Anybody seen one like this?

[Buttonwood Bob]

I bought this in the 60's in an upscale thrift shop (for $20) where fancy people openly shopped. It was said to be WWI era??? I've scanned years of Ebay relics hoping to see an upside down triangle, the only identifying mark on it. It is my favorite toy. It makes my F style mandolins sound like (the devil). Any clues, anybody?

[mrmando]

Looks a lot like an old Vega. I'll come over and exorcise those F-styles out of your house if you want, and even waive my usual fee. ;)

[Buttonwood Bob]

One of the "F's" could surely use an exorcising...or an enema. Yours is a kind offer, Mando, but the trip from Seattle would cost you more than the two f styles are worth. I thank you for the Vega tip. I've seen a few of those, but none had the triangle on the head. I was hoping you would say it is definitely an old Martin. :grin:

[Schlegel]

I have seen a triangle on the headstock of Kays, but you have a Vega there for sure. Correct bridge position below the cant is a hallmark of Vegas, I have never seen it done in another american mando. It may be worth less than a Martin, but I don't believe a Vega is necessarily sonically inferior.

[resophonic]

When I measure the bridge location in the picture it appears to be off. It should be twice the distance to the 12th fret and then adjusted slightly from there to correct for compensation. It looks like the bridge may actually go on the sound hole side of the bent top, you should check the measurement.

[brunello97]

Looks quite similar to this Rex that I have in my files. Or, uh, like this Sammo-which used a triangle on the headstock in different configurations. Trouble for me is keeping straight who might have made what for which label. Hard to tell but I wouldn't bet on Vega. At $20 consider this one of the proverbial pots of gold.....It is great to hear that such finds still exist out there. It looks like a nice mandolin--great rosewood back. I'll bet it sounds very good. Congratulations!

Mick

[Buttonwood Bob]

Reso, I knew you or someone was going to stab me in the arena over that bridge placement.
I was experimenting with lowering the strings, when I decided to take the pictures. I should have taken new pictures. Lazy. I take a measure of comfort hearing that tilt backs can be harmonically in tune with the bridge in back of the bend and the measurements ascue. I have since sanded/lowered the bridge, but it is still (slightly) behind the bend back. I don't want you to think I've got a tin ear, just consider it is another mystery. George Gurhn didn't name this one, but said there were many made like it in Chicago, circa 1930's. He also said not to put stock in what I was told, i.e. that it was carried in "the first war." Maybe the second?? It was in an old dark olive wool "bag" that has since crumbled to dust. I've added a side view. I thank you all for your interesting thoughts. It does, indeed, sound great. Other thoughts will surely be interesting to all of us.

[allenhopkins]

How about this Supertone (http://bernunzio.com/products/059396) at Bernunzio's?

[resophonic]

Reso, I knew you or someone was going to stab me in the arena over that bridge placement.

Hey Buttonwood Bob, it looked wrong to me. I didn't know if you where aware of this or not and felt compelled to point that out.

[Buttonwood Bob]

Reso, I would have, too. I didn't think about it until I posted the picture, and then curled up in the fetal position and waited. Truth is, I continue to be mystified, and not pleased about the matter. The neck is straight as an Ethiopian spear, but put a bridge below the pick guard the bridge would have to be 1/4" high, or the strings would be up so high I would have to play it like a dobro. "Sounds" fine doing harmonics at the 12th fret, but the chromatic tuner says it is a __hair flat. I may sand the bridge some more, but since I only go to the 12 fret for fun rather than jump down to the first position, I'll just fiddle around the next time I change the strings. Stay warm when those winds blow off the lake as they are likely doing. It's been miserable here in the Florida Keys since December.

Brunello,
Been meaning to mention that the my mystery Ax looks exactly like your picture on the right. Do I understand that you haven't the foggiest notion anent its origins? :crying:

[resophonic]

but put a bridge below the pick guard the bridge would have to be 1/4" high

It will probably be just fine like that. You will still have a decent enough string break angle over the bridge because of the bent top.


"Sounds" fine doing harmonics at the 12th fret, but the chromatic tuner says it is a __hair flat.

The correct way to check the intonation is by comparing the open string note (or the harmonic note at 12 which is the same note, an octave higher) to the fretted note at 12.

[brunello97]

Bob, the mandolin in the image on the right that I posted (with the inlayed triangle similar to that on yours) was made by the Samuel Osborn company from Chicago, which marketed mandolins under the Sammo label. As I understand it they had their own 'factory' making instruments, but the links between the big Chicago instrument makers at that time (Lyon and Healy, Regal, etc.) continue to confuse me some. So many of the instruments from these labels bear similar characteristics, and the companies shared work, working agreements, ownerships etc. Not unlike companies today I suppose. My notes (such as they are) has the Osborn company in business at least until 1921. I wish I knew more about them.

Mick

[Buttonwood Bob]

That's a big help, Brunello though not suggesting a windfall. I mentioned earlier sending pictures to George Gurhn. He suggested it was made in Chicago, and there were no small number produced prior to the 30's as you mention. Though I told him it was too much fun to play to part with it, he said that $400 would be tops. Mine doesn't have a label, nor show evidence there ever was one, but all else pictured seems a carbon copy...except that the inside bottom has a bar and strut where the pictured label is?? Thanks for your helpful offerings. "I wish I knew more about them." Ditto.

[Jim Garber]

I would easily go with Mick/Brunello97's. Definitely not Vega and I was going to mention that even Vega's did not have the bridge so far over the cant as pictured. I have to say it is always easy to say Chicago-made for these guys. I would also say there is a Supertone connection here as well as Sammo. Nice $20 mandolin in any case, Bob. Enjoy it.

[mercenarymandolinist]

I have the identical mandolin hanging on my wall-no label. When I got it, the headstock was snapped off and the fretboard was beyond repair. I fixed the headstock and replaced the fretboard. I shimmed the fretboard so that the bridge was a bit higher than the original. I strung it up with medium gauge D'Addarios. The tone was a bit like a damp shoebox. It hung on the wall for several years. One day I noticed the top had collapsed around the soundhole.
Moral- use light strings and keep the action low.

[The Bard Rocks]

That is identical to my Supertone, in every single way that I can see from the pictures you posted. Mine has the label intact, model B 62. I have seen pictures of Larson's with very similar features to these and have wondered in another thread if there is a connection. If it plays and sounds like mine you have a very fine instrument, though not necessarily terribly valuable. I'd love to hear what others have to say about a possible Supertone-Larson connection.

Roland, "The Bard Rocks"