Thanks for posting "Banks of the Ohio." Loved watching Tony's right hand.
Russian Lullaby
Shalom Aleichem
Watson Blues
Tracy's Tune
Tennessee Waltz
Deep River Blues
Swing 42
Dawgology
Shady Grove
Muleskinner Blues
Tennessee Waltz-- great version. Thanks for posting!
2007 Weber Custom Elite "old wood"
2017 Ratliff R5 Custom #1148
Several nice old Fