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    Re: The Parrot mandolin

    I noticed that as well. I'm thinking that some with greater knowledge of the Loar F-5s will chime in with an explanation or clarification.

    From Dawg's FB feed:

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  2. A wonderful interview, and a very special video....

    A wonderful interview, and a very special video. I've had such pleasure listening and seeing the joyous Choro Das 3 family on my social feeds since Dan introduced them to me, and many others, years...
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    Re: Henderson mandolins

    That's fascinating. I had no idea that he'd made so many. Especially when building flat top guitars is almost certainly by far, the most profitable for him. I can only imagine that he relishes the...
  4. Re: Thile & Daves: It's Fiddle Tune Request Time!

    I think he’s worked hard to NOT plow the field that Clarence White and Tony Rice worked so thoroughly. He’s his own player, for sure. And a great singer too.
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    Re: Article: Looking Forward with Sarah Jarosz

    I had forgotten this line. “ So much of the beauty of the musicians we looked up to was the mystery. I mean, Bob Dylan wasn't posting "here's my breakfast." That's part of the mystique. You want to...
  6. Re: Best bluegrass rhythm guitar instructional book?

    There's a book on Charlie Monroe's rhythm technique which is pretty cool as I recall. And John Schwab's book on OT rhythm guitar.
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    Re: Harmony Shutt style mandolin, maybe?

    The instrument listed below sold 7 years ago, and looks to be an extremely fine example. This model and its history is much better understood now. (and prices have adjusted accordingly) This one...
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    Re: Interesting Gibson F-10 at Retrofret

    Oh my! It's been almost 10 years. Dom Leslie and Eric Robertson on the mandolin duo video. Even the young cats aren't so young anymore. ;-)

    Still a very fine mandolin, in my opinion, for the...
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    Re: Lyon & Healy long scale Style B

    As for the date of manufacture, My model C is number 113, and it wasn't purchased until 1919 (most probably). Y'all have reminded me, with your thoughtful comments, of this thread. (a favorite of...
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    Re: 1930 Harmony/Supertone 2 point

    I wouldn't call this construction 'neck block free'. It's a weird approach but related to other well known construction by Vega and others where the sides (ribs) don't entirely cover the neck block. ...
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    Lyon & Healy long scale Style B

    Here's a nice one in the classified from Gryphon.

    I have a similar Style C, and this two point B looks like it's two-point, brother. Personally, I find the Gibson scale (which this has) much more...
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    Re: 105 year old neck joints

    Now a shapely lateral brace!
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    Re: Strap on a L&H

    Post #3. That's the answer. Plenty of room usually to thread a bootlace through.
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    Re: 20's-30's Regal tenor guitar bridge

    I see that RetroFret has one in stock now! This is a 'lesser' birch backed version. But still super cute.

    >>>>>>>>>>>>> HERE <<<<<<<<<<<<<
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    Re: 20's-30's Regal tenor guitar bridge

    If you follow the link in post 4 you'll have accurate photos of what you want. I can't help right now with exact measurements at this moment.
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    Re: 20's-30's Regal tenor guitar bridge

    Retrofret, in Brooklyn has had a number of the highest end Regal tenors over the years. Perhaps one of the ones on THIS page illustrates what you are looking for?
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    Re: The Origins of Tone Bar Archtop Bracing

    When looking at the Vega cylinder-back mandolins that used this head block design, I've often thought that it adds a lot of work in finishing a large expanse of end grain. And Vega's workers often...
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    Re: The Origins of Tone Bar Archtop Bracing

    reposting with photos (I hope)

    James, (or anyone with violin family experience) perhaps you can comment on the f hole shape in the carved top and pressed top Shutt designs. At a glance they seem...
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    Re: The Origins of Tone Bar Archtop Bracing

    Hm... photos did not seem to come up on the above posts. I'll try a repost here. Apologies...

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    John, I don't have an 'artist' model disassembled, but the head block uses the same...
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    Re: The Origins of Tone Bar Archtop Bracing

    James, perhaps you can comment on the f hole shape in the carved top and pressed top Shutt designs. At a glance they seem quite influenced by European designs. Much more so than the Gibson master...
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    Re: The Origins of Tone Bar Archtop Bracing

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    John, I don't have an 'artist' model disassembled, but the head block uses the same principles, I believe, found on the Vega above, and on the pressed top instruments made by Harmony like...
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    Re: The Origins of Tone Bar Archtop Bracing

    Here's a relevant catalog page that was sent to me some years ago. (I'm afraid that I don't remember the source)

    Info about the (parallel, longitudinal) 'bass bars', 'f-sound holes', elevated...
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    Re: The Origins of Tone Bar Archtop Bracing

    My apologies, Jim. When the 'for sale' instrument spurred my interest in sharing some thoughts, long held, about the origins of what we now call tone bars in carved archtop instruments, I didn't pay...
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    Re: The Origins of Tone Bar Archtop Bracing

    I should have a photo to share, but I may not be able to dig it up until next week. Here's a photo of the same construction, on a giant scale, on my Vega bass mandolin. Of course the cylinder back...
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    Re: The Origins of Tone Bar Archtop Bracing

    I think that's about right, Charley. My impression is that there's not as much history of the details of Harmony's output as historical folks would like. And perhaps no surviving record of the deal...
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