wanting to sell as-is. (I didn't look it up, but the finish option narrowed it down to a pretty tight window...) It was pretty rough so they declined it. If I'd had a need or desire in the world for another A-model I'd have bought it myself to fix. In spite of the repair work needed, tailblock cracked and sprung open, neck joint and button letting go, frets plumb shot, it had really nice finish, the top had not sunken, the original hardshell case was clean, even the cream pickguard was intact and still attached. These things have a way of turning up again, and you just can't save them all. That mandolin needed serious repair, and retail shops aren't interested in sinking money into restorations. Hopefully somebody will fix it.

I'm with you on that point though, an A-3 with that little squiggly wreathy thing inlaid on a snakehead would've been way cool. Especially in ivory white.

*looks like you're binding sumthin' there... with a spruce top? Or izzat redwood?

It's redwood — since Fender is being infantile, I designed a simple body for my future builds that won't upset anybody.

Body number two in ash, unbound.

(https://i.ibb.co/HTWGF722/IMG-9549.jpg)

(https://i.ibb.co/MkKQGN42/IMG-9550.jpg)

nice!

Here's a fun electric — a first-batch 1960 Les Paul (these wouldn't be called SGs for a little while). Note the rectangular goof plate above the neck pickup, which has been seen on five or fewer instruments. This also has an ink-stamped serial number, which was used on the first few racks they made.

(https://i.ibb.co/Dg6WVV6f/IMG-0283.jpg)

(https://i.ibb.co/gFgDrjZq/62830840143-5279-AD7-F-A800-46-F1-98-D4-EDD9-EE46-CA47.jpg)

(https://i.ibb.co/GQHRrrPm/IMG-0284.jpg)

(https://i.ibb.co/8DtjGbwj/IMG-0282.jpg)

(https://i.ibb.co/cSSS56zk/IMG-0281.jpg)

A bass post, since things have gone pretty far afield:

(https://i.ibb.co/0VDhZXmT/IMG-9595.jpg)

(https://i.ibb.co/gLGJkZLJ/IMG-9596.jpg)

(https://i.ibb.co/3yhwGDMp/IMG-9598.jpg)


(https://i.ibb.co/bjsc1LZn/IMG-9597.jpg)

(https://i.ibb.co/S4JBf5Z2/IMG-9599.jpg)

Birds, in other words!  ;D

Nosir, no T-birds for me, but if I was gonna', well... that one would make a good dog break his leash. Very nice. 😍

I've posted this one elsewhere on the Club here... I don't think on this thread. It's a weird one. Kind of a Thunderbird Studio take. Gibson called these their Thunder Series basses, either IV, or V. Mine is an '87. I read there are <1000 of these. Rare. Not necessarily in a good way. Mine has a lot of sentimental value. I don't gig it out much, but I certainly have. 

Are the humbuckers in it basically Thunderbird pickups?

Here's a little practical joke I played some years ago using a 1959 Gibson cherry-burst. Wait... what?!

Yeah, not that kinda' '59 burst. This thing left Kalamazoo Michigan as an A-5, like Jethro Burns played. It had enough lumber innit for two mandolins. It might as well have been a solid-body. Anyway, the poor thing got crushed. So I made a class project out of it. New top, carved and cut for f-holes. Graduated much lighter than the original. I made a new rosewood fingerboard for it, and because I had them and the smartass to match, the bowtie inlays from a '50's Gibson TB-250 banjo went right in. The keystone knobs... hell, I couldn't not do that. The cherry-burst top I airbrushed to match the original sides and back. I played this one for a while before sending it along to confuse the world of Gibson snobs. Shame on me.

Quote from: Nova Constellatio on June 15, 2026, 03:23:35 PMAre the humbuckers in it basically Thunderbird pickups?

Yessir, TB+, with black covers. I suppose to match the black hardware. Very tight string spacing for a 5-string. These are set-neck as opposed to true neck-through 'Birds. Officially I think only available '86-'88, but they flopped pretty fast. You'll see them in natural, white, red, or black. The ad copy said something about "Back To Bassics" with lightning streaking across the Nashville skyline in the background. They aren't terrible, they just didn't deliver.

Quote from: edwardofhuncote on June 15, 2026, 03:25:54 PMHere's a little practical joke I played some years ago using a 1959 Gibson cherry-burst. Wait... what?!

Yeah, not that kinda' '59 burst. This thing left Kalamazoo Michigan as an A-5, like Jethro Burns played. It had enough lumber innit for two mandolins. It might as well have been a solid-body. Anyway, the poor thing got crushed. So I made a class project out of it. New top, carved and cut for f-holes. Graduated much lighter than the original. I made a new rosewood fingerboard for it, and because I had them and the smartass to match, the bowtie inlays from a '50's Gibson TB-250 banjo went right in. The keystone knobs... hell, I couldn't not do that. The cherry-burst top I airbrushed to match the original sides and back. I played this one for a while before sending it along to confuse the world of Gibson snobs. Shame on me.

That's a whole new take on a conversion.

Here's a much less creative conversion, done when it was affordable to do such a thing:

(https://i.ibb.co/99JW6Qn2/IMG-0772.jpg)

(https://i.ibb.co/274gd2gG/IMG-0773.jpg)

(https://i.ibb.co/TqgXFFTb/IMG-0291.jpg)

Quote from: Nova Constellatio on June 09, 2026, 08:20:09 AMHere's a fun electric — a first-batch 1960 Les Paul (these wouldn't be called SGs for a little while). Note the rectangular goof plate above the neck pickup, which has been seen on five or fewer instruments. This also has an ink-stamped serial number, which was used on the first few racks they made.

A '60 SG?(https://i.ibb.co/Dg6WVV6f/IMG-0283.jpg)

(https://i.ibb.co/gFgDrjZq/62830840143-5279-AD7-F-A800-46-F1-98-D4-EDD9-EE46-CA47.jpg)

(https://i.ibb.co/GQHRrrPm/IMG-0284.jpg)

(https://i.ibb.co/8DtjGbwj/IMG-0282.jpg)

(https://i.ibb.co/cSSS56zk/IMG-0281.jpg)

A '60 SG? I have always read/heard that the original body ran a tad into '61, and the new one was introduced then.
But then, it's Gibson, so logic and consistency lie outside the equation......

On a side note, I have also heard that the "official" version of the name change - that Les hated the new shape - is non-factual; that the straight poop is that he was getting divorced from Mary at the time & didn't want the income for her to snag. 

Peter

They made a couple batches of the SG style in 1960 — they're essentially unobtainable. This one popped up on EBay when nobody wanted SGs, and I couldn't believe my luck.

I've also heard that the name change issue was baloney, although Les isn't around to ask anymore.

Beautiful Gibson guitars :)

This is my Benedetto Benny

That Koa is spectacular.

Thank you!

It is actually flamed walnut solid piece carved arch top :) 

Quote from: rv_bass on June 21, 2026, 02:27:52 PMBeautiful Gibson guitars :)

This is my Benedetto Benny

Oooh, I like it! I wondered how that turned out... I remember when it was just raw boards and a plan. 😁

Will stay with the Gibson theme-

Friend of mine picked up a rather beat up 1983 Gibson Explorer-
Not sure which owner decided that a dragon motif complete with jewels and texture paint?  Possibly Nail polish?
Must have had a heavy fret hand too...
He asked me to take a look at it and see if I could refinish.
I suggested he re-fret it, then refinish.  He didnt want to do that because it was a "shredder"
Took a few months to turn it around, but came out pretty well, and still has very low action ( truss rod adjustment and new bridge ) so its still a "shredder"!

Well, that finish was.....um.....interesting?  ::)

You are working for the betterment of humanity, my friend!

Peter

The old finish look like something you'd see at a GWAR show. The new finish is beautiful.

Nice work on restoring the Explorer!

No Explorers here, sadly (I do have one of those Clive Davis single-pickup Dwights that I'll throw in at the end here), but I recently got my grubby mitts on this 1962 ES-175. If I hadn't been through it with a fine toothed comb, I'd swear it was a brand new reissue.

(https://i.ibb.co/0jXF06jJ/IMG-2154.jpg)

(https://i.ibb.co/XxyMPwTx/IMG-2155.jpg)

(https://i.ibb.co/Lh8p5wY6/IMG-2157.jpg)

(https://i.ibb.co/DDtq4ySp/IMG-2156.jpg)

(https://i.ibb.co/qLCrGcMt/IMG-2158.jpg)

(https://i.ibb.co/WNPdh1Pk/IMG-2849.jpg)

(https://i.ibb.co/78H89Ch/IMG-2847.jpg)

I lust after that 175!

Peter

Quote from: cozmik_cowboy on June 24, 2026, 12:06:46 PMI lust after that 175!

Peter

A friend of mine took it in trade on a deal and I immediately fell in love — a month later, he needed to raise money and flipped it to me.

Quote from: Artgeckko on June 23, 2026, 05:58:33 PMWill stay with the Gibson theme-

... Gibson Explorer  - refinish.

Looks great!

looks like it never got played...kinda sad...

Another strange Gibson bass. This one's a Q-80. They put Custom Shop logos on these, but the truth is more like they were pieces/parts from the Nashville shop. Victory-esque body is mahogany rather than maple. Hockey-stick headstock on a maple bolt-on neck kinda' reminds you of something like an Explorer. Pickups are humbuckers, and controls are V-V-T. These lasted a couple years and disappeared like the Thunder Series did. Mine is from 1987. Joey told me one time, there were stacks of back-routed bodies like these around the Elm Hill Pike Shop. I guess they could have been for the Q-series guitars too. 

Cool one for sure. 
Certainly looks 1987!
How did you know the body was mahogany?

Quote from: Artgeckko on June 25, 2026, 09:36:49 PMCool one for sure. 
Certainly looks 1987!
How did you know the body was mahogany?

There are a few chips in the paint, and in the neck pocket where it's pretty obvious. Not so much in my pictures. 😉

The Q-series stuff was a very 80's thing, especially the guitars. They tried to market these pointy things with all kinds of pick-up configurations and Kahler trems as "SuperStrats'. I came close to buying a really obscure one called a Q-300 that had three P-90's evenly spaced between the bridge and fingerboard. I think of all guitar pickups out there, those just seem to do it for me sonically, so having three of them all splayed out seemed an attractive idea. But y'know... there can be such a thing as too much good stuff, and two P-90's is plenty. Besides that, with another between them... it might be something to just be in my way.

In the great downsizing of my library of guitars, I kept one Les Paul. (of five) It's this plain old Special... slab mahogany with a back contour, 60's profile neck, fingerboard binding for whatever reason. (I had another one that didn't) It must be the most un-special 'Special' ever. But it's one of those guitars that just has the magic juice when you plug it in... plays just right, sounds just exactly like I want it to. No excuses or apologies. Best part, it was a Craigslist rescue, one of the better deals I ever made. 

I'm a huge fan of all the p90ish pickups (p90s, staples, and especially Carvin AP6s which are kind of like smooshed p90s) — it's a great formula.

So I found some wacky rosewood cut out of an old stump. I hope I'm creative enough to make it into something usable — suggestions are welcome:

(https://i.ibb.co/7dndpNby/IMG-9730.jpg)

(https://i.ibb.co/Jwq1C888/IMG-9729.jpg)

Wow!  That there is some figuring!

Peter (whose first thought is, of course, "Guitar!")

It's a guitar or bass top — they're both a quarter inch thick. One has a flaw around where a cutaway would be, and the other has a lot of planer skip.

My first thought upon seeing the top one was "Hmmm - wide enough to BTC on a Further?"

Well, OK, I lied; that was 2nd - first was "Could you get an M or OM back out of that?"

Peter

You could get a front and back of a standard point out of it, but not matched to center. You'd also have to get creative with the flaw.

Got to do something cool with that angry looking face figuring!
Pretty spectacular.

And all four pieces ring like a bell.

And smells like flowers when you sand it? 😏

Since it's a Gibson theme right now, here's a spring of 1960 ES-345. I bought it from a guy whose parents ordered it for his 15th birthday. He lost interest in guitars by the time he was 16. :/

(https://i.ibb.co/yFrDvtYC/62830831739-C060-C27-D-8-DDA-4-DB9-A720-E67579-F6-DF5-D.jpg)

(https://i.ibb.co/cB5K6rn/62830831739-C060-C27-D-8-DDA-4-DB9-A720-E67579-F6-DF5-D.jpg)

(https://i.ibb.co/jk3zvRx3/IMG-0661.jpg)

(https://i.ibb.co/nN2YpxWS/IMG-0662.jpg)

That's really nice looking ES335. I had a 78 one with similar colors, love those guitars!  :)

They're incredible instruments. I have this and a cherry red '63 that's seen some action, and they're both special.

Hole plugs for the stoptail, I reckon? Yessir, that's primetime Gibson stuff there. 

I've heard that they used pick material for the caps before they went to the "CUSTOM MADE" badges.

I've only ever seen MOP  or a black plaque inscribed "Custom Made".

Peter

Quote from: cozmik_cowboy on July 01, 2026, 11:41:08 PMI've only ever seen MOP  or a black plaque inscribed "Custom Mad".

Peter

This is bizarre. Literally seconds after I read this, I opened a social media program and saw this video of Vince Taylor singing Peppermint Twist.

Check out the color of the caps on the 345!

(https://i.ibb.co/C3CRNrwK/IMG-9831.png)

wild if it's the same guitar...

I don't think it can be — the guy I bought mine from got it as a kid and didn't play it out at all, from what I understand. They do look like twins.

The issue of birth-year guitars came up on Davids 'Dreaming' thread...

I've had a couple stringed things from 1969, but only one now. There was this F-5 Gibson mandolin I gifted to a nephew a few years ago. It actually had an ink-stamped '65 FON, but an orange Kalamazoo label with a '69 serial number. It probably laid around the factory for several years, or was simply unfinished. I inherited it from the mandolin player in my Ol' Man's bluegrass band. It was completely unplayable, so I had to have it refretted and set up. He had played the living daylights out of it.

I also had a 1969 D-18. I traded that guitar for a 1930 0-18, even swap. I didn't need the D-18 anymore because I'd just gotten fired from the gig I used it for. And I really wanted that little 12-fret. No pics of that D-18... long gone, but I did buy it as a birth-year guitar. As far as 1969 Martin guitars go, it was okay. Nothing like my '50, but we played in bars and all I needed was something to beat rhythm on. It was a good trade and I didn't miss it long. 

The current and only one; a 1969 D-12-20 that I've converted to a 6-string. I had it for years and played it on a recording as a 12-string exactly once. Paid peanuts for this thing. I've since had the neck reset too, and it's my go-to for a big Dreadnought sound. I thought about selling it for a while, but I gifted the only other 12-fret Dreadnought I had, so this one stays... a birth-year conversion. Maybe someone will figure out what happened. 

I love the peghead on it.

While I'd love to have it, I have always found slotted headstocks to be a serious cause of buttockal agony.

Peter

Quote from: Nova Constellatio on July 04, 2026, 08:13:25 AMI love the peghead on it.

That was the thing. I really didn't want to do anything that couldn't be undone. It crossed my mind to just replace the neck. Then I realized (or rather remembered) that Martin 12-strings are short-scale. That created a new set of problems. So this staggered mounting of individual tuners using 1/4" hole plugs for the vacant holes, and some adhesive-backed black pickguard material for plates to hide the faces solved the main issue.

I saved the original nut, and made an ebony one with every intention of making a bone one later. Never did. The aesthetic suits me fine.

Then came the bridge. It was shaved too thin anyway because of the tragically shallow draught angle. It was eventually getting replaced when we reset the neck, so I plugged all 12 pin holes, then routed and inlaid a thin plug of BRW, then redrilled for 6 pins centered so that none went back through the same holes. Eventually we did just make a full height replacement that fit the footprint, but for experimental purposes, here was the solution. If you know what to look for, you can see it. I saved this one for a souvenir. If it ever gets converted back to a 12-string, it would need a replacement bridge anyway. 

I love the creative/conservation-minded solutions. I think of all the wholesome guitars that I've seen converted in a way that can't be undone, and it's pretty depressing.

Ok — here's a Gibson with double courses, to tie stuff together:

(https://i.ibb.co/HTZNBttr/IMG-1842.jpg)

(https://i.ibb.co/3y7Yq9GR/IMG-1844.jpg)

(https://i.ibb.co/Rndnd47/IMG-1843.jpg)

It's gigantic and dark and watery sounding.

K... 2? 

I'd love try a mandocello, though wouldn't have much context for regular use. Like you say, dark and watery. Not really an endorsement of the idea, but the last Gibson mandocello I saw here was a converted L-50 archtop. If memory serves they are the same scale, and I have to say they did such a nice job I tried it on a lesser instrument. 

I love the pumpkin-tops. Lemme look for a couple pictures. I restored one in my shop a couple years ago, just an A-model mandolin from the 'teens. Gifted it to a musical buddy along with a banjo-lele by Mike Ramsey, the only one of his I ever saw. 

Here was the pair. The mandolin was a simple A-model from 1916 that turned up in the store I do repair work for. As a consignment it just wouldn't sell because it needed so much work, but I could tell the 'bones' were there. It didn't have any of the classic issues that usually do these in... the sunken top, the sprung waists, tailblock splits or neck joint issues. None of the above. What it did have... the original bridge was super-glued to the top, in the wrong place, and backwards. (the trifecta of stupid) The frets were shot. It was just unplayable. But you could just tell, when the open strings were struck in tune... it thumped like a ripe watermelon. I made a play for it with my store credit, fixed it up, and it went to a good home. The Ramsey banjo-lele was a very fortunate find on Craigslist. Also a gift. I've never seen another. Mike was a genius of a banjo-maker, no longer with us.

The other pumpkin-top in my life the longest... a 1914 L-1 guitar, is not mine. I repaired it for an old friend in the late 90's. After which she played a tune on it and handed it back. I had it for the next 25 years, played it regularly and recorded with it. A couple years back when I was losing the feeling in my hands again, I sent it back to her. I hear a musical niece has it now. The guitar is a family heirloom so that's how it should be.

Switching gears a little, here's a fun, high-octane hillbilly guitar from Southern California circa 1961 or 62 — it's a Sterling, made by a guy named Joe Hall, who later founded Hallmark Guitars.

Hall was a guitarist who ordered a custom double neck Mosrite from Semie Moseley in 1958. A year later, Semie hadn't started it, and Hall ended up building it with Semie at his shop, just to get the thing done. He then went on to build a small number of these Sterlings, which are obviously close relatives of early Mosrites.

My friend Deke is writing the definitive book on Mosrites, and stayed with me for a couple days to photograph some of mine, and we ended up comparing the Sterling to a Joe Maphis Model, which is the precursor to the Mosrite Ventures Model, and the bodies are literally mirror images of one another. The pickups are also almost identical, and may be the best sounding vintage single coils I've ever heard.

If you like wacky stuff, this one's for you:

(https://i.ibb.co/pjYZg9CF/IMG-2455.jpg)

(https://i.ibb.co/1Jnd7Th6/IMG-2454.jpg)

(https://i.ibb.co/9mLJNWTB/IMG-3784.png)

(https://i.ibb.co/j9hWXCJt/IMG-6724.png)

(https://i.ibb.co/RGDGZk6h/IMG-6722.png)

You got me there! Closest thing I ever had was a DanElectro. I've been trying to remember what in the world I traded that guitar for... I don't even have a picture of it. Pretty sure it went in a swap that I got a Kalamazoo for. Anyway, that's waaaaay cool. Especially the relief cut top. Looks like solid mahogany too.

We had a protracted conversation here some years back about Semie Moseley and Bartell, Hohner "Black Widow" basses. Another one of my bass heroes, T. Michael Coleman played them. I'll have to look for it.

*Found it- https://club.alembicguitars.com/miscellaneous/i-d-this-bass/msg231889/#msg231889

I'm a huge fan of early Mosrites — the '50s double necks are wonderful beasts, and the stuff before the factory (1961-63) is super special. The pickups on the early '60s guitars are magic — kind of like a Carvin AP-6, but even glassier and more hifi. Someday I'll figure out how they were made, although I'm terrified to pop mine open.

Now I have to dig up pictures of a Danelectro I found last year.

A 1954 prototype with the things that became lipstick pickups once Nat Daniels bought all those empty lipstick tubes. The pre-production instruments are usually red, from what I've seen.

The metal armature that the neck is built around extends all the way to the bridge, which is a neat feature that they didn't adopt.

(https://i.ibb.co/ZpTHr35S/IMG-7780.jpg)

(https://i.ibb.co/qYJBRBLs/IMG-7788.jpg)

(https://i.ibb.co/ccQM6L8Q/IMG-7786.jpg)

like a Wandre...

A college buddy in the '70s had a Ventures Model, as did a college buddy in the '00s; I have thought Mosrites were criminally under-rated by the F-G snobs (and wish they still were by the collectors.......)
Also, I was once in a music store somewhere in Kansas of Iowa of some such place with the guitarist for the lounge band i was doing sound/follow spot/pyrotechnics for, and the owner pulled a case from under the counter; said it was a prototype (which his son help Semie design) for a Merle haggard Signature Model.
Maple 'board with a brass strip down the center of it.  Only maple 'board I've ever liked (but then, it didn't a finish - so I imagine it would look pretty nasty in quick order if it didn't live under the counter).
I love Mosrites!

Peter

Sounds like a brass rail!

I had an unusual ukulele in my shop a few days ago... a handmade 6-string tenor. It had octave course strings for the 1st and 3rd sets. I'm not sure what they were thinking, but surmise that it must have been built for a particular playing style with both up and down strums by the way the strings were arranged. Tuning was g-cC-E-Aa. Now, figure that out.

Anyway, it got me thinking I hadn't had this little guy out in a while. Martin Style 2M soprano uke... year unknown. It has bar frets, a logo, but no stamp on the headstock reverse. So after '35, but before the mando/uke shop ran outta' bar fretwire. They didn't serially number ukes. Good thing too. They made a blue-million of these things. Not as many of the fancy ones. This one came from an estate sale where this buddy of mine called me one Saturday morning. He'd found this one and a Style 3M. We split the deal. Oh yeah, I got the original case too. 

Beautiful little thing. The other one sounds like the unholy union of a ukulele and a taro patch. Weird.

Posted a picture of this one on another thread, just incidentally. It doesn't get much publicity, but this little fella' is a tone machine. I'm about to loan it out... maybe permanently.

Built (mostly) on late-1920's, early-1930's specs, Martin 00-21. Adirondack spruce top, Madagascar rosewood sides and back, Spanish cedar neck, hot hide glue construction. Geo. Gruhn had the Custom Shop build these in sets for his Nashville dealership. Mine is a 2013, and just a few dozen numbers away from a 00-18 Custom in the locker I'll die with. (ordered new)

That's gorgeous — I miss that period of time when there was a bunch of nice Madagascar rosewood around.

Also, I keep wanting to make an electric out of Spanish Cedar.

Quote from: edwardofhuncote on July 19, 2026, 05:37:20 AM... Spanish cedar neck ... Gruhn had the Custom Shop build these in sets for his Nashville dealership.

Beautiful guitar!  Got me thinking about Cedar, so I asked the AI a few questions about Western Red Cedar, Spanish Cedar, and Lebanon Cedar:

Cedar.jpg

I'm not 100% sure why it's called Spanish or Cedar. I don't think it's technically either one, at least not the way I think of cedar in terms of guitar-making. It's properties and appearance are much like tropical mahoganies. It was the traditionally popular wood used for Spanish-style classical guitars, and C.F. Martin & Co. used it for necks until the early 20th C. Interestingly they still use it some. I wonder how long they had that stuff. 

I've seen a few early Les Pauls that I'd swear were Spanish Cedar.

It acts like a super stiff, lightweight mahogany. If it weren't a little on the soft side, I'd have made a few necks out of it by now.

I don't know my Gibson bits quite as well as I should partly because there's so much you can't possibly know. But I always thought that famous banner should have read; Never Can Tell With A Gibson.

They just didn't stick to rules and standards in Kalamazoo like they did in Nazareth. That isn't to say they built bad guitars, but there's definitely a difference. Look inside any late-30's Martin Dreadnought any late-30's Gibson Jumbo and this becomes obvious. A completely different mindset built those two guitars. That is reflected in what they fetch too, and that's not a knock on a J-35. I've played about a dozen. All but one were fantastic guitars. Carry it forward 25 years and look inside a Martin 000 vs. a Gibson LG and the same thing exists except brought forward a couple decades. Line up ten of the Martins, and they will generally be identical. Get ten of the Gibsons and two or three of them will have some different parts. Why? Just how it is. Or was. If there's something weird about a Gibson... wacky serial numbers, wrong bridge, extra binding, different rosette, couple extra dot inlays... you never can say for sure it didn't come that way. 

I'll just say this... if they got in a stack of Spanish cedar, and it suited the purpose of making Les Pauls, there's no reason to think they wouldn't have. 

Well, I can't find where I have it saved, and Google just dumps me down an endless - and useless - AI rabbithole, but....
There is an image out there that has a "banner" headstock - altered to read "Only a Gibson is overpriced enough".

I have stated elsewhere - and will stand by - that the biggest difference between Gibson & Epiphone these days is that the Epi SJ-200 is a fine $1500 instrument that you can buy for $750, while the Gibson version is a fine $2500 instrument that you can buy for $7500.......

I do love Gibsons (by which I mean, of course, guitars built in Kalamazoo; if I wanted a new Gibson now, I'd buy a Heritage), but they always were willing to throw in whatever was at hand, and have always regarded manufacturing goofs as opportunities for creative camouflage.

Peter (who marvels that their "Collector's Choice" series - in which they paint & damage Les Pauls to look like various famous LPs - actually sells; were he to have kind of guitar money he would be calling Mica)

Quote from: edwardofhuncote on July 20, 2026, 02:57:11 AMI don't know my Gibson bits quite as well as I should partly because there's so much you can't possibly know. But I always thought that famous banner should have read; Never Can Tell With A Gibson.

They just didn't stick to rules and standards in Kalamazoo like they did in Nazareth.

This is part of the reason that I've never owned a Gibson flattop — you never know what you're going to get.

Another favorite take on that old Gibson slogan:

"If Only Gibson Were Glued Enough"

Quote from: Nova Constellatio on July 20, 2026, 09:38:52 AM

Quote from: edwardofhuncote on July 20, 2026, 02:57:11 AMI don't know my Gibson bits quite as well as I should partly because there's so much you can't possibly know. But I always thought that famous banner should have read; Never Can Tell With A Gibson.

They just didn't stick to rules and standards in Kalamazoo like they did in Nazareth.

This is part of the reason that I've never owned a Gibson flattop — you never know what you're going to get.

Another favorite take on that old Gibson slogan:

"If Only Gibson Were Glued Enough"

And all God's children said, Amen. Every brace end, on every one. Sproing! 

Quote from: cozmik_cowboy on July 20, 2026, 06:53:13 AMThere is an image out there that has a "banner" headstock - altered to read "Only a Gibson is overpriced enough".

Is this it?  https://www.everythingsg.com/attachments/only-a-gibson-is-overpriced-enough-jpg.50197/

Yes!  Thanks, Dave.

Peter

A couple weirdos for Greg, since I don't have a single Gibson flattop to my name.

One's from Boston, and the other's from Chicago:

(https://i.ibb.co/RGxP3kYW/66647739143-0094-CD1-B-EDEB-4-CDE-9-F2-B-8-A468-D0-E4-BC2.jpg)

(https://i.ibb.co/zWphqZKw/IMG-5527.jpg)

(https://i.ibb.co/Q38j1tZH/IMG-5528.jpg)

(https://i.ibb.co/JjP6ZWRG/IMG-5529.jpg)

(https://i.ibb.co/TBBDYhLW/IMG-5530.jpg)

The Boston parlor, I'm guessing Vega. Almost looks like a cylinder too. I see the 13th fret is out, which suggests you're about to pull the neck. I've never seen the joint in one, but I'd assume (my second assumption before my first cup) it's standard tapered dovetail. 

Chicago-made guitars are usually only easy for me to define as that. The rosettes often have that inner ring of binding, and there are a few other hallmarks to look for. What's that one though? Larson Bros.? It's big. Like J or D big. The only other guess I have on that guitar is that it was modified for classical bridge and tuners. Looks like you got silk-n-steel folk strings on there.  

This is way better than crossword puzzles. 😁

The first is a Vega cylinder top — the joint turned out to a very shallow dovetail, and the luthier who had it didn't finish it. A friend of a friend has successfully reset a neck on one, so I need to get it to him.

The 12-fret Dread is a Euphonon, made between 1938 and whenever the brothers stopped working. Oddly, the bridge is original. This guitar's little brother (bridge and all) is in George Gruhn's collection.

Well that's a new one on me as far as Larson Bros guitars go. Very cool guitars both. Enjoying the eary-morning guitar geek-out! 

The Euphonon is the second best sounding acoustic guitar I've heard (after the 1934 12-fret D-28 with D-42 style neck that was retopped by the factory in 1935 that is legendary in some circles).

It's also a bear to play — in addition to the classical-style bridge, it has a wide, very flat fingerboard.

Beauty knows no pain.

Quote from: edwardofhuncote on July 21, 2026, 03:38:25 AMThis is way better than crossword puzzles. 😁

      :)

Quote from: edwardofhuncote on July 21, 2026, 07:54:07 AMWell that's a new one on me as far as Larson Bros guitars go. Very cool guitars both. Enjoying the eary-morning guitar geek-out!

Nor have I ever heard of a gut-string Larson.

Peter

I assume they were intended for gut, but this and Gruhn's are both strung with steel now (the built-under-tension tops can handle just about anything). Definitely a weird custom order.

Here's another one:

(https://i.ibb.co/B2HKzf4v/IMG-0007.jpg)

This isn't the one Gruhn owns, which is the same shape, but only around 000-size.

Here's one I just bid farewell to yesterday after decades. 1926 Gibson Mastertone TB-4. FON# 8376-36

Obviously, converted to 5-string, but using the tenor neck inlays and leaving the ball-bearing pot assembly original. I can't even tell you how many moving parts these things have. Wait... yes, I can. The tone ring floats inside a skirt on top of 24 ball-bearings, which are supported by 24 coiled springs in sockets drilled into the shell, lined with 24 washers. The ball-bearing Gibsons were the first true Mastertones and were only produced from 1925-27. It was an over-complicated design that was meant to keep the hide heads tight under varying humidity conditions. Didn't work. FWIW, the design was another of Lloyd Loar's. Maybe that's why they cut him loose?  ;D  They have a very specific sound though, and record beautifully. Very strong bass response, balanced, not overpowering trebles. Most of them have (sadly in my opinion) been castrated and converted to more popular flathead or archtop tonerings. One wonders where all those ball-bearings and springs ended up? 

This particular one was my Dad's main player for about 10 years after he found it at a fiddler's convention in the 80's. Even then it was hard to find a complete one. He sold it in the late-90's for a short time to a young lady who made the agreement to sell it back if she parted with it. She kept her word and we went in together and bought "Leroy" back about 2005. Dad asked me to sell his banjos this past year, all but one of them. I sold Leroy yesterday. Went to a good home. I kept the pearl truss-rod cover for Pops, and put the old black plastic one back on. (actually did this a while back... made an effigy headstock for display and mounted the "Leroy" truss-rod cover on it, for a father's day gift)

Anyway, if you ever see one of these crazy things, now you know.

I think one of these showed up at Eric Schoenberg's several years ago. It didn't last very long.

I happened to be there while  it was being played by someone who really knew what they were doing. It was a remarkable — you might even say beautiful — sounding banjo.

An electric archtop for Dave:

I think this one is a year or two later than your birth year, but it's worth keeping your eyes peeled for a Country Club from the mid-50s. They're essentially a White Falcon without all the frippery.

I bought this one off of eBay back in the dark ages, based on a blurry picture and the worst description ever. The one thing I could make out in the picture was original gang tags that hadn't been removed. I think it was around $1,200 when average examples were running $2,500 or so. The pickups are incredible.

The second photo shows it being played by a friend of mine shortly after I unboxed it.

(https://i.ibb.co/0pb8GvyH/IMG-0462.jpg)

(https://i.ibb.co/T9fDCbR/IMG-0461.jpg)

Quote from: Nova Constellatio on July 22, 2026, 02:01:43 PMAn electric archtop for Dave:

I think this one is a year or two later than your birth year, but it's worth keeping your eyes peeled for a Country Club from the mid-50s. They're essentially a White Falcon without all the frippery.

I bought this one off of eBay back in the dark ages, based on a blurry picture and the worst description ever. The one thing I could make out in the picture was original gang tags that hadn't been removed. I think it was around $1,200 when average examples were running $2,500 or so. The pickups are incredible.

The second photo shows it being played by a friend of mine shortly after I unboxed it.

(https://i.ibb.co/0pb8GvyH/IMG-0462.jpg)

(https://i.ibb.co/T9fDCbR/IMG-0461.jpg)

Beautiful!  Back when I was looking at that '54, I read that shortly afterwards,  maybe a couple years or so, Gretsch started making humbuckers, predating Gibson (according to the account I was reading).

Ray Butts, who designed the filtertron, wasn't the only one to beat Gibson on that — Rickenbacker had a functional humbucking pickup in some of their Combo guitars in
1955, and Slingerland beat them all with a six-coil humbucking pickup that they used in their Songster in 1935. But Seth Lover gets all the credit...

Some lovely instruments on these pages...
Maybe a bit off kilter here, but I had a fun bit of educating myself...
I recently acquired a Hofner HTC bass from craiglist for $300 on a whim.
Never really liked these basses, even the higher quality german-made ones. To me they always felt kinda dead and sounded too woody and inarticulate for my likes. That said, they do have a particular sound, so decided to give it a shot.
The guy selling it hated the bass ( his words). Upon playing it, I uderstood why, because it was set up terribly - crazy high action, intonation off, pickups very low, and dead large gauge roundwound strings.
I thought maybe this was a poor decision...
Took me a bit of time, but after dialing it in, and some DR ultra light strings, the thing actually plays pretty well.
It was an interesting foray into short scale string tension, the dated floating bridge design, fret wire bridge saddles, my finger pressure, and effects all on intonation.
Fun process, not to mention my once separated shoulder thanks me for the much lighter load!

If you haven't tried them, the LaBella Beatle Bass tape wounds are what McCartney uses — they're also the perfect length for short scale Series basses...

I happen to have a stray set if you need them, Ed.

*I tried to put them on an Epiphone Rumblekat for a customer, popped the E-string at the tuner post (stupid-stupid-STUPID!) so I ordered a replacement and coiled them neatly back into the package.

Since we're talking short scale basses that may or may not work well...

(https://i.ibb.co/zVJ9Vn0P/IMG-0032.jpg)

(https://i.ibb.co/sv6B5xjV/IMG-0033.jpg)

(https://i.ibb.co/Jw7W7gxG/IMG-0034.jpg)

(https://i.ibb.co/6RBGs8Z8/IMG-0035.jpg)

(https://i.ibb.co/9m45QnvP/IMG-0037.jpg)

(https://i.ibb.co/4nvX3mbW/IMG-8175.jpg)

(https://i.ibb.co/hJ4BSgS2/IMG-8176.jpg)

Wow nice fender 6, in beautiful shape!!
Was playing with the hofner today( after doing a coat on the 77) and there are some odd spots on the neck, possibly uneven frets?
Will keep playing this for a bit as is, then when these strings start to lose their fun, I will switch to La bella flats, probably after doing some neck work. These light gauge strings, 30 - 90 are very slinky and loose.
Funny, after playing the Alembics, Ricks, Music Man, or fenders I own, the Hofner feels like a bit of a toy.
Its an odd feel.

 

They feel like toys to me too, and have a sound I could never use (not nearly obnoxious enough) but they are fun to beat on occasionally, though I'd never buy one; but I can get my jollies on them at work when one comes for sale...Tony

The funny thing I did notice playing that outdoor party was that certain spots in the tunes that bass seemed to "smear" in better that the articulate sounds of the Alembic. kinda fit the track better.  Didn't change anything on my rig. Something to them.  Not my go to, but considering how many great tracks have been made with those basses, there's something to it. 

Joey sent me a link the other day where he'd read about Martin reintroducing the old Size 5 "Terz" guitars. I'd heard the scuttlebutt from the sales guys at the store. They don't remember these. Here's the story if you get interested in tiny guitars tuned three frets high.

https://www.guitarworld.com/gear/acoustic-guitars/martin-5-28-terz

Terz guitars are interesting for what they are, and they literally are tiny versions of the larger object. I had a 5-15 years ago and sold or traded it, can't remember. But I still have this one; a 1927 5-17T tenor guitar. I got it for just a couple hundred dollars years ago from vintage banjo dealer who only wanted the original Grover "pancake" tuning pegs off it. I got the tiny little husk and bought a new set of Waverly V-2's, antiqued them, and voil-a. I keep it tuned in what they call "Irish Tenor" an octave below mandolin, and strung with nylons.

Here's a few pics of mine, and a couple of it shown with a 2-18 tenor which is still considerably smaller than an 0 would be. That 2-18T was from 1928, and was a sweet guitar. I would love to have kept it as a companion to my little 5-17T, but that patient left my guitar hospital and moved on. *and FWIW, still had its original Grover pancakes.

Here's those Grover pancakes... from my Shop archive. They were pretty scuzzy when I first took that guitar in. Came out nice. Now you see why the banjo dealer robbed the set from my 5-17T. Sadly, they're worth more than the whole guitar. Especially when installed on a vintage banjo. 

I love the sound of a good terz guitar. I used to see them with some regularity, but I don't think I've come across one in person since Covid.

Have they made any 5s this century besides the Claire's Guitar?

I have yet to encounter a 5 in the flesh (in the wood?)

Peter

Quote from: cozmik_cowboy on July 25, 2026, 10:47:20 PMHave they made any 5s this century besides the Claire's Guitar?

I have yet to encounter one in the flesh 9in the wood?)

Peter

Mmmm. I'm thinking my 5-15 was early 2000's, which gets it in under the wire. I'm thinking they made a Sting sig. Terz too about the same time. The 5-18 and 5-21 had relative success in the 20th C. Marty Robbins played one. I don't remember a 5-28 but I'd have to check the Gospels of Michael and Richard to see if any show up in their production totals. 

Quote from: edwardofhuncote on July 26, 2026, 03:03:57 AM

Quote from: cozmik_cowboy on July 25, 2026, 10:47:20 PMHave they made any 5s this century besides the Claire's Guitar?

I have yet to encounter one in the flesh 9in the wood?)

Peter

Mmmm. I'm thinking my 5-15 was early 2000's, which gets it in under the wire. I'm thinking they made a Sting sig. Terz too about the same time. The 5-18 and 5-21 had relative success in the 20th C. Marty Robbins played one. I don't remember a 5-28 but I'd have to check the Gospels of Michael and Richard to see if any show up in their production totals.

According to Professor Google, the 5-28 debuted in 1898 & switched from gut to steel in 1916; doesn't give a hard end date, but says 5s "faded out by the 1980s".

Of course, anything seen there should be taken with an Illinois DOT snowplow full of salt, but that's what I found.

Peter

Taylor have a Jacob Collier Signature 5 out.

Quote from: cozmik_cowboy on July 26, 2026, 06:39:08 AM

Quote from: edwardofhuncote on July 26, 2026, 03:03:57 AM

Quote from: cozmik_cowboy on July 25, 2026, 10:47:20 PMHave they made any 5s this century besides the Claire's Guitar?

I have yet to encounter one in the flesh 9in the wood?)

Peter

Mmmm. I'm thinking my 5-15 was early 2000's, which gets it in under the wire. I'm thinking they made a Sting sig. Terz too about the same time. The 5-18 and 5-21 had relative success in the 20th C. Marty Robbins played one. I don't remember a 5-28 but I'd have to check the Gospels of Michael and Richard to see if any show up in their production totals.

According to Professor Google, the 5-28 debuted in 1898 & switched from gut to steel in 1916; doesn't give a hard end date, but says 5s "faded out by the 1980s".

Of cross, anything seen there should be taken with an Illinois DOT snowplow full of salt, but that's what I found.

Peter

I looked it up to see for my own curiosity.

There are listings for Size 5 in Styles 16, 17, 18, 21, 28, 30, 34, 35, 42, and 45, from 1898-1987. (that doesn't include the T's or G's.) Some of those are one-off guitars. I see only one 5-35 listed in 1971. Only one 5-45. Only two 5-42's. By far the Style 18 was the most popular. The 5's were reintroduced early in the 21st C. in a couple Styles and Signature Models. Claire, Sting, 15, 16. There may have been others but I remember those. The sales guys currently working the floor aren't old enough to.

I think it's cyclical. These will bloom and fade. I think it's cool they're doing it but I don't want one.

Wait until they bring back the Taropatch!

A bit before Tut Taylor passed, I came across a link where he was offering 11 sets of Brazilian for $1K per; had I an excess of fundage, I would have grabbed them all & had Martin make me an enhanced 45* I dreamed up late one night in 5, 4, 3, 2, 1, 0, 00, 000, M, M12, & D; could have doubled the number of 5-45s!

*Start with a snowflake 45, with Adirondack top, grained ivroid binding & engraved gold Waverleys.  Add pearl back strip & neck border, and 6-point snowflakes on the (rosewood, ala 36) bridge wings.  At the 5th fret, swap the outer 2 inlays for cannabis leaf clusters.  Headstock, inlaid script logo; between the tuners the Shimer College "Graduation Elm" logo.  Heel cap scrimshawed with either a monogram my grandmother designed for me or the Greek letters ΛΣΔ.

Peter

I didn't know Tut died — I ran into him at Gruhn's the last time I was there. He sold me my blackguard years ago.

April 9, 2015.  He was 91.

Peter

Quote from: cozmik_cowboy on July 26, 2026, 08:42:22 PMApril 9, 2015.  He was 91.

Peter

I was confusing him with another Tut, whose last name I could have sworn was something like Taylor. Now I need to figure out who I was thinking of.

Tut Taylor... what a character. I wouldn't be surprised, because a blackguard Tele would be exactly something he'd have, and Gruhn's was a hangout. Could it be you met his son, Mark?

So until the the virus killed him, my musical partner Curtis Baker was a resophonic player, extraordinaire. We'd made a few recordings together and performed as a duo. It gave me a chance to spread out and play guitar, emulating my hero Norman Blake some, and do something a little different from the usual gig. Curt was a student of Mike Auldridge (really, a student) and also a big fan of Tut. We got to meet him one time at a reso-summit in Todd, NC and presented him with a copy of our most recent project which was more-or-less a nod to him and Norman. A couple weeks later, we received a nice note and a copy of his and Norman's "Shacktown Road".

All this is the long way around my post for today. After he died, Curtis' widow gave me his Tut Taylor 'Tennessean' resonator guitar. It had been his main axe when we started playing, but after he started studying under Mike, he bought himself a Beard, Mike Auldridge signature model and played it til he died. The Tut guitar became his backup and his autograph book of sorts. I'd scrub them off but that seems wrong too. Half those people are gone now.

And I will add that I greatly enjoy the Honeycutt & Baker CD that Greg was kind enough to send me.

Peter

Quote from: cozmik_cowboy on July 27, 2026, 06:26:02 AMAnd I will add that I greatly enjoy the Honeycutt & Baker CD that Greg was kind enough to send me.

Peter

When pitching merch, Curt used to say; if you don't like the music, they make good drink coasters... if you don't drink, stick it in the microwave for a free fireworks show. 

I've still got a few hundred of those things. 

I sold this one recently. Going through now, and deleting pictures I kept for insurance purposes. It was yet another great guitar that I never really played well enough to get the best of. I'm a hard-headed flatpicker at heart, with no business playing electric guitars. I kept one Strat, one Tele, one Les Paul, and one Alembicized neck-through guitar. Sold or gifted the rest.

Robert Cray Signature Strat. Note that it's a hardtail. I really liked that. The pickups were some wackadoodle custom deals that Robert worked out with Fender. The pole polepieces are staggered all crazy. It was a major pain to set up, but I must admit it really squawked once I got it right. Felt good over your shoulder too. Not near as heavy as my older one. I upgraded the cleaky original bridge to a Kluson. Somebody got a nice guitar here. 

I love hardtail Strats — in fact, my first vintage guitar ever was a 1973 natural ash hardtail. I'd bet good money the one you just posted was a much better guitar than that one.

Ok — it isn't a guitar or a bass, but this one's for Greg:

(https://i.ibb.co/zHStpfGT/IMG-0063.jpg) (https://ibb.co/k6hPjcQs)
(https://i.ibb.co/bjrMPptn/IMG-0062.jpg) (https://ibb.co/gbDL3sYC)
(https://i.ibb.co/n8sKFjw0/IMG-0061.jpg) (https://ibb.co/qFM2vpDn)
(https://i.ibb.co/DDswGxVY/IMG-0060.jpg) (https://ibb.co/zhjP8ynF)
(https://i.ibb.co/Cp9sbmPM/IMG-0064.jpg) (https://ibb.co/Xf5k7jY3)
(https://i.ibb.co/n8ZPbxG0/IMG-0059.jpg) (https://ibb.co/tPkL4VGh)
(https://i.ibb.co/8DbsnVjs/IMG-0116.jpg) (https://ibb.co/hRc9xvK9)

A restoration project? 
Thats some very intricate work.

It's slowly getting a full restoration - I think it's been in pieces now for three years. 400 years of touchup has now been removed, and the little bit of original varnish that's left is spectacular.

As an aside, if anyone thinks that getting something fixed at the Mothership takes time, have a fine violin restored. It's the ultimate test of patience.

That back is amazingly beautiful!  🥰

What's the little dot thingy?

Well... it's interesting. The soundbox looks Brescian school, but the grafted scroll and pegbox looks kinda' Russian or Eastern European. If it was Maggini pattern ordinarily I'd look for the telltale extra turn on the roses, but that ones either been converted or repaired. 

Does it have a label? 

Quote from: pauldo on August 04, 2026, 01:41:04 PMThat back is amazingly beautiful!  🥰

What's the little dot thingy?

The dots at the top and bottom of the back are locator pins, which are a feature originally found on early Cremonese instruments. In that tradition, the violin's rib structure was built around a wooden form, once the ribs were complete, the wood that would become the back would be nailed to the upper and lower blocks inside of the rib structure, then the outline of the ribs would be traced onto that wood. Once removed from the rib structure, the back could be cut out, arched hollowed and purfled. The holes from the nails could then be used to properly position that back (and top) when it was time to glue the corpus up.

The style of this instrument isn't Cremonese, but Brescian. The early Brescians used a different building method; however, there are a number of apparently Brescian instruments that were made by the Rogeri family, who learned their craft in Cremona, relocated to Brescia, and made instruments in the older style using Cremonese methods.

The dots on the scroll are from an ebony dowel that would have been placed through the pegbox to hold the A or D string above one of the lower tuning pegs. This is an alteration that is generally attributed to 18th century German luthiers, but the surviving Amati instruments that Catherine de Medici commissioned in the 1560s (which were made for the court of her son King Charles the IX of France) have remnants of these ebony pegs, so I tend to think that the practice started there and spread to Germany later.

I find all these little details super fascinating.

Quote from: edwardofhuncote on August 04, 2026, 02:00:18 PMWell... it's interesting. The soundbox looks Brescian school, but the grafted scroll and pegbox looks kinda' Russian or Eastern European. If it was Maggini pattern ordinarily I'd look for the telltale extra turn on the roses, but that ones either been converted or repaired.

Does it have a label?

The most well-respected expert who has seen it thinks both are Pietro Giacomo Rogeri, and the scroll certainly looks like a well-worn Rogeri to me.

I'm not fully convinced that they go together. The interior of the sides and back have scorch marks from coals being shaken around inside the corpus, which you see on earlier Brescian instruments. Never having been inside of a double-purfled Rogeri, I can't say whether they did this.

The instrument was retopped by Richard Duke some time around 1740, and had remnants of his label in it.

My buddy and mentor Ward Elliott stops by here on Wednesday evenings to visit and eat popsicles. I'll see what he thinks. About 95% of what I know about fiddles came from him. The rest is just common bull----. ::)

That's a neat fiddle. They all look alike until you really look.

I love them — treacherous beasts, but endlessly interesting.

Back to guitars. Greg - one of the inlays on this one is lifting, have you got any wisdom to share about getting it flush to the fingerboard? If they're glued in with hide glue, I know boiling water will work, but I'm not sure what they used for these...

(https://i.ibb.co/hFSZCSzK/IMG-0808.jpg) (https://ibb.co/hFSZCSzK)
(https://i.ibb.co/d4Nh8XX6/IMG-0687.jpg) (https://ibb.co/d4Nh8XX6)
(https://i.ibb.co/7dXdNzRg/IMG-0686.jpg) (https://ibb.co/7dXdNzRg)
(https://i.ibb.co/607tWG89/IMG-0354.jpg) (https://ibb.co/607tWG89)

I've wicked this foam-safe CA glue under them, swipe with denatured alcohol, and clamped with a cork-lined caul and a little scrap of wax paper for a minute. I did one (a reissue of course) about 6 mo. ago. Two of the inlays were pizzlesprung.

https://bsi-inc.com/

It's alcohol soluable, and won't harm/burn lacquer or celluloid. It's what we've been using to repair the pandemic of Martin guitars with shrunken binding.

*only lets me like that post once. Love Goldtops. Sold mine last year in the great downsizing. Here's my long gone 50's Standard.

I guess I'll have to get some and screw up my courage.

Allow me to express a deep and heart-felt lust for that guitar, David!
I likewise love Goldtops.  A bunch (Always remember, Seth Lover didn't come up with the PAF because there was anything wrong with the sound of P-90s - and I'm willing to live with a little noise to get better tone.......).

Peter

Quote from: Nova Constellatio on August 06, 2026, 05:45:55 PMI guess I'll have to get some and screw up my courage.

You could always just work some HHG under it a clamp the same way... worst that'll happen is it doesn't hold. If hot and moist enough, it may even reconstitute what was there originally. I don't use the stuff for much of anything in my shop, and if I do need HHG for a certain repair I go up to Ward's and use his pot. Any animal protein glue I use is fish glue.

They have several viscosities of the foam-safe odorless CA glue. I use the thin for binding repair/reglue. It chases and wicks like water. Like I said, you can swipe any excess with denatured alcohol. It shouldn't matter on a fingerboard.

Quote from: edwardofhuncote on August 07, 2026, 01:39:11 AMThey have several viscosities of the foam-safe odorless CA glue. I use the thin for binding repair/reglue. It chases and wicks like water. Like I said, you can swipe any excess with denatured alcohol. It shouldn't matter on a fingerboard.

If understand Dan Erlewine correctly, you could also put automotive paste wax on the wood and scrape it - along with any runover/squeeze-out - off when you're done.

Peter

Quote from: cozmik_cowboy on August 07, 2026, 07:40:34 AM

Quote from: edwardofhuncote on August 07, 2026, 01:39:11 AMThey have several viscosities of the foam-safe odorless CA glue. I use the thin for binding repair/reglue. It chases and wicks like water. Like I said, you can swipe any excess with denatured alcohol. It shouldn't matter on a fingerboard.

If understand Dan Erlewine correctly, you could also put automotive paste wax on the wood and scrape it - along with any runover/squeeze-out - off when you're done.

Peter

Yep. This stuff here is marginally softer than the lacquer it cures on so any excess that isn't swiped off with the alcohol can easily be wet sanded with 1500-grit paper, then polished. Also, it doesn't burn into the lacquer. I use Meguiars Scratch-X first, then the Cleaner/Wax, which I think is a combination of #7 compound and carnauba. I'm referencing the much ballyhoo'd waistline binding separation of course. Just did one this morning on a D-16 with tortoise celluloid. I'm so tired of doing these. I love Martin deeply and passionately, but I'd like to strangle whosoever is responsible for the events that set this calamity in motion. I hope they resolved it with the adhesive switch and cessation of celluloid. 

The whole thing irks me. 

But the odorless/foam-safe CA glue is the ticket for fixing them. Also good for other stuff. 

Quote from: pauldo on August 04, 2026, 01:41:04 PMThat back is amazingly beautiful!  🥰

What's the little dot thingy?

They are dowel pins, for alignment of the tables on the blocks. Also a bit of reinforcement against shear. Those little thing are withstanding a tremendous amount of force. Imagine the constant pull of strings trying to fold it up.

*note also, they are not on the center seam.

The other goldtop:

(https://i.ibb.co/3yGBD1SM/IMG-3995.jpg)

(https://i.ibb.co/mCMY3ZKk/62830794818-1-C340-ED0-8-BCB-4-B59-879-D-DB80879-FAA9-B.jpg)

(https://i.ibb.co/0yM41CMh/IMG-1575.jpg)

This one started life as a '53, and someone stripped the top, leaving the rest of the original finish intact, then did a poor job of converting it. I sourced all original parts (including the pre-sticker brushed cover PAFs), and finished the job properly.

It's got an incredible soft-v neck on it, that reminds me of the ones that come on early '30s OMs.

Quite a set. The other was a 54, right? Think I looked at the picture and sussed that much. 

Early '54 with the first style of wraparound bridge.

Quote from: Nova Constellatio on August 08, 2026, 01:50:06 PMEarly '54 with the first style of wraparound bridge.

I only ever got to play one original. It was a '55 supposedly. I didn't know enough at the time to know what I was fooling with, but that experience stuck with me. Those P-90's were different to my eyes, and even as inexperienced as I was, I could just tell... it was a different thing. And as you say about the neck carve, instantly recognized as different. That slightly boat-keel V. It's the one feature my 50's Standard had, that my Special doesn't that I really wish it did. I'm good with the rest. Alas, it's all the Paul I'll need. 

I prefer them with old P90s — don't let the burst guys know, they'll mock me.

I love p90's... I have a V that used to be Lenny Kravits' (came outta the Vancouver Hard Rock) and it was a dull sounding guitar until I yarded out the humbuckers and put p90's in it HUGE improvement and I still love that guitar...

I tend to be more of a single coil fan - great p90s, Dynasonics, and the ancient Carvin AP-6s are all my favorites. 

Actually, the best sounding vintage pickups I think I've ever heard are in this pair of guitars. They're Semie Moseley's weird homebrew things with covers that he literally baked in his oven. Someday I'll figure out the formula:

(https://i.ibb.co/XrwrftxW/IMG-5702.jpg)
(https://i.ibb.co/v6TYM3WB/IMG-5704.jpg)

(https://i.ibb.co/1Jnd7Th6/IMG-2454.jpg)

They're super glassy and hi-fi, but they measure 10.5k ohms.

Why do I think it should have been surf green with a rallye stripe?  ;D

The curved compensated bridge top is brilliant.  8)

Quote from: edwardofhuncote on August 09, 2026, 09:34:46 AMWhy do I think it should have been surf green with a rallye stripe?  ;D

The curved compensated bridge top is brilliant.  8)

I have a few instruments with those bridges on them, and they all sound incredible.

Those are some cool guitars! 

Early Mosrites are super cool, and there is at least one former Mosrite employee who went onto work for (and steal from) Alembic.

This beast is back from having its binding stabilized:

(https://i.ibb.co/4gDVXpYQ/80834478049-5-D0-BB3-F6-9-E93-412-C-B566-4-CCCCD1-F44-F5.jpg) (https://ibb.co/wrbzP4wv)
(https://i.ibb.co/1G2vQTyz/80834480633-894-AE92-C-A699-4-BBD-98-E6-BCD286-D4-EB64.jpg) (https://ibb.co/nMkgmjdP)

I posted it earlier in this thread — this is the one that Artie Narvaez, who played guitar in Artie Shaw's orchestra, loaned to Django Reinhardt for a while while he was visiting the United States in 1946. It showed up with no fanfare whatsoever in an IRS seizure sale in Oakland last year.

That is VERY attractive.   How does it sound?

It's great — I've played a few of the lower-tiered catseye Gretches that were no good, but I guess they were trying their best with the ones made to compete with Super 400s and  Epiphone Emperors.

Quote from: Nova Constellatio on August 13, 2026, 01:18:09 PMThis beast is back from having its binding stabilized ...

I posted it earlier in this thread — this is the one that Artie Narvaez, who played guitar in Artie Shaw's orchestra, loaned to Django Reinhardt for a while while he was visiting the United States in 1946. It showed up with no fanfare whatsoever in an IRS seizure sale in Oakland last year.

Lovely guitar!

that Gretsch is really pretty...looking again at the gold top Les Paul with humbuckers, I kept thinking something seemed off to me about the guitar, other than it having humbuckers, and I finally realized it would have had cream surrounds and pickguard if it was born that way...

Would you think I was strange if I said I have impure thoughts about your collection?

Peter

Quote from: cozmik_cowboy on August 13, 2026, 08:56:35 PMWould you think I was strange if I said I have impure thoughts about your collection?

Peter

I do too!

Quote from: peoplechipper on August 13, 2026, 08:56:07 PMthat Gretsch is really pretty...looking again at the gold top Les Paul with humbuckers, I kept thinking something seemed off to me about the guitar, other than it having humbuckers, and I finally realized it would have had cream surrounds and pickguard if it was born that way...

The earliest ones with humbuckers had black plastic — I think they were only made for 4 or 5 months in 1957.

Quote from: Nova Constellatio on August 13, 2026, 09:35:02 PM

Quote from: peoplechipper on August 13, 2026, 08:56:07 PMthat Gretsch is really pretty...looking again at the gold top Les Paul with humbuckers, I kept thinking something seemed off to me about the guitar, other than it having humbuckers, and I finally realized it would have had cream surrounds and pickguard if it was born that way...

The earliest ones with humbuckers had black plastic — I think they were only made for 4 or 5 months in 1957.

No jive?  I was unaware.
And I have always thought black plastic goes way better with gold than cream/white does. 

Peter

I love both looks, but prefer the black.

I am very much enjoying the revival of this old thread. 😊

Here's one from my wayback machine, literally a picture of a photograph. I had to sell this guitar (along with quite a few other things) in the aftermath of a divorce 28 years ago. Nothing particular special about it except that it was my very first Martin guitar. I still have the original owner's card and a stack of layaway receipts from Fret Mill Music. (same place I do repair work for nowadays) Ken let me pay it off for 9 months instead of 90 days. It turned out to be a good gamble because over the years I bought probably a dozen more.

Not that I need it, but I'd buy this one back in pieces if I could find it. D-16 H, from 1992. The tortoise pickguard is from luthier John Arnold in Newport, TN. If it looks familiar it's because he made the one on Tony's famous D-28 too.

I love the pickguard. If it ever comes up again, that should make it eminently identifiable.

Quote from: Nova Constellatio on August 14, 2026, 06:32:16 AMI love the pickguard. If it ever comes up again, that should make it eminently identifiable.

There are a couple other nerdy details that I would instantly recognize in a picture or ad even if the pickguard were replaced. Plus the serial number. I still look for it online, but without any real expectation of ever finding it. Martin Dreadnoughts reign supreme here in Appalachia. It could be anywhere by now.

Here's the guitar I bought to replace it... kind of my comeback instrument. I had fallen under the spell of Norman Blake by then, and 12-fret Dreadnoughts were starting to make a comeback too. I waited through three of these before I bought this D-18VS in 2001. A couple years ago I gifted it as a wedding present to a young couple I play with from time-to-time. It gets played regularly, which was the plan. 

Great comeback guitar — I haven't met many 12-fret dreads that I didn't really like.

Thants a hell of a wedding gift.

4 string guy enters the chat....

So what is it that makes the 12 fret dread so special?  

They sound warmer and have a really fantastic bloom to the note, which is probably because the bridge falls lower on the body than on 14-fret dreads.

The best sounding guitar I've ever played was a 1934 D-28 that was retopped at the factory in early 1935 with what looked to me like the European spruce they used for 42 and 45 style instruments (it also had 42-style inlays on the fingerboard). Everyone I know who has encountered this guitar ranks it #1.

Quote from: Nova Constellatio on August 14, 2026, 02:49:42 PMThey sound warmer and have a really fantastic bloom to the note, which is probably because the bridge falls lower on the body than on 14-fret dreads.

The best sounding guitar I've ever played was a 1934 D-28 that was retopped at the factory in early 1935 with what looked to me like the European spruce they used for 42 and 45 style instruments (it also had 42-style inlays on the fingerboard). Everyone I know who has encountered this guitar ranks it #1.

Yeah, they really are a different thing. Norman says they have more lumber in them. I think the way all the braces are shifted changes the response too. Plus... they're HUGE. Just volume-wise.

If it's the one I'm thinking about, that D-28 had a very interesting story... the original owner was dissatisfied with the top when new for some aesthetic reason, and sent it back to be corrected. In the space of time Martin had it for the work, this same client saw a fancier Style 45 and asked for the neck to be upgraded. Martin obliged and there's evidently some correspondence to corroborate the story.

I've never seen it in person much less played it. I did get to play Norman's shadetop D-28 many years ago. I've personally owned six different 12-fret Dreadnoughts. The D-18VS I gifted there was by far the best.

The backstory of it; there are two sisters I'd been playing music with since they were 10 and 14. When each of them married a decade and half later I gave them instruments. The older sister I gave a German viola and her soon-to-be, the Martin guitar. Her younger sister got a Gibson L-00, and the betrothed got one of our banjos. Because I wanted it parked somewhere safe for another generation, our families' Kay bass went to their place too.

(The wedding announcement picture was kinda' inside... not many people got it, but I did! Proud to say I had some influence on that.)

There's an ad in the issue of Vintage Guitar that came today; CFM is making one supposed copy of each of the 91 pre-war dreads.

Peter (who is certain they will priced for the average player.......  ::))

Oh, yeah - if I read the ad right, they'll be reusing the original serial numbers.

Peter

Quote from: Nova Constellatio on August 08, 2026, 10:13:37 PMI tend to be more of a single coil fan - great p90s, Dynasonics, and the ancient Carvin AP-6s are all my favorites. 

Actually, the best sounding vintage pickups I think I've ever heard are in this pair of guitars. They're Semie Moseley's weird homebrew things with covers that he literally baked in his oven. Someday I'll figure out the formula:

(https://i.ibb.co/XrwrftxW/IMG-5702.jpg)
(https://i.ibb.co/v6TYM3WB/IMG-5704.jpg)

(https://i.ibb.co/1Jnd7Th6/IMG-2454.jpg)

They're super glassy and hi-fi, but they measure 10.5k ohms.

These look nice. 

They're incredibly cool things that aren't really like the later Ventures models. The pickups are just about the greatest things I've ever heard in my life.

And another brain fart:  I meant, of course, that they're copying the 91 pre-war D-45s.  Sorry for any confusion.

Peter

Quote from: cozmik_cowboy on August 14, 2026, 05:54:39 PMThere's an ad in the issue of Vintage Guitar that came today; CFM is making one supposed copy of each of the 91 pre-war dreads.

Peter (who is certain they will priced for the average player.......  ::))

Quote from: cozmik_cowboy on August 14, 2026, 07:14:35 PMOh, yeah - if I read the ad right, they'll be reusing the original serial numbers.

Peter

Quote from: cozmik_cowboy on August 15, 2026, 03:00:26 AMAnd another brain fart:  I meant, of course, that they're copying the 91 pre-war D-45s.  Sorry for any confusion.

Peter

"Project 91". I love that they are doing it... the idea itself is great. I question if they will ever get through the entire set. I guess the question is, does a market exist for 91 bench copies at $150,000 ea.?

https://www.martinguitar.com/guitars/project-91-series/?srsltid=AfmBOopXhb-tsccyVAsv_6fBE7vc3crw_WR54wSlsmDPfPXwU2CypGEx

Quote from: cozmik_cowboy on July 27, 2026, 06:26:02 AMAnd I will add that I greatly enjoy the Honeycutt & Baker CD that Greg was kind enough to send me.

Peter

Finally got around to ripping my copy to my audio computer.

Half the point of those recordings was to showcase old guitars. Mostly Depression-era cheap guitars, but there's a couple vintage Martins and at least one Lloyd Loar F-5 too. I'd have to go back and listen or look at my notes, but I don't think either of us played the same combination on any tracks. I kinda' don't like listening to it anymore, especially the scratch I played. 🙄🤣 I do miss playing music with Curt. We were tentatively planning a Vol. 2.

One I remember vividly was The Old Grey Mare. I played the Chicago-label Regal Milord shown in the earliest pages of this thread. It belongs to flatpicker extraordinaire, Kenny Smith now. He has several of them. (it wasn't as hard as he makes it sound!) 

I'm sure I've posted this one on a geetar-related thread before. I can't remember how long it's been but this was one of my very first electric guitars. I vaguely remember trading a Kalamazoo bass for it. I had 'outgrown' the Kalamazoo, and though I'm not one to just cast an instrument off, I had already sought out a better bass guitar by that time, so it was just sitting here. I knew nothing about the MIJ Squier Strat at the time, but I had about $350 in that KB-1 and the swap was even... I could live without it.

The Strat sounded fantastic for what it was. I later heard from people who seemed to "know their stuff" that my lowly Squier was built by the Fender shop in Japan and essentially used the same parts. I'd accidentally done well. Much later, a Club Member here I correspond with and I had swapped some parts and he generously gifted me this cool old set of Hotstacks, and wired them up onto an old tortoise pickguard, which completed the preferred look of my black Strat. The original white plastic is tucked-away, ready to go back on anytime, by way of a modular plug to the jack. The Fender One trem bridge by the way... bone stock, still works great. I don't use the wiggle-stick, just leave it in the case.

Love it with the tortoise!
But I have never encountered, nor heard of, that bridge.  The '83s had a standard 6-screw whammy, the way God & Leo intended it (and no %&$#@?' Floyd-type string lock at the head.......)

Peter

Quote from: cozmik_cowboy on August 23, 2026, 09:07:40 AMLove it with the tortoise!
But I have never encountered, nor heard of, that bridge.  The '83s had a standard 6-screw whammy, the way God & Leo intended it (and no %&$#@?' Floyd-type string lock at the head.......)

Peter

Can't tell you when they started or stopped using them, but every one I've seen was from the mid/late 80's. The whole idiot thing is wasted on me for a whammy, but the fine tuning option is nice. 🤣 *and yeah, I keep those fool string locks, unlocked. 🤬

That Strat is significantly heavier than the hardtail Robert Cray Signature I sold recently. I suspect it's ash. The neck is much bigger/chunkier too. Very, very stable. I can't remember adjusting the truss-rod in it. Ever.

I was looking at an FTC thread that had a side discussion about a case, and thought Greg would get a kick out of this.

A few years ago, Skinner had a specialized auction of violin cases. One of them was an 18th century Italian case that had its original, blue velvet and marbled paper lining intact. As you might imagine, nobody collects these things, and there were either no bids or only low bids.

I took a shot on it, and after it was delivered, discovered the attached article about it:


(https://i.ibb.co/Nn79q77B/IMG-0129.jpg)

(https://i.ibb.co/HTbwfsx4/IMG-5485.jpg)
(https://i.ibb.co/M5kRLtVX/IMG-5486.jpg)
(https://i.ibb.co/Kjz5ZQ2r/IMG-5488.jpg)
(https://i.ibb.co/wNsH3nZK/IMG-5489.jpg)
(https://i.ibb.co/pjkCSjmd/IMG-5490.jpg)

Kewl!
But is the 16-string (if I'm counting right) beast behind the case?

Peter

That's an old Gibson harp guitar, bought mostly because of an obsession with them that started in my teens.

I blame this guy:

(https://i.ibb.co/CKb06zd3/IMG-0408.jpg)

More of that guitar can be seen here:

(https://i.ibb.co/WWBxYm3T/IMG-2897.jpg)

The violin case itself was a great find, but then with the article specific to it as well: tremendous! I know almost nothing about violins, but the article is very interesting. The case is beautiful.

I love it, and managed to find a second one made using the same patterns around a year later for $600 (?!?).

It's a shame that stuff like this isn't really appreciated/understood by many people in the world of violins, although I guess that same is true where interesting guitar cases are concerned (with the possible exception of Lifton 5-latch and Fender thermometer cases).

Both of these cases are currently on loan to a close friend who is a phenomenally talented violin maker. He has them on display at his shop, so they're out in the world educating folks that might have some interest.

I've never seen a Gibby harp that wasn't a U; that looks like a Type O.  Please expound!

Peter (who will add - more pix!)

This one's a Style-U with the later, more functional trapeze tailpiece/almost banjo style bridge.

The early Style-R and Style-U guitars were cooler looking, but the sub bass string tension made the older bridges lift.

I didn't follow-up with you after our exchange about old violins and cases, but I shared that and the article with my buddy Ward prior to our last Wednesday night popsicle summit a couple weeks ago, but I didn't say any more. He was really concerned for a while I was about to get into a project waaaaay over my head! 😯

I did have some 'splainin' to do when he got to the shop. 🤣

About time to rotate this one out again... I call him Mister Miyagi.

There was a chain of small music stores in North Carolina back in the 70's and 80's, Don Miller Music. They went out of business leaving a bunch of unopened stock behind. Miller's imported guitars from Japan with their store name on them. The guitars were quite well-made, the electronics and hardware left a lot of room for improvement.

I got two of them, and modified both. This one received a set of Alembic activators, and a complete replacement of all the hardware with gold-plated stuff I scavenged. I did not want to debadge or deface the headstock logo with Don Miller's name... that just seemed wrong, but I had kinda' made it my own, and other than the husk, that was all that was left. So I made a little decorative plate to fasten on over it with tiny brass screws, and an ancient Japanese coin for a logo.

I love it!

Quote from: Nova Constellatio on August 30, 2026, 09:45:25 AMThis one's a Style-U with the later, more functional trapeze tailpiece/almost banjo style bridge.

The early Style-R and Style-U guitars were cooler looking, but the sub bass string tension made the older bridges lift.

My bad; I saw the bottom the big upper bass bout, but not the top of it, and was thinking it was more Larsonesque on the harp side instead of the Gibson stick.

Peter

For some reason, I don't think I have a full picture of it on my phone, and it's in storage at the moment.

Here was the other guitar from Miller's Music. It was a new old stock Telecaster-style guitar, but with a neck-through construction. The electronics absolutely sucked, and the frets were a bit sketchy. I didn't feel to bad about debadging this one. The label just said MILLER, and looked for all the world like it came off a beer can. I called this one "Bubba-san". He got fitted with a set of EMG pickups and electronics. I dressed up the pickguard and headstock face with some veneer and straightened out the fretwork. Believe it or not,  the brass nut was stock.

I used to keep him in the office here, and play for a few minutes in the morning... following retirement from public service, I gifted this one to the mandolin/guitar player in one of the groups I play with. As far as I know, he's still got it.

Around were these made? Late '80s/early '90s?

Quote from: edwardofhuncote on Yesterday at 04:12:20 AM. Believe it or not,  the brass nut was stock.

I read a quote from a luthier - you'd recognize the name, if only I could remember it - a few years back:  "I see all these vintage guitars for sale listed as '100% original', and I wonder what happened to all those brass nuts I installed in the '70s."

Peter

Quote from: Nova Constellatio on Yesterday at 06:01:13 AMAround were these made? Late '80s/early '90s?

Best information I could get about them was that Miller's closed up about that time, so it seems to be a reasonable timeline. They kinda' have that look too. Both guitars were still boxed, new stock.

The first guitar I ever made was a neck through maple tele with Bartolinis. I think I finished it in 1990. It was definitely of the era.

For my money, Barts are the 2nd-best pick-ups going, especially for bass.

Peter

Quote from: cozmik_cowboy on Yesterday at 06:38:43 AM

Quote from: edwardofhuncote on Yesterday at 04:12:20 AM. Believe it or not,  the brass nut was stock.

I read a quote from a luthier - you'd recognize the name, if only I could remember it - a few years back:  "I see all these vintage guitars for sale listed as '100% original', and I wonder what happened to all those brass nuts I installed in the '70s."

Peter

Scroll back up and check out the Kalamazoo KB-1 bass I posted last week. That one wasn't original for sure. Almost guaranteed a 70's mod/upgrade. No idea who. 

Always wanted one of these, so purchased this 1987 Status S2.
The finish had pretty much just cracked off, so a personal project for me, while 77-852 is ongoing...
Seems to be in good enough shape, outside of the old poly, a few chips  / cracks where carbon poly had popped off.
Sounds pretty good, though I'm not a fan of low B string ( cause I'm weird) so will restring with high C.
All stripped down, repaired the chips in carbon, cleaned and stripped brass of the gold plating ( looked pretty pitted and sparce)

Folks have experience with these?
Seems pretty straight forward except for the ground wire wrapped around a 1/2" nut under the bridge- ground hum?

Quote from: Artgeckko on Yesterday at 03:50:14 PMAlways wanted one of these, so purchased this 1987 Status S2.
The finish had pretty much just cracked off, so a personal project for me, while 77-852 is ongoing...
Seems to be in good enough shape, outside of the old poly, a few chips  / cracks where carbon poly had popped off.
Sounds pretty good, though I'm not a fan of low B string ( cause I'm weird) so will restring with high C.
All stripped down, repaired the chips in carbon, cleaned and stripped brass of the gold plating ( looked pretty pitted and sparce)

Folks have experience with these?
Seems pretty straight forward except for the ground wire wrapped around a 1/2" nut under the bridge- ground hum?

I like it Ed. You're rackin' up some cool projects. No answer for ya' on the 1/2" nut, but that seems like an idea worth trying. 

Joey and me talk on the phone every so often. He sent me this YouTube video yesterday of a guitar demo from Norm's of a vintage Martin, one that's still reasonably affordable. To be fair, I don't know what Norm's Rare Guitars is asking for it, but 30's 0-17's can still be had back-East here at <$5K in good condition. You just gotta' hunt for them. I'm posting partly because it's a cool old guitar, but also because this girl really gets the best out of it.  😎