tag:blogger.com,1999:blog-28357503552718805362024-03-08T05:05:35.676-08:00Tony Francis InstrumentsTony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-2835750355271880536.post-2293385850468394752013-08-22T18:28:00.000-07:002017-09-07T19:06:25.468-07:00Thomas Oliver - Beneath The Weissenborn<div style="margin-bottom: 0in;">
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What started as a single instrumental
and then became a collection for an EP, transitioned into a full and
conscious record that tells a story. Beneath the Weissenborn cuts its
own path musically with an honesty and quality that has made Thomas'
unique voice so beloved and identified with the world over.</div>
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Thomas is one of those most special and
beautiful people you meet in life who gives rather than takes, and
continually inspires through his own humility, artistic integrity and
positivity for life. It has been the greatest honor as a maker to
collaborate with him on various projects, and to see him record a
solid selection of guitars that I made (Styles 1, 2, 3 and 4
respectively) and restored (Weissenborn Teardrop, Ca.1930). </div>
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One of my favorite things about the album its how it takes you places within your own head and heart. The new video 'Born' so beautifully articulates the magic, innocence and complete enamor of how I felt about the Weissenborn when I first heard it, and why it continues to inspire my life on a daily basis. Thank you for all you have done for me, Thomas!<br />
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'Beneath The Weissenborn' is out today!</div>
Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-55330474786019827042013-08-21T01:25:00.000-07:002013-08-21T01:25:04.843-07:00Weissenborn ukulele repair - Pt. 4<br />
Part 4 - Setup and completion.<br />
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Making the fine reproduction nut. The material is period correct phenolic.</div>
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The wonky twelfth fret was removed, straightened and re-inlaid. All the frets were then minimally dressed in the original profile to remove burs, buzzes and ensure smooth playability.</div>
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Custom made Ivoroid soundhole 'inset'.</div>
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The original Waverly Patent Pending tuning peg. A near impossible to find tuner, and one of the set was missing! I would like to extend my greatest thanks to Frank Ford at Gryphon for his generosity and help in finding the perfect vintage replacement. </div>
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Original patent.</div>
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Completed ukulele.</div>
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com2tag:blogger.com,1999:blog-2835750355271880536.post-6188629741010715492013-08-21T00:46:00.001-07:002013-08-21T01:38:17.753-07:00Weissenborn ukulele repair - Pt. 3<br />
Part 3 - Repair continued.<br />
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Most of the repairs in Pt. 2 are standard and straight out of repair 101. The back brace however, was more of an issue;<br />
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Here you can see the old repair job in attempt to stabilize the brace, hide glue was simply applied in a no doubt well meaning but ultimately useless repair.</div>
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Brace removed.</div>
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Brace crack re-glued.</div>
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Before the brace is re-glued in place, the old glue squeeze out had to be removed from where the brace would actually sit to insure a good joint. The old squeeze out surrounding the brace was left in place since there is no way to cleanly remove that without either abrasion or chemical treatment. Those always leave a slight trace either by texture, look or smell, and I try to keep their use limited to removing modern synthetic glues. I wanted to preserve the original interior look, and its story.<br />
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Its difficult to appreciate from the above pictures but the strong curve in that back brace takes a lot of pressure to force the back into its pronounced arch. The ukulele was in mostly original condition and I did not want to remove its back for this procedure with all the associated risks to tone. However, no matter how hard I tried I could not get that brace to tuck into its original position without popping out of its small incision in the linings.<br />
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On our weekly catch up Steve Evans of Beltona fame suggested small blocks be glued to the linings to provide the support for the brace to be glued. Once the glue was dry, they could then be removed and the back could remain in place. And so - it is these small spruce blocks (one on either side) that took this from a typical repair to a truly great one. Many thanks Steve!<br />
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Completed brace re-installation with blocks removed.</div>
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2013/08/weissenborn-ukulele-repair-pt-4.html" target="_blank">Part 4.</a></div>
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-81324892715781249562013-08-14T22:23:00.000-07:002013-08-21T01:38:56.984-07:00Weissenborn ukulele - Pt. 2<br />
Part 2 - The repair begins<br />
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Before we can glue anything back inside the ukulele, the instrument must first be made structurally solid. And so we start with all the loose seams around the perimeter of the instrument.<br />
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<span style="text-align: start;">The lamp provides the gentle heat which warms the instrument ready for the hide glue.</span></div>
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Now everything is solid, we can move onto the loose braces.</div>
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This one was loose and only held in place by the brace ends which are tucked into the linings. Since hide glue is cohesive and sticks to itself, I simply re-glued it in place. The ease of repair-ability is one of the major reasons I use hide glue exclusively in my new instruments as well as restoration work.</div>
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Same with the loose bridge.</div>
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The second top brace was completely missing, so I had to make a new one in the old style. The spruce I use in restoration came from an old piano, so it it naturally aged and a good color match to the original spruce. It is then further distressed for a perfect match.</div>
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2013/08/weissenborn-ukulele-repair-pt-3.html" target="_blank">Part 3</a>!</div>
Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-58669988464427467132013-08-14T21:34:00.000-07:002013-08-14T22:26:06.384-07:00Weissenborn ukulele repair - Pt. 1<br />
My clients send me the coolest instruments to work on, and no matter how small - its always an honor to work on them, and the approach and philosophy remains the same. This instrument is a Weissenborn Style 1 Soprano from the mid 1930s. <span style="text-align: center;">It was found at a yardsale in California for fifty cents, and was a gift to its current owner who is learning the ukulele! </span><br />
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While perhaps not the prettiest instrument Weissenborn ever made as far as color goes, it more than makes up for it in cool - being one of the few instruments made so late in Weissenborn's career and featuring spectacularly refined bridge work.<br />
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<span style="font-weight: normal;">The brand features what I believe to be a straightened out 'eagles beak' and a nick to the shield left of the 'H' - Ca.1935.</span></div>
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Although the instrument came to my shop in unplayable condition - the restoration process was straight forward with the same approach I use for guitars. The only real difference being the difficulty of working inside an instrument so small! Repair list as below;</div>
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<li>Re-glue loose seams on back to side, top to side joints respectively</li>
<li>Re-glue loose sides at heel</li>
<li>Re-glue top crack. No cleat required </li>
<li>Re-glue loose braces; top and back</li>
<li>Re-glue loose bridge (existing, in place)</li>
<li>Make reproduction of missing top brace, distress and glue in place</li>
<li>Manufacture reproduction ivoroid soundhole 'inset', distressed</li>
<li>Replace vintage Waverly Pat. Pend. peg with matching original</li>
<li>Remove white paint from finish</li>
<li>Fine reproduction nut</li>
<li>Fret dress and setup</li>
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This was the only previous repair on the instrument. Years old, the hide glue had completely crystallized.</div>
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2013/08/weissenborn-ukulele-pt-2.html" target="_blank">Part 2 - the repair</a><br />
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-88053008760842817272013-07-09T04:58:00.002-07:002013-07-09T05:12:44.323-07:00Knutsen Marquetry<br />
Its was a great honor to be asked to specially reproduce some classic marquetry for our friends at <a href="http://www.guitar-repair.eu/" target="_blank">Guitar Repair</a> in Italy. Andy and Alessio are two of the finest repair people in Europe, and more recently they have also been making some spectacular reproduction roundneck guitars under their name 'BAGNASCO & CASATI'. Check them out!<br />
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The guitar is a vintage Knusten Harp guitar from the early 20th century, currently under restoration at the Guitar Repair shop.</div>
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Here you can see the original marquetry, with the original colors now mostly faded. From Italy Andy supplied the measurements and preferences for the reproduction at 6 whites, black, red, black, red, black with the white veneer either side. The outer herringbone was not required.</div>
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The process is similar to how I produce the rope marquetry for my Weissenborn reproductions. By making it myself, I have control over the quality of the woods and species used, and am able to accommodate the subtle differences in specifications between instruments of various eras. Or as in this case - make an impossible to find strip that the commercial makers would not even consider.</div>
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The marquetry laminations must be heat proof to allow it to bend, and traditionally this was either fish glue or later urea formaldehyde. </div>
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The smallest batch was much more than they needed for this repair, but now we have a small supply should someone ever need it! Good luck with the repair gentlemen!</div>
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-15192180112746432652013-07-02T04:09:00.000-07:002013-07-03T14:09:12.125-07:00Thomas Oliver - 'Jurassic Park Theme'<br />
Check out Thomas Oliver's lap slide arrangement of the classic John Williams score 'Jurassic Park'. Taken from Thomas Oliver's forthcoming record 'Beneath the Weissenborn', coming soon.<br />
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<span style="background-color: black; line-height: 17px;"><span style="color: #eeeeee; font-family: inherit;">"I was 7 years old when Jurassic Park was released. I went to see it at the movies about 5 times. Even at the age of 7, I was absolutely enamoured by the music. The main reason I kept going back to see it was so that I could hear the music again. It would be another 3 years before I would even touch a guitar, but the Jurassic Park score touched me deeply as soon as I heard it. It was the soundtrack to a very special time in the lives of many kids such as myself; for the first time, dinosaurs were alive, and our fascinations were entertained! But more than that, it was an incredibly beautiful piece of music. The melody stuck in my head for 20 years before I finally owned it myself. And when I bought it recently, it was like being reunited with a long lost friend, and I played it over and over and over again, as loud as I could, thrusting my arms into the air in the middle of my lounge room. Every time I listen to it, still I just can't believe how good it is. It remains my favourite film score ever. So I decided to arrange it for my favourite instrument ever, the Weissenborn. Thank you, John Williams, for such an incredible piece of music." - Thomas Oliver</span></span><br />
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<br />Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-91546967566748974862012-11-11T00:17:00.000-08:002012-11-29T01:16:37.824-08:00Solid-neck Weissenborn - Part 4<br />
<b>Part 4 - Francis / Noe Solid-neck Hawaiian</b><br />
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It is a great privilege and honor to say my collaboration with noted Weissenborn author <a href="http://noeenterprises.com/" target="_blank">George T. Noe</a> is now complete.<br />
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George (Tom) Noe and Dan Most were the first to talk about Weissenborn instruments in a chronological order, which for me at least, was a reflection of how the design, construction and manufacture of Weissenborn guitars were inextricably linked. For Weissenborn as a maker, that was a relentless pursuit of detail. But for musicians and collectors, we are left with a vast catalog of instruments with different voices.<br />
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Since most my my new work is based on the later models, it was a rare opportunity to go back into Weissenborn's early work. And so, this guitar was both one of the most challenging commissions and greatest gifts I have ever been given. Although its construction details are straight ahead, through this guitar I was fortunate enough to study Weissenborn as a violin maker, and how pivotal that was not only in his early work, but how it continued to effect everything he did.<br />
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I would like to thank <a href="http://www.alessituningmachines.it/" target="_blank">Nicolo Alessi</a> for his spectacular work on the reproduction tuners of the original reverse geared waffle end machines. Not only do they look great and fit the vibe of the instrument, they are simply highest quality machines made - period.<br />
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Musically, this guitar bowls over both player and listener alike. For such a small body (both in dimension and just 2.5 inches of depth), it is easily one of the larger sounding instruments I have heard with very strong projection and articulation throughout the range, putting the solid-neck in a class all by its own.<br />
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For those who are new to the Solid-neck, you can check out our blog posts on its development, here:<br />
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2010/08/solid-neck-weissenborns-introduction.html" target="_blank">Solid-neck Weissenborns - An Introduction</a><br />
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2010/08/solid-neck-weissenborn-part-2.html" target="_blank">Solid-neck Weissenborn - Part 2</a> (The master template)<br />
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<a href="http://tonyfrancisinstruments.blogspot.co.nz/2010/11/solid-neck-weissenborn-part-3.html" target="_blank">Solid-neck Weissenborn - Part 3</a> (Construction)<br />
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I would like to extend my greatest thanks to George T. Noe for bringing this project to life. George is one of the kindest and most genuine people one could hope to meet, as well as being the foremost expert on H.Weissenborn. Its been a true honor to work with him on this project and share a magnificent correspondence over the years.<br />
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90 years after its was originally designed and constructed, I am happy to say the solid-neck will continue to be available by special order.Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-85587692279228162472012-05-12T02:27:00.000-07:002012-05-12T04:06:39.933-07:00Makers Mark - A Compendium of Kerfing.<br />
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In the same way a 300 year old violin
shows the masters cut from a chisel, the Weissenborn shows the marks
of the machines that helped produce them. It is not bad nor is it
lazy. But a sign of a maker who's tools were tuned to perfection and
who knew how to use them.
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While many aficionados refer to the
different finishes or bridge design eras, under that is a story of
industrialization, which shows how the Weissenborn was not only
outwardly different, but being made differently.
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The kerfed linings that hold the
instrument together are ubiquitous, yet one of the most difficult
parts of an instrument to make, and a classic example of
Weissenborn's changing approach.</div>
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Weissenborn was a violin maker for the
majority of his life. While many violin makers work out of tiny
studio's, we know Weissenborn did not fit the mold and was becoming
more industrial by the time he opened his piano repair shop in
downtown LA. <br />
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Its important to note in the late 19<sup>th</sup> and early 20<sup>th</sup> centurys, the available machinery was massive and industrial. For the most part, the smaller 'home shop' machines we know today would not be developed until after Weissenborns death in the late 1930s.
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<i>1920s Machinery Ad. </i>
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So what was he using? While Weissenborn's ad
refers to a large shop space of 1135 square feet, the instruments reflect work of a violin
maker in the traditional style.</div>
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Evidenced by the kerfing closest to
the tail and neck blocks in the earliest instruments, Weissenborn
glued the kerfing in full size, and beveled it afterward in the
classic violin style using a gouge and knife. Saw marks on the
kerfing and inside the instrument indicate a rudimentary table saw
was used to rough the parts.<br />
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<a href="http://1.bp.blogspot.com/-bh9E2xIM3iY/T64omZpdBlI/AAAAAAAABCk/yMyID1rDYXk/s1600/DSC08528.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="http://1.bp.blogspot.com/-bh9E2xIM3iY/T64omZpdBlI/AAAAAAAABCk/yMyID1rDYXk/s320/DSC08528.JPG" width="320" /></a></div>
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For the restoration of the above
instrument, I had to reproduce a small amount of this style of
lining, and here you can see it in the pre carved form. Interestingly
this instrument was made using the distinctive white spruce, once
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When the Weissenborn Company Ltd opened
its doors in 1923, production had grown and changed exponentially,
and the kerfing was now pre-cut to final shape before being glued in.
Here you can see the faint band saw marks produced during the bevel cut.<br />
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<a href="http://3.bp.blogspot.com/-3hOUBMKQI3w/T64ofRJB_3I/AAAAAAAABCc/rLL3yGm7YeM/s1600/DSC08522.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-3hOUBMKQI3w/T64ofRJB_3I/AAAAAAAABCc/rLL3yGm7YeM/s320/DSC08522.JPG" width="320" /></a></div>
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<i>Mid
1920s spec reproduction lining.</i></div>
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By the late 1920s, Weissenborn's
tooling (and finishing) had become state of the art for the time. Now you can see the kerfing cut from a tilting table saw.
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These marks are ubiquitous throughout instruments of this era, particularly the 1930s models were only the critical joints were dressed. The late 1920s models tend to have the linings dressed:<br />
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<a href="http://3.bp.blogspot.com/-Km_goLyPaaQ/T64o6eq_nhI/AAAAAAAABC0/GCmH8hVBUzU/s1600/IMG_1027.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-Km_goLyPaaQ/T64o6eq_nhI/AAAAAAAABC0/GCmH8hVBUzU/s320/IMG_1027.jpg" width="320" /></a></div>
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<i>Ca.1927 reproduction lining.</i><br />
<i><br /></i></div>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-66928146758991081862012-04-11T01:43:00.005-07:002012-11-05T01:31:52.922-08:00Tony Francis Instruments in Spain!<div style="text-align: center;">
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<span style="font-size: 100%;">Its a great honor to welcome Cesar at Weissenborn.es as the new dealer for Tony Francis in Spain! Cesar is a long time Weissenborn aficionado, and no doubt many of you reading this will know his website. He is also a fantastic person and great source for anything Weissenborn, both vintage and new, in Europe.</span><br />
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Currently in stock is one of the killer new 1930's spec Teardrops, with more due very soon. <a href="http://www.weissenborn.es/index.php?main_page=index&cPath=1">Check it out!</a></div>
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-42235872016660437032011-09-06T15:55:00.000-07:002011-10-01T04:03:37.668-07:00Video Tutorial with Rob Anderlik<div style="text-align: left;"><br /></div><div style="text-align: left;">Check out Chicago based Musician and Teacher Rob A<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-pbycgL_zKBw/Tobys-DNSfI/AAAAAAAAA4g/AfJ3PH-pXXc/s1600/DSC06014.JPG"><br /></a>nderlik's new Youtube tutorial of the classic Lindley tune '<span>Look so Good'</span>.</div><div><br /><div><iframe src="http://www.youtube.com/embed/rPFEXL1q2dU" allowfullscreen="" frameborder="0" height="283" width="450"></iframe></div><div style="text-align: center;"><br /></div><div>Rob said about the tune "<span style="font-style: italic;">Look So Good was the very first song I ever heard on the Weissenborn and also the first song I learned to play on the instrument. My rendition is not a note for note version, but more of an attempt to capture the spirit of the tune</span>."</div></div><div><div><br /></div><div>You can download the tab for this tutorial at Robs website: http://www.robanderlik.com/<br /><div><div></div></div></div></div><div><br /></div><div>Rob is a long time slide maestro and shares his thoughts on his new Style 1 at 10.47.</div><div><br /></div><div><br /></div><div><div><div><div><a href="http://1.bp.blogspot.com/-pbycgL_zKBw/Tobys-DNSfI/AAAAAAAAA4g/AfJ3PH-pXXc/s1600/DSC06014.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="http://1.bp.blogspot.com/-pbycgL_zKBw/Tobys-DNSfI/AAAAAAAAA4g/AfJ3PH-pXXc/s320/DSC06014.JPG" alt="" id="BLOGGER_PHOTO_ID_5658476836222224882" border="0" /></a><div></div></div></div></div></div><div><br /></div><div style="text-align: center;">Rob's Style 1 at the shop, shortly before heading out to its new home in Chicago.</div><div style="text-align: center;"><br /></div><div><br /></div>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-74355091612720056142011-05-13T20:41:00.000-07:002012-11-05T01:34:02.318-08:00Iggy and the Stooges, Ron Asheton tributeLast month in Ann Arbor Michigan, Iggy and the Stooges played a benefit concert celebrating the life of Ron Asheton.<br />
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Just before the show ended, Iggy Pop and James Williamson sat down to perform a special acoustic tribute, called 'Ron's tune'.<br />
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The original music was by James Williamson, with the lyrics by Iggy Pop. The arrangement was performed live on a Tony Francis Style 4 made for James in 2010.<br />
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<a href="http://3.bp.blogspot.com/-P1Uhbf2m8Bs/Tc3_E97kE0I/AAAAAAAAAmE/lkJUTz349Ds/s1600/2011_04_19-DDominic-IMG_740.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5606417571955086146" src="http://3.bp.blogspot.com/-P1Uhbf2m8Bs/Tc3_E97kE0I/AAAAAAAAAmE/lkJUTz349Ds/s320/2011_04_19-DDominic-IMG_740.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>David Dominic Jr. Photo<br />
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-53529049383165966782011-05-13T20:32:00.000-07:002012-11-05T01:35:24.663-08:00Thomas Oliver - 'The Moment'<span class="Apple-style-span" style="color: #cccccc; font-family: 'lucida grande',tahoma,verdana,arial,sans-serif; font-size: 100%;"><br /></span><span class="Apple-style-span" style="color: #cccccc; font-family: arial; font-size: 100%;">Check out Wellington based musician Thomas Oliver's latest slide guitar instrumental, 'The Moment'.</span><span style="color: #cccccc; font-family: arial; font-size: 100%;"><br /></span><span class="Apple-style-span" style="color: #cccccc; font-family: arial; font-size: 100%;"><br /><iframe allowfullscreen="" frameborder="0" height="257" src="http://www.youtube.com/embed/MRyStdaFvYE" width="400"></iframe><br /><br />Recorded on a Tony Francis Style 3, I asked Thomas about the inspiration for this track and the Major 7th. <span style="font-style: italic;">-TF</span><br /><br />"The inspiration for ‘The Moment’ was simply following the melody and harmonic movement I heard in my head one day when I sat down with my Style 2. The Weissenborn has an amazing ability to conduct itself, and sometimes writing music on the instrument for me is just a matter of keeping up with the melodies that seem to build themselves when I play. However, the lap-slide guitar can be a very limited instrument, due mainly to the fact that it’s played with only a flat bar, and this means that part of the art of playing it is achieving the melodies and harmonic movement you hear, within the restrictions of the instrument. This is why I retune the guitar before and after each chorus in ‘The Moment’. The initial tuning is open C# (C#-G#-C#-F-G#-C#), and the top string is very much required in the melody of the verse. But as I wrote the chorus, the melody I heard in my head had the F note in the top (ie the major 7th on the IV chord), but I simply couldn’t achieve this with only a flat bar, as the bar was occupied in holding the rest of the IV chord. This led me to tuning the top string down one semitone at the start of the chorus, and back up again at the end. My challenge was to compose the melody at the start and end of the chorus in such a way that would incorporate this mechanical change without disrupting the flow. I think that, with the Weissenborn, it’s easy to fall into the trap of playing/writing using your hands and the mechanical motions they are accustomed to, but the writing of ‘The Moment’ was very much about creating a strong melody, then finding ways to incorporate the harmony or bass notes behind it, and structuring it like a song to give the melody a strong sense of voice.<br /><br />The inspiration for the title came one night when I was filming a music video with my band and it was somewhere around 3am as it was a night shoot. We had just finished “lunch” and everyone was talking and mingling as the camera crew began setting up the next shot. I grabbed my Weissenborn and started playing this song, just to myself, really. I wasn’t really paying attention to what was happening around me, so I didn’t realise that, as I played, more and more people began to stop what they were doing and watch me play this song. Some people sat on the ground around me, and others stayed standing, but eventually all 25 people in the crew were silent, and listening to the music. It seemed that, despite all the pressures of the shoot, everyone was lost in the moment, until I finished playing. I was stoked to have brought such a tranquil atmosphere to an otherwise buzzing environment, so I named it ‘The Moment’.<span style="font-style: italic;">" - Thomas Oliver</span></span>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-10043427644823792642011-02-28T00:37:00.000-08:002012-11-05T01:56:01.571-08:00Weissenborn Reproduction HardwareFollowing the recent restoration thread, I have had a lot of inquiry's about the hardware I am using, so I wanted to blog about this in further detail.<br />
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Custom made for my own modern reproductions of 1920s and 30s Weissenborn guitars, and also as a much needed direct replacement for vintage Weissenborn guitars, I am happy to make these available to the market. Patterned from original parts, these are the finest quality available and in true 1920s specifications. Made in Germany (Pins, buttons and tuners), and the USA (Precision machined Aluminum saddles).<br />
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Sold by the set or individually, classic <span style="font-style: italic;">long grained </span>Ivoroid bridge and end pins. Old style Aluminum wire saddles and plate style tuners featuring jumbo eyelet bushings. These are a perfect fit to your vintage Weissenborn and require no modification.<br />
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<a href="http://3.bp.blogspot.com/-iFoSEn5WUf0/TWtiMAIdCOI/AAAAAAAAAZw/62mzZgLHC6E/s1600/DSC05870.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578660521761900770" src="http://3.bp.blogspot.com/-iFoSEn5WUf0/TWtiMAIdCOI/AAAAAAAAAZw/62mzZgLHC6E/s320/DSC05870.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Classic 1920s spec Ivoroid, and Aluminum wire saddle.<br />
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<a href="http://4.bp.blogspot.com/-PncBTWHu6nY/TWtiMTk9DOI/AAAAAAAAAZ4/eDwE-v1G27s/s1600/DSC05859.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578660526981713122" src="http://4.bp.blogspot.com/-PncBTWHu6nY/TWtiMTk9DOI/AAAAAAAAAZ4/eDwE-v1G27s/s320/DSC05859.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>These are the same Ivoroid pins as above, <a href="http://tonyfrancisinstruments.blogspot.com/2010/11/weissenborn-style-1-repair-part-3.html">distressed</a>. They are designed for use in restoration work. Because they are distressed using a process that is chemically very similar to natural aging, the color is very near identical compared to a vintage part.<br />
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<a href="http://4.bp.blogspot.com/-n1mMsJKXyuI/TWtiMlZwwiI/AAAAAAAAAaA/TEkwzxMHOUA/s1600/DSC05844.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578660531766608418" src="http://4.bp.blogspot.com/-n1mMsJKXyuI/TWtiMlZwwiI/AAAAAAAAAaA/TEkwzxMHOUA/s320/DSC05844.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>1930s spec black. Although rare, some of the latest Weissenborn featured scalloped back tuner plates with back buttons and pins. I am very happy to make these available, and hope to offer a version of these classic late 1930s models available in the coming months.</div>
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<a href="http://3.bp.blogspot.com/-6RVs6U1AzZo/TWtjAMPhtNI/AAAAAAAAAaI/NJQc1swzGu8/s1600/DSC05830.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578661418365990098" src="http://3.bp.blogspot.com/-6RVs6U1AzZo/TWtjAMPhtNI/AAAAAAAAAaI/NJQc1swzGu8/s320/DSC05830.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Comparison shots of the Ivoroid, Distressed Ivoroid, and Black.<br />
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<a href="http://2.bp.blogspot.com/-YF-c5DI5NYQ/TWtjATxPnII/AAAAAAAAAaQ/avKvEbm4dZM/s1600/DSC05833.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578661420386458754" src="http://2.bp.blogspot.com/-YF-c5DI5NYQ/TWtjATxPnII/AAAAAAAAAaQ/avKvEbm4dZM/s320/DSC05833.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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Reproduction tuners of the vintage Waverlys used by Weissenborn.</div>
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True to vintage spec and tone, these tuners have the original low profile style of post.<br />
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<a href="http://2.bp.blogspot.com/-uiy8c5f-Zrw/UJeKjYt5VlI/AAAAAAAABcw/0I1VYnFgV3k/s1600/DSC06870.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-uiy8c5f-Zrw/UJeKjYt5VlI/AAAAAAAABcw/0I1VYnFgV3k/s320/DSC06870.JPG" width="240" /></a></div>
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Also available distressed for vintage replacement.<br />
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<a href="http://1.bp.blogspot.com/-MLehBZFF7jI/UJeKVT1jxwI/AAAAAAAABcg/j5bU86l_M0U/s1600/DSC06756.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-MLehBZFF7jI/UJeKVT1jxwI/AAAAAAAABcg/j5bU86l_M0U/s320/DSC06756.JPG" width="240" /></a></div>
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As well as the reproduction hardware, I also have a limited supply of original hardware and parts. Please <a href="http://tonyfrancisinstruments.com/">contact me</a> with what you need, and I will do my best to find the correct part for your guitar.<br />
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<span style="font-size: small;"></span><span style="font-size: small;"></span>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-79153759054003378422011-02-24T14:06:00.000-08:002012-11-05T01:56:56.350-08:00Weissenborn guide in Acoustic Guitar Magazine!<a href="http://2.bp.blogspot.com/-2DvaXc0-nNA/TWbcmztqkzI/AAAAAAAAAZQ/kkw-DuopX3c/s1600/AG-201102.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5577387747819819826" src="http://2.bp.blogspot.com/-2DvaXc0-nNA/TWbcmztqkzI/AAAAAAAAAZQ/kkw-DuopX3c/s320/AG-201102.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 244px;" /></a><br />
In the February 2011 issue, Acoustic Guitar Magazine features a guide to contemporary Weissenborn-style guitars, penned by noted lap steel author <a href="http://www.volkmedia.com/Volkmedia.com/Lap_Steel_Book.html">Andy Volk</a>. A clear and concise reference for both long time aficionados and guitarists new to the instrument, Andy's piece is essential reading. Among the short list of top luthiers building in the old style; Bill Hardin, Bill Asher and Tony Francis.<br />
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Read it <a href="http://www.acguitar.com/article/default.aspx?articleid=26608">here</a>!<br />
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<a href="http://3.bp.blogspot.com/-pGM1yeNQuC0/TWbcnHM-idI/AAAAAAAAAZY/Y2qf454W6aI/s1600/DSC05636.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5577387753051425234" src="http://3.bp.blogspot.com/-pGM1yeNQuC0/TWbcnHM-idI/AAAAAAAAAZY/Y2qf454W6aI/s320/DSC05636.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a>Duelling Tony Francis Style 1's.</div>
Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-78308861918080888902010-11-22T01:20:00.000-08:002010-11-22T01:49:07.602-08:00Weissenborn Style 1 Repair - AddendumFollowing the restoration and repair of the Style 1, the owner of the instrument and noted Musician, Composer, Engineer, Producer, Author and now certifiable Weissenborn aficionado, <a href="http://brucekaphan.com/">Bruce Kaphan</a>, asked if he could share his thoughts on the process. Bruce has been professionally involved in the music industry since the mid 1970s, and it was a true pleasure and honor to do the work for him. But I will let Bruce take over from here.<span style="font-weight: bold; font-style: italic;"> -TF</span><br /><br /><br />I'm primarily a pedal steel player, but in recent years I've become<br />interested in branching out into non-pedal slide instruments,<br />especially for recording. I purchased a Gold Tone Weissenborn a few<br />years ago, and enjoyed using it on a number of recordings, but fairly<br />quickly became frustrated with the tone- it was great for the price,<br />and served its purpose of getting me hooked on Weissenborn style<br />guitars, but its tone wasn't so golden to my ears... There were so<br />many resonant and dead spots in the instrument's response. I decided<br />to splurge and began searching for a real vintage Weissenborn. I<br />found a shop online that advertised having a few in stock, hopped a<br />two hour flight and compared them. One instrument, a style 1, clearly<br />stood out among the others. Its top was pretty bellied, but otherwise<br />it seemed to be in reasonably good shape, made of absolutely<br />beautiful koa- it just looked like it should sound good, and it did.<br />The tone was beautiful; especially compared to my Gold Tone and the<br />other vintage Weissenborns I played at that shop, the tone on this<br />particular one was way more balanced, with fewer resonant or dead<br />spots. I purchased the instrument, and soon after, recorded my first<br />track with it. It sounded great!<br /><br />There's a really great acoustic guitar repair shop in the region in<br />which I live. Not long after I purchased the instrument I took it<br />there, to ask the staff if there was anything they could recommend<br />for the bellied top. They shrugged their shoulders and said no.<br />Sadly, not long after this, as I was preparing for an upcoming gig,<br />the bridge cracked, rendering the instrument unplayable. After the<br />bridge cracked, knowing the local repair shop didn't seem to have a<br />great deal of familiarity with Weissenborns, I did an online search<br />for Weissenborn repair, and came across Tony Francis' website. I live<br />in California. I really didn't know very much about Weissenborns, and<br />had never heard of Tony. To be sure, knowing how much fraud exists<br />online, based only on a website, I have to say I was a bit nervous<br />about shipping my Weissenborn to a stranger in New Zealand for<br />repair, but Tony's blog, complete with a discussion of repairing<br />bellied tops on Weissenborns, appeared to offer a solution to my<br />instrument's problems. I contacted him and found him to be a very<br />well-spoken, considerate individual. Although I saw some very nice<br />comments about him online, I didn't see any testimonials about<br />shipping instruments from far away; nevertheless, I decided to take<br />the risk, and was absolutely not disappointed. And that's why I'm<br />writing this testimonial. As you can see in these beautiful<br />photographs, Tony was able to address all of the problems with my<br />style 1. He finished the job in the time frame he said he would. He<br />held to his quote. When I received the instrument, his work was<br />absolutely impeccable, as you can see in these photos. I asked Tony<br />if I could write this testimonial- I just want to encourage anyone<br />who might have the same misgivings I had about shipping my instrument<br />to a stranger so far from home. Tony is a man of his word and an<br />impeccable craftsman. I'd be happy to vouch for him any time- please<br />feel free to contact me at the contact page of my website,<br /><a href="http://www.brucekaphan.com/">www.brucekaphan.com</a>, if you need further encouragement to take the<br />plunge to send your instrument to him. Thanks Tony, for breathing new<br />life into my style 1! <span style="font-weight: bold; font-style: italic;">-BK</span><br /><br /><br /><a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOo7Y6s2q1I/AAAAAAAAAY8/Q5oAE_ajrtc/s1600/DSC05097.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOo7Y6s2q1I/AAAAAAAAAY8/Q5oAE_ajrtc/s320/DSC05097.JPG" alt="" id="BLOGGER_PHOTO_ID_5542307590693104466" border="0" /></a>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-20828503410138937822010-11-17T15:04:00.001-08:002010-11-17T22:29:53.326-08:00Weissenborn Style 1 Repair - Part 3These are my reproduction pins that I had custom manufactured in Germany. They were made as a direct replacement for vintage Weissenborn's, as well as my modern reproductions. Unlike the originals however, these are individually turned, not molded, so I have been working on an antiquing process to better match the look of the original pin when used in restoration.