Solid-neck Weissenborn - Part 4

Part 4 - Francis / Noe Solid-neck Hawaiian

It is a great privilege and honor to say my collaboration with noted Weissenborn author George T. Noe is now complete.

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.

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.

I would like to thank Nicolo Alessi 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.

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.

For those who are new to the Solid-neck, you can check out our blog posts on its development, here:

Solid-neck Weissenborns - An Introduction

Solid-neck Weissenborn - Part 2 (The master template)

Solid-neck Weissenborn - Part 3 (Construction)

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.

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.

Makers Mark - A Compendium of Kerfing.

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.

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.

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.

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.

Its important to note in the late 19^th and early 20^th 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.

1920s Machinery Ad.

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.

 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.

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 common to the piano trade.  

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.

Mid 1920s spec reproduction lining.

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.

 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:

Ca.1927 reproduction lining.

Tony Francis Instruments in Spain!

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.

Currently in stock is one of the killer new 1930's spec Teardrops, with more due very soon. Check it out!

Video Tutorial with Rob Anderlik

Check out Chicago based Musician and Teacher Rob A
nderlik's new Youtube tutorial of the classic Lindley tune 'Look so Good'.

Rob said about the tune "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."

You can download the tab for this tutorial at Robs website: http://www.robanderlik.com/

Rob is a long time slide maestro and shares his thoughts on his new Style 1 at 10.47.

Rob's Style 1 at the shop, shortly before heading out to its new home in Chicago.

Iggy and the Stooges, Ron Asheton tribute

Last month in Ann Arbor Michigan, Iggy and the Stooges played a benefit concert celebrating the life of Ron Asheton.

Just before the show ended, Iggy Pop and James Williamson sat down to perform a special acoustic tribute, called 'Ron's tune'.

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.

David Dominic Jr. Photo

Thomas Oliver - 'The Moment'

Check out Wellington based musician Thomas Oliver's latest slide guitar instrumental, 'The Moment'.



Recorded on a Tony Francis Style 3, I asked Thomas about the inspiration for this track and the Major 7th. -TF

"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.

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’." - Thomas Oliver

Weissenborn Reproduction Hardware

Following 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.

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).

Sold by the set or individually, classic long grained 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.

Classic 1920s spec Ivoroid, and Aluminum wire saddle.

These are the same Ivoroid pins as above, distressed. 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.

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.

Comparison shots of the Ivoroid, Distressed Ivoroid, and Black.

Reproduction tuners of the vintage Waverlys used by Weissenborn.

True to vintage spec and tone, these tuners have the original low profile style of post.

Also available distressed for vintage replacement.

As well as the reproduction hardware, I also have a limited supply of original hardware and parts. Please contact me with what you need, and I will do my best to find the correct part for your guitar.