<br /><br />Scribing the pin heads:<span style="text-decoration: underline;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></span></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TORhhnZ0-II/AAAAAAAAAXs/DhoST3pVZYY/s1600/DSC04802.JPG"><br /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORhg09Cq1I/AAAAAAAAAXk/q4d4qyqHLu4/s1600/DSC04690.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORhg09Cq1I/AAAAAAAAAXk/q4d4qyqHLu4/s320/DSC04690.JPG" alt="" id="BLOGGER_PHOTO_ID_5540660658170932050" border="0" /></a><br />After an acetone bath, they are have lost much their gloss, and developed a slight patina:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TORhhnZ0-II/AAAAAAAAAXs/DhoST3pVZYY/s1600/DSC04802.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TORhhnZ0-II/AAAAAAAAAXs/DhoST3pVZYY/s320/DSC04802.JPG" alt="" id="BLOGGER_PHOTO_ID_5540660671713441922" border="0" /></a><br />Because these are unslotted pins, the bridge must be slotted to fit each individual string. Before the 1970s this was just a standard detail. Nowadays you will only see this at high end acoustics. Here you can see the pin holes being reamed:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TORhh6ChW7I/AAAAAAAAAX0/xLpq6SCeD7c/s1600/DSC04874.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TORhh6ChW7I/AAAAAAAAAX0/xLpq6SCeD7c/s320/DSC04874.JPG" alt="" id="BLOGGER_PHOTO_ID_5540660676715961266" border="0" /></a><br />Setup complete, back to original specifications:<br /><br /><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORhifWIbUI/AAAAAAAAAX8/j0AIVw-iTG4/s1600/DSC04908.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORhifWIbUI/AAAAAAAAAX8/j0AIVw-iTG4/s320/DSC04908.JPG" alt="" id="BLOGGER_PHOTO_ID_5540660686730325314" border="0" /></a><br />Inside you can see each string ball is seated how they should be, on the repaired bridge plate:<br /><br /><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjjF1t1bI/AAAAAAAAAYM/QRYwKd-v2Jo/s1600/DSC05052.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjjF1t1bI/AAAAAAAAAYM/QRYwKd-v2Jo/s320/DSC05052.JPG" alt="" id="BLOGGER_PHOTO_ID_5540662896086603186" border="0" /></a><br />Weissenborn's bat-wing bridge is some of the highest quality bridge work performed at any guitar. Aesthetically it remained highly refined signature of his work through the production years, and is still one of the hardest and most critical details to get right today:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TORhi7rR9PI/AAAAAAAAAYE/nCsBTaOEAMo/s1600/DSC05023.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TORhi7rR9PI/AAAAAAAAAYE/nCsBTaOEAMo/s320/DSC05023.JPG" alt="" id="BLOGGER_PHOTO_ID_5540660694335223026" border="0" /></a><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjjo2790I/AAAAAAAAAYU/PReynBX_Psg/s1600/DSC04935.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjjo2790I/AAAAAAAAAYU/PReynBX_Psg/s320/DSC04935.JPG" alt="" id="BLOGGER_PHOTO_ID_5540662905486964546" border="0" /></a><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjkMYVPQI/AAAAAAAAAYc/LXIMHsOC7cc/s1600/DSC05001.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORjkMYVPQI/AAAAAAAAAYc/LXIMHsOC7cc/s320/DSC05001.JPG" alt="" id="BLOGGER_PHOTO_ID_5540662915022273794" border="0" /></a><br />This is a great shot of the distressed french polish or varnish finish:<br /><br /><a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TORjkVpmJVI/AAAAAAAAAYk/nucN6DZrxAM/s1600/DSC05021.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TORjkVpmJVI/AAAAAAAAAYk/nucN6DZrxAM/s320/DSC05021.JPG" alt="" id="BLOGGER_PHOTO_ID_5540662917510604114" border="0" /></a><br />Following the repair, its hard to compare the sound of the restored instrument to how it came into the shop. I could barely tune it without fear of the previous bridge tearing off. Technically and functionally acceptable (more or less), but perhaps most obviously the previous (and no doubt well meaning) repairman missed the details that are so critical to the instruments voice musically.<br /><br />I took these last few shots before the instrument was shipped back to its home in the US. A gorgeous sounding instrument.<br /><br /><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TORq4uFLs2I/AAAAAAAAAYs/J6pwucFHsTA/s1600/DSC05094.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TORq4uFLs2I/AAAAAAAAAYs/J6pwucFHsTA/s320/DSC05094.JPG" alt="" id="BLOGGER_PHOTO_ID_5540670964247540578" border="0" /></a><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TORq43bVFiI/AAAAAAAAAY0/Y8fqTFydHdk/s1600/DSC05097.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TORq43bVFiI/AAAAAAAAAY0/Y8fqTFydHdk/s320/DSC05097.JPG" alt="" id="BLOGGER_PHOTO_ID_5540670966756349474" border="0" /></a>Thanks for looking and please feel free to comment or if you have any questions.Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-8528428630182348322010-11-16T00:14:00.000-08:002010-11-17T22:29:30.807-08:00Weissenborn Style 1 Repair - Part 2With the top under clamps, my focus switched to the new reproduction bridge. Of course the original was Maple, not Rosewood like the former replacement, and so we begin simply with the wood itself. West Virginian Sugar Maple, the finest of which are cut from Mandolin billets.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAD5EsRJI/AAAAAAAAAU8/rTierRlURTQ/s1600/DSC04663.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAD5EsRJI/AAAAAAAAAU8/rTierRlURTQ/s320/DSC04663.JPG" alt="" id="BLOGGER_PHOTO_ID_5540060927223415954" border="0" /></a><br />For restoration work like this where the new must fit the old footprint perfectly - I will make several and pick the best one:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJAEHxe1II/AAAAAAAAAVE/KM5qvj9d4IY/s1600/DSC04671.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJAEHxe1II/AAAAAAAAAVE/KM5qvj9d4IY/s320/DSC04671.JPG" alt="" id="BLOGGER_PHOTO_ID_5540060931169375362" border="0" /></a><br />The finish process begins with Gamboge - a resin used by old time violin makers, but also interpreted by other greats such as Lloyd Loar and Weissenborn, under the dye:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAEVYiyCI/AAAAAAAAAVM/uMJdfRrJWMU/s1600/DSC04676.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAEVYiyCI/AAAAAAAAAVM/uMJdfRrJWMU/s320/DSC04676.JPG" alt="" id="BLOGGER_PHOTO_ID_5540060934822873122" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAE2AgjGI/AAAAAAAAAVU/94gvy6LPyr4/s1600/DSC04694.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJAE2AgjGI/AAAAAAAAAVU/94gvy6LPyr4/s320/DSC04694.JPG" alt="" id="BLOGGER_PHOTO_ID_5540060943580433506" border="0" /></a><br />Black aniline:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJET3RLXbI/AAAAAAAAAWM/7kIvIoWmRxY/s1600/DSC04701.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJET3RLXbI/AAAAAAAAAWM/7kIvIoWmRxY/s320/DSC04701.JPG" alt="" id="BLOGGER_PHOTO_ID_5540065599663332786" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB6udX68I/AAAAAAAAAVk/Z-srIIUk26g/s1600/DSC04705.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB6udX68I/AAAAAAAAAVk/Z-srIIUk26g/s320/DSC04705.JPG" alt="" id="BLOGGER_PHOTO_ID_5540062968778582978" border="0" /></a><br />The new bridge will be french polished and distressed to match the old, but more on this later.<br /><br />Internally the guitar needed several back braces re-glued, and just the X brace patch on the top.<br />Here you can clearly see the partially loose back brace:<br /><br /><a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJEVAaBrnI/AAAAAAAAAWk/GSKqvdVtg1A/s1600/DSC04720.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJEVAaBrnI/AAAAAAAAAWk/GSKqvdVtg1A/s320/DSC04720.JPG" alt="" id="BLOGGER_PHOTO_ID_5540065619296235122" border="0" /></a><br />Sticky sandpaper and a feeler gauge preps the brace to be re-glued. You don't want to remove material here, so much as clean out the old dirt and junk:<br /><br /><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJEVSaibII/AAAAAAAAAWs/DQCPpGh85TE/s1600/DSC04724.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJEVSaibII/AAAAAAAAAWs/DQCPpGh85TE/s320/DSC04724.JPG" alt="" id="BLOGGER_PHOTO_ID_5540065624130219138" border="0" /></a><br />Different repair situations require different kinds of techniques. For this brace I am using a simple but extremely effective stick jack against the X brace to glue it back in position:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJRL8ELB7I/AAAAAAAAAXc/EXJ3apPZdhE/s1600/DSC04886.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJRL8ELB7I/AAAAAAAAAXc/EXJ3apPZdhE/s320/DSC04886.JPG" alt="" id="BLOGGER_PHOTO_ID_5540079757163169714" border="0" /></a><br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGailc2EI/AAAAAAAAAW0/cXAVEY-a2ts/s1600/DSC04880.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGailc2EI/AAAAAAAAAW0/cXAVEY-a2ts/s320/DSC04880.JPG" alt="" id="BLOGGER_PHOTO_ID_5540067913393559618" border="0" /></a><br />Another brace re-glued. In this case the new glue reactivates the old glue squeeze out:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGbQ09niI/AAAAAAAAAXE/zdkf9B8aWoI/s1600/DSC04890.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGbQ09niI/AAAAAAAAAXE/zdkf9B8aWoI/s320/DSC04890.JPG" alt="" id="BLOGGER_PHOTO_ID_5540067925806652962" border="0" /></a><br />Where there was no squeeze out originally, you can clean away the excess and without a trace:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGbg7QYvI/AAAAAAAAAXM/ugez8bvnuLM/s1600/DSC04897.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOJGbg7QYvI/AAAAAAAAAXM/ugez8bvnuLM/s320/DSC04897.JPG" alt="" id="BLOGGER_PHOTO_ID_5540067930128016114" border="0" /></a><br />Next comes the plugging / rebuilding of the top for the new bridge. Following the previous "repair", there were three critical details in my eyes both from a structural standpoint, but also musically speaking.<br /><br />1. Repair worn bridge pin hole ball end damage. This is what happens as a result of improperly slotted bridges, or slotted pins. And quite frequently its a combination of the two such as with this guitar.<br /><br />2. Plug pin holes. The previous replacement bridge had incorrect bridge pin arrangement, which had almost doubled each hole in size, making it almost impossible for the string ball ends to seat properly.<br /><br />3. Re-glue damage from the previous repairers bridge removal attempt.<br /><br />These reverse tapered plugs covered issues 1 & 2 in one single operation step. Each plug is cut to fit each pin hole exactly, and glued into place:<br /><br /><a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJB7MaLf0I/AAAAAAAAAVs/NE_RZy5P3bM/s1600/DSC04712.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOJB7MaLf0I/AAAAAAAAAVs/NE_RZy5P3bM/s320/DSC04712.JPG" alt="" id="BLOGGER_PHOTO_ID_5540062976818249538" border="0" /></a><br />Plugs glued and leveled. The damage from original removal was repaired through a partial re-glue of the top, and also filleting slithers of Koa and hide glue into the damaged areas.<br /><br /><a href="http://1.bp.blogspot.com/_MvTppJZNyXw/TOJB7mI2vYI/AAAAAAAAAV0/ToCKB1f-WdQ/s1600/DSC04819.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TOJB7mI2vYI/AAAAAAAAAV0/ToCKB1f-WdQ/s320/DSC04819.JPG" alt="" id="BLOGGER_PHOTO_ID_5540062983724907906" border="0" /></a>The top and new reproduction bridge fitted, and ready to be glued:<br /><br /><a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB7zOGegI/AAAAAAAAAV8/uVjjiVTK8kc/s1600/DSC04821.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB7zOGegI/AAAAAAAAAV8/uVjjiVTK8kc/s320/DSC04821.JPG" alt="" id="BLOGGER_PHOTO_ID_5540062987236571650" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB8OuV_cI/AAAAAAAAAWE/Gho7IOeF4j8/s1600/DSC04842.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOJB8OuV_cI/AAAAAAAAAWE/Gho7IOeF4j8/s320/DSC04842.JPG" alt="" id="BLOGGER_PHOTO_ID_5540062994619563458" border="0" /></a>The final part in our repair story tomorrow!Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-50768290495066639662010-11-14T23:53:00.000-08:002010-11-15T02:27:53.093-08:00Weissenborn Style 1 Restoration and RepairAlthough not a rare guitar in Weissenborn terms, historically the Style 1 was the backbone of Weissenborn's musical empire, and still is today. In the same way Martin brought their unsurpassed quality across a range of models and materials, Weissenborn wanted to make his proprietary steel guitars available so the average musician could obtain such an instrument.<br /><br />This gorgeous Style 1 was produced in the mid 1920s at the height of the Weissenborn Company's success, and features beautiful figured Koa wood, Spirit varnish finish and all the typical construction details we would expect to see on an instrument dating from this era.<br /><br />When the guitar came to my shop for repair, it had not long left another where it had received a new bridge:<br /><br /><div style="text-align: center;"><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TODvmlpCB6I/AAAAAAAAAS0/Rw_qhW_5FQ8/s1600/DSC04364.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TODvmlpCB6I/AAAAAAAAAS0/Rw_qhW_5FQ8/s320/DSC04364.JPG" alt="" id="BLOGGER_PHOTO_ID_5539690987883988898" border="0" /></a>Face view:<br /><br /></div></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TODvnerbnaI/AAAAAAAAAS8/oYUrasswuQ4/s1600/DSC04347.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TODvnerbnaI/AAAAAAAAAS8/oYUrasswuQ4/s320/DSC04347.JPG" alt="" id="BLOGGER_PHOTO_ID_5539691003194875298" border="0" /></a>Rear view:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TODvnwVKjRI/AAAAAAAAATE/TBJXK-jFHAg/s1600/DSC04349.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TODvnwVKjRI/AAAAAAAAATE/TBJXK-jFHAg/s320/DSC04349.JPG" alt="" id="BLOGGER_PHOTO_ID_5539691007933320466" border="0" /></a><br />Now clearly this does not appear to be the work of an expert, and its unfortunate but not uncommon to see this kind of work on Weissenborn and related instruments. You can see the saddle was made so tall that it actually cracked the bridge. I couldn't tune this instrument to pitch without it threatening to tear right off.<br /><br />Here you can see why you should NEVER use slotted pins on your guitar - more on this later.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TODym9bXkgI/AAAAAAAAATM/I5CEjRZ_Vkg/s1600/DSC04370.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TODym9bXkgI/AAAAAAAAATM/I5CEjRZ_Vkg/s320/DSC04370.JPG" alt="" id="BLOGGER_PHOTO_ID_5539694292804014594" border="0" /></a><br />The repair begins. Heat shield, Aluminum tape, and heat lamp:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TODynKIUqZI/AAAAAAAAATU/JmrauF2Tc4s/s1600/DSC04410.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TODynKIUqZI/AAAAAAAAATU/JmrauF2Tc4s/s320/DSC04410.JPG" alt="" id="BLOGGER_PHOTO_ID_5539694296213793170" border="0" /></a><br />The tape is used to come up and over the edges, protecting any finish missed by the somewhat universal shield:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TODynwBoNsI/AAAAAAAAATc/ZuFPlT_PNyo/s1600/DSC04378.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TODynwBoNsI/AAAAAAAAATc/ZuFPlT_PNyo/s320/DSC04378.JPG" alt="" id="BLOGGER_PHOTO_ID_5539694306386261698" border="0" /></a><br />After a few minutes under the heat lamp, the resins in the rosewood begin to bubble. I slide my repair knife underneath, and the bridge comes away without problem:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOD1cnyJjTI/AAAAAAAAATs/yHOkkkMdg4o/s1600/DSC04416.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOD1cnyJjTI/AAAAAAAAATs/yHOkkkMdg4o/s320/DSC04416.JPG" alt="" id="BLOGGER_PHOTO_ID_5539697413730176306" border="0" /></a><br />A close examination and the previous "repair" disaster begins to show. Here you can see what happens if you don't heat the joint sufficiently, or pay attention to grain runout:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TOD1cx_U-BI/AAAAAAAAAT0/11-EUZOGb_Y/s1600/DSC04430.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TOD1cx_U-BI/AAAAAAAAAT0/11-EUZOGb_Y/s320/DSC04430.JPG" alt="" id="BLOGGER_PHOTO_ID_5539697416469805074" border="0" /></a>The "bellied" or distorted top:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TOD9iAKSkbI/AAAAAAAAAUs/6WYvGN4Wj5Q/s1600/DSC04452.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TOD9iAKSkbI/AAAAAAAAAUs/6WYvGN4Wj5Q/s320/DSC04452.JPG" alt="" id="BLOGGER_PHOTO_ID_5539706302266249650" border="0" /></a>Another view:<br /><br /><a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOD1daT3MII/AAAAAAAAAUE/wNNto4u5SZA/s1600/DSC04453.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOD1daT3MII/AAAAAAAAAUE/wNNto4u5SZA/s320/DSC04453.JPG" alt="" id="BLOGGER_PHOTO_ID_5539697427293352066" border="0" /></a><br />The top distortion is of course the most likely reason behind the previous replacement bridge. In an effort to increase action height, the tall saddle was installed, much like how at old Martins they would shave the bridge instead of resetting the neck. The heart of the problem was never addressed and the tall saddle only compounds the problem on an already sensitive instrument.<br /><br />One of my favorite luthiers, restoration icon T.J Thompson, recently <a href="http://www.stewmac.com/shop/Tools/Special_tools_for_Bridges/Thompson_Belly_Reducer.html?actn=100101&xst=3&xsr=16838">developed a tool</a> to reduce the belly in the old prewar Martins he is associated with, without permanent alterations to the guitar. Of course his tool would never fit a Weissenborn, but I thought it might be possible to take the same idea and custom manufacture one for Weissenborn:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TOD1d8BPbgI/AAAAAAAAAUM/-0pSleSSvbc/s1600/DSC04457.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TOD1d8BPbgI/AAAAAAAAAUM/-0pSleSSvbc/s320/DSC04457.JPG" alt="" id="BLOGGER_PHOTO_ID_5539697436342054402" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOD1daT3MII/AAAAAAAAAUE/wNNto4u5SZA/s1600/DSC04453.JPG"><br /></a>Although they look simple, each tool part is machined as a matching convex / concave set:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOD6kA85cuI/AAAAAAAAAUU/RFcUAPByHm4/s1600/DSC04850.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOD6kA85cuI/AAAAAAAAAUU/RFcUAPByHm4/s320/DSC04850.JPG" alt="" id="BLOGGER_PHOTO_ID_5539703038303367906" border="0" /></a><br />They are headed up in my glue pot to 150 degrees:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TOD6kwI2M5I/AAAAAAAAAUc/Q_lUusKY8mU/s1600/DSC04635.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TOD6kwI2M5I/AAAAAAAAAUc/Q_lUusKY8mU/s320/DSC04635.JPG" alt="" id="BLOGGER_PHOTO_ID_5539703050969953170" border="0" /></a><br />The top is dampened, and the hot cauls are clamped into place without delay:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TOEABvoVsnI/AAAAAAAAAU0/YCiqnu4zmG4/s1600/DSC04640.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TOEABvoVsnI/AAAAAAAAAU0/YCiqnu4zmG4/s320/DSC04640.JPG" alt="" id="BLOGGER_PHOTO_ID_5539709046607950450" border="0" /></a><br /><br />The repair story continues tomorrow!Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com1tag:blogger.com,1999:blog-2835750355271880536.post-14782074453345502832010-11-07T23:28:00.000-08:002012-11-08T03:39:26.894-08:00Solid-Neck Weissenborn - Part 3<span style="font-weight: bold;"><br />Part 3 - Construction.</span><br />
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In the process of patterning Tom Noe's gorgeous Solid-neck, one of the great mystery's surrounding Weissenborn, was his early years as a maker of wooden Hawaiian Steel guitars. As far as I am aware, it was Tom Noe and Dan Most who were the first to talk about Weissenborn guitars in a chronological order, which for me at least, is a reflection of how the design, construction and manufacture of Weissenborn's instruments are inextricably linked.<br />
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The Francis/Noe Solid-neck Hawaiian is made as reproduction of the original thin body version, with two refinements by Tom's request;<br />
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1. The guitar was to be made for genuine solid head tuners (Early Weissenborn's such as the Solid-neck featured <span style="font-style: italic;">slot</span> <span style="font-style: italic;">head</span> tuners on a thin solid head) .<br />
2. The bracing was to be mortised, rather than but jointed as per the original.<br />
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<div style="text-align: center;">
<a href="http://1.bp.blogspot.com/_MvTppJZNyXw/TNewYfZWJ8I/AAAAAAAAAQM/zU0Gwtf6-w4/s1600/DSC03637.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537088201666471874" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TNewYfZWJ8I/AAAAAAAAAQM/zU0Gwtf6-w4/s320/DSC03637.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Here you can see the gorgeous Koa picked out for this project in its rough sawn form.</div>
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<a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TNewYuDWnjI/AAAAAAAAAQU/HdUmu9vQDDY/s1600/DSC04662.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537088205600759346" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TNewYuDWnjI/AAAAAAAAAQU/HdUmu9vQDDY/s320/DSC04662.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a>Gluing the plates together. This simple gluing contraption is called a Spanish Tourniquet.</div>
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<a href="http://1.bp.blogspot.com/_MvTppJZNyXw/TNey-5rAMpI/AAAAAAAAAQ0/TsLPWVdEs64/s1600/DSC05125.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537091060578136722" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TNey-5rAMpI/AAAAAAAAAQ0/TsLPWVdEs64/s320/DSC05125.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Rosette channels cut. Although at first glance similar to the production era marquetry rosettes, the spacing and purfling details are different.<br />
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<a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TNey_VqTOjI/AAAAAAAAAQ8/AgFC2eFpptI/s1600/DSC05131.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537091068091382322" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TNey_VqTOjI/AAAAAAAAAQ8/AgFC2eFpptI/s320/DSC05131.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Gluing the marquetry and holly purfling in place, and making a mess!<br />
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<a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TNey_mroxEI/AAAAAAAAARE/2Y8oGCS-XWs/s1600/DSC05133.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537091072660390978" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TNey_mroxEI/AAAAAAAAARE/2Y8oGCS-XWs/s320/DSC05133.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>The completed rosette. Later it is planned and scraped flush.<br />
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<a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe1x6yqVMI/AAAAAAAAARM/RVM54P0JtHo/s1600/DSC05157.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537094136075277506" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe1x6yqVMI/AAAAAAAAARM/RVM54P0JtHo/s320/DSC05157.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Here you can see the mortised or tucked bracing. The stress caused by Hawaiian A Major tuning can be brutal to old wooden guitars, and the Solid-neck is no exception. I wanted the new guitar to be able to be kept under tension without Tom having to worry about it. The mortised bracing allows me to recreate the original bracing design in its fundamental glory, and is an elegant solution to the fragility associated with early Weissenborn guitars.<br />
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<a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe1yezTIlI/AAAAAAAAARU/egfc4G_d6PU/s1600/DSC05161.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537094145741627986" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe1yezTIlI/AAAAAAAAARU/egfc4G_d6PU/s320/DSC05161.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>The braces are glued in one single operation step, using hide glue of course.<br />
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<a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe1yl30IGI/AAAAAAAAARc/jhTg7RcYwks/s1600/DSC05166.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537094147639615586" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe1yl30IGI/AAAAAAAAARc/jhTg7RcYwks/s320/DSC05166.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>The top carved to original specifications. There were no top seam splints or sound-hole reinforcement of any kind.<br />
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<a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe6aDgh6JI/AAAAAAAAARk/E3XbhDuZX3s/s1600/DSC05173.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537099223656425618" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe6aDgh6JI/AAAAAAAAARk/E3XbhDuZX3s/s320/DSC05173.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a>Hand bent sides.<br />
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<div style="text-align: center;">
<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe9Ll5G84I/AAAAAAAAASs/GjDTnjYczno/s1600/DSC05177.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537102273723167618" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe9Ll5G84I/AAAAAAAAASs/GjDTnjYczno/s320/DSC05177.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Gluing back braces and seam splints.</div>
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<a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe6bGDqLmI/AAAAAAAAAR8/WGSrr_zcAT0/s1600/DSC05195.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537099241520508514" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe6bGDqLmI/AAAAAAAAAR8/WGSrr_zcAT0/s320/DSC05195.JPG" style="cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>The carved back.<br />
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<a href="http://4.bp.blogspot.com/-87QjKqimGeM/TdOhNWlNRtI/AAAAAAAAAng/xFweGLOjH2I/s1600/DSC05198.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5608003211778410194" src="http://4.bp.blogspot.com/-87QjKqimGeM/TdOhNWlNRtI/AAAAAAAAAng/xFweGLOjH2I/s320/DSC05198.JPG" style="cursor: hand; cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a><br />
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<a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe8yoP8aiI/AAAAAAAAASU/r0-6y8F-zc0/s1600/DSC05221.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537101844859087394" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TNe8yoP8aiI/AAAAAAAAASU/r0-6y8F-zc0/s320/DSC05221.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a>Front view.<br />
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<a href="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe8yxum6FI/AAAAAAAAASc/BxLca1BOB9A/s1600/DSC05227.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537101847403620434" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TNe8yxum6FI/AAAAAAAAASc/BxLca1BOB9A/s320/DSC05227.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a><br />
<a href="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe8zCyABII/AAAAAAAAASk/0izHrXrnNw0/s1600/DSC05231.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5537101851981251714" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TNe8zCyABII/AAAAAAAAASk/0izHrXrnNw0/s320/DSC05231.JPG" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 240px;" /></a>Back view.<br />
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Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-30579097446780178142010-08-31T03:26:00.000-07:002011-05-28T19:11:19.769-07:00Vintage Guitar - Weissenborn Style 4Check out Vintage Guitar magazines "Classic Instruments" feature on the Weissenborn Style 4, by <a href="http://gruhn.com/">George Gruhn</a> and Walter Carter! Featuring a Tony Francis Style 4!<br /><br /><a href="http://www.vintageguitar.com/3508/weissenborn-style4/">Read it here!</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/THzkeb0W27I/AAAAAAAAAP0/8rC8JXjuZcw/s1600/01-weissenbord-style-4.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 127px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/THzkeb0W27I/AAAAAAAAAP0/8rC8JXjuZcw/s320/01-weissenbord-style-4.jpg" alt="" id="BLOGGER_PHOTO_ID_5511531255509212082" border="0" /></a><br /><div style="text-align: center;">Walter Carter Photo.<br /></div>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-10966183492006993812010-08-15T00:31:00.000-07:002010-08-16T00:30:23.980-07:00Solid-Neck Weissenborn - Part 2<span style="font-weight: bold;"><br />Part 2 - The Master Template.</span><br /><br />Unlike the regular production models I make, the new Solid-Neck model is the first to be made without an instrument I own or have had through the shop for restoration or repair. Typically, I have my patterns and notebook which have the details and specifications for each model, and then the master template - the vintage guitars themselves which are a constant reference in terms of musicality and feel.<br /><br />However, with this instrument I am extremely honored to be collaborating with Tom Noe, who has put together a remarkably detailed set of plans, and comprehensively photographed the instrument, which have been made into working patterns and molds.<br /><br />During the process of patterning the instrument, I asked Tom about this special and exceptionally rare find, and how he acquired it;<br /><br /><span style="font-style: italic;">"I tuned the solid-neck Weissenborn up and played it only once because it looks like it just came out of Weissenborn's shop and doesn't have a mark on it, and I want to keep it that way. It sounds beautiful! I bought it from Red Bower, a vintage guitar shop owner in Idaho in 1992. He had the guitar for over 15 years and occasionally displayed it, but never let anybody touch it. I had heard of "Red's Style 4" and many had tried to buy it from him. I was told that he would part with it. But Red and Dan Most were good friends, and Dan had bought a few Knutsen harp guitars from Red. We were over there one day, and Red decided to sell it to me. That and a Style C Weissenborn that he had. The story on the solid neck was that an elderly lady had brought it in to Red's one day. Her husband bought it when he returned home from WWI. He couldn't get the hang of finger picks and the flat bar in vogue those days, so the guitar went into the back of a closet where it sat for over five decades. That's why the guitar is so special to me. Other than showing it in the book, I keep it hidden away and don't show it to anybody. Until now.</span><br /><br /><span style="font-style: italic;">From the attached photos, you can see its vibrant colors. Some of the detail was lost in the book photo because I took the photo with a film camera and then had the print scanned."<br /><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"><br /><br /></span></span></span></span>And so, <span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"></span> </span></span>its with great privilege that I share these wonderful images from Tom, with you-<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TGebQo5pnLI/AAAAAAAAAPU/PKXoo9ybLnE/s1600/Image003.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 246px; height: 320px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TGebQo5pnLI/AAAAAAAAAPU/PKXoo9ybLnE/s320/Image003.jpg" alt="" id="BLOGGER_PHOTO_ID_5505539779643153586" border="0" /></a><br /><div style="text-align: center;">Circa 1928 production model and pre-1920s Solid-Neck compared. As Tom mentioned in his book, the Solid-Neck is a much smaller instrument overall.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TGebQVg7ZpI/AAAAAAAAAPM/yjxLpWzmPmk/s1600/Image002.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 165px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TGebQVg7ZpI/AAAAAAAAAPM/yjxLpWzmPmk/s320/Image002.jpg" alt="" id="BLOGGER_PHOTO_ID_5505539774439188114" border="0" /></a><br /><div style="text-align: center;">Front view.<br /></div><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TGebQIuKUWI/AAAAAAAAAPE/mHn1ljo_TOU/s1600/Image007.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 154px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TGebQIuKUWI/AAAAAAAAAPE/mHn1ljo_TOU/s320/Image007.jpg" alt="" id="BLOGGER_PHOTO_ID_5505539771005030754" border="0" /></a>Back view.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TGecDUwXlbI/AAAAAAAAAPk/9orZyqm_Dg0/s1600/Image033.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 214px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TGecDUwXlbI/AAAAAAAAAPk/9orZyqm_Dg0/s320/Image033.jpg" alt="" id="BLOGGER_PHOTO_ID_5505540650408842674" border="0" /></a><br /><div style="text-align: center;"> Profile view. You can see here that the Hawaiian vault is almost non existent, yet remains very graceful as the body forms into the neck. The body is only 2.5 inches at the tail block.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_MvTppJZNyXw/TGeaenHDcdI/AAAAAAAAAOk/RJxlUrfZt5Y/s1600/Image007-1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 214px;" src="http://3.bp.blogspot.com/_MvTppJZNyXw/TGeaenHDcdI/AAAAAAAAAOk/RJxlUrfZt5Y/s320/Image007-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5505538920169042386" border="0" /></a><br /><div style="text-align: center;">Knutsenesque 'bow-tie' bridge.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TGeaeZ65Z_I/AAAAAAAAAOc/OVNpfT5daXI/s1600/Image027.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 214px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TGeaeZ65Z_I/AAAAAAAAAOc/OVNpfT5daXI/s320/Image027.jpg" alt="" id="BLOGGER_PHOTO_ID_5505538916628391922" border="0" /></a><br /><div style="text-align: center;">Peg head face.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_MvTppJZNyXw/TGead6h_U6I/AAAAAAAAAOU/IDV36z7-kDc/s1600/Image028.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 214px; height: 320px;" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TGead6h_U6I/AAAAAAAAAOU/IDV36z7-kDc/s320/Image028.jpg" alt="" id="BLOGGER_PHOTO_ID_5505538908202423202" border="0" /></a><br /><div style="text-align: center;">Waffle end slot head tuners.<br /><br /><div style="text-align: left;">Part 3 Coming Soon.<br /></div></div>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-75494078705591906692010-08-06T19:18:00.000-07:002012-11-25T00:05:26.843-08:00Lap slide lessons on YoutubeFor anybody who is new (or old) to lap slide guitar, one of the first things people notice is that there is not a lot of instructional material available for this style of instrument. Daddystovepipe - one of Youtubes most beloved maestro of the blues and nicest persons one could hope to meet, has put these great free lessons on Youtube!<br />
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<embed src="http://www.youtube.com/v/4o1COd_SWyw&hl=en_US&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
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<a href="http://www.youtube.com/watch?v=tpeia14LkH8">Lesson 1</a><br />
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<a href="http://www.youtube.com/watch?v=_XHSNUc_ESM">Lesson 2</a><br />
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<a href="http://www.youtube.com/watch?v=AeHJ40JdycY">Lesson 3</a><br />
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<a href="http://www.youtube.com/watch?v=fi2hi0bl9dk">Lesson 4</a><br />
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<a href="http://www.youtube.com/watch?v=Igby_6JP8UA">Lesson 5</a><br />
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Daddystovepipe plays a Tony Francis Style 4 Hawaiian made in 2007. Tab for this lesson is also available through Daddystovepie's <a href="http://www.daddystovepipe.com/">website</a>.Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-30411230044835599292010-08-03T03:27:00.000-07:002014-07-08T04:17:20.138-07:00Solid-Neck Weissenborns - An IntroductionThe first time I saw a Solid-Neck Weissenborn was in Tom Noe's wonderful <a href="http://noeenterprises.com/Noeweb3/Order.html">book</a>. These guitars are the rarest of the rare – even more so than the Teardrops, which now number in the high teens. And were the original top of the line model prior to the factory in 1923. So when Tom sent me this incredible picture, courtesy of Dave Ogden, with Mrs. Weissenborn playing one of the Solid-Neck Hawaiians, it gave a rare insight into Weissenborn's early years - circa 1922.<br />
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And so we begin simply with the picture – and I'll let Tom take over from here. <span style="font-style: italic; font-weight: bold;">-TF</span><br />
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<a href="http://4.bp.blogspot.com/_MvTppJZNyXw/TFfzfq4IcpI/AAAAAAAAAOM/l2qzORHUXRE/s1600/Solid+Neck.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://4.bp.blogspot.com/_MvTppJZNyXw/TFfzfq4IcpI/AAAAAAAAAOM/l2qzORHUXRE/s320/Solid+Neck.jpg" id="BLOGGER_PHOTO_ID_5501133195267568274" style="cursor: pointer; display: block; height: 271px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
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It is now well established that when Hermann C. Weissenborn began crafting his famous Hawaiian steel guitars, he borrowed heavily from Chris J. Knutsen. Several very thin Weissenborn steel guitars exhibiting Knutsen’s distinct features, such as headstock and bridge shapes, as well as the use of a green dressmaker’s seam tape to join back plates, have now surfaced. Knutsen built teardrop-shaped steel guitars and ones with solid necks as early as 1909-1912, as evidenced in <a href="http://harpguitarmusic.com/listings/listing_book_ku2.htm">Isami Uchizaki’s Tony Ku Collection</a>.<br />
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While Weissenborn waited until late in his career to build nearly identical teardrop-shaped guitars, he built several steel guitars with solid necks during his experimental years of 1916-1922. It appears the earlier solid-neck instruments prior to about 1920 were fairly thin, like their hollow-neck counterparts. They have only a 2.5-inch body depth, are smaller overall but still have a 25-inch scale length, and have the Knutsen-type bow-tie bridges. After about 1920, they were built with a 3.5-inch body depth and nearly production type bat-wing bridges. All are Koa wood throughout We can find no evidence showing production after 1922 since none of those in existence have the burned-in brand, but rather have the Weissenborn picture label.<br />
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And so the solid-neck Weissenborns are extremely rare. In fact, only six are presently known to exist, and one of those came to light just recently. In addition, a photograph of Mrs. Weissenborn playing a solid-neck Weissenborn was recently discovered by Dave Ogden of Clear Creek Recording. While all of the existing solid-neck Weissenborns have Style 4 appointments, the one Mrs. Weissenborn is playing, the whereabouts of which is unknown, has Style 3 appointments (rope binding around the top only).<br />
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The recent emergence of newly-discovered solid-neck Weissenborns coupled with the photo of Mrs. Weissenborn playing one, has inspired Tony Francis and Tom Noe to collaborate on the reproduction of solid-neck Weissenborns. Tom used his solid-neck Weissenborn with a 2.5-inch body depth to create a rudimentary set of plans, which Tony transformed into working drawings and molds. Tony is busy assembling the woods and parts to commence construction in his shop of what hopefully will be first of many solid-neck instruments. <span style="font-style: italic; font-weight: bold;">-TN<br /></span>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0tag:blogger.com,1999:blog-2835750355271880536.post-11548923347046071932010-07-19T00:35:00.000-07:002010-07-19T04:07:56.204-07:00New blog address!My thanks to everyone for your continued support and making the switch to the new blog address!<br /><br />Here is a Style 4 from the latest batch, shipped out to its new home in France last week;<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_MvTppJZNyXw/TEQw0xTHWeI/AAAAAAAAANs/MxW8oQST9tU/s1600/DSC04127.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://1.bp.blogspot.com/_MvTppJZNyXw/TEQw0xTHWeI/AAAAAAAAANs/MxW8oQST9tU/s320/DSC04127.JPG" alt="" id="BLOGGER_PHOTO_ID_5495571128443689442" border="0" /></a>Workbench close up.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_MvTppJZNyXw/TEQBr_twuDI/AAAAAAAAANk/hdo6HXarbfU/s1600/DSC04130.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="http://2.bp.blogspot.com/_MvTppJZNyXw/TEQBr_twuDI/AAAAAAAAANk/hdo6HXarbfU/s320/DSC04130.JPG" alt="" id="BLOGGER_PHOTO_ID_5495519300648220722" border="0" /></a>Tony Francishttp://www.blogger.com/profile/16101367754717891600noreply@blogger.com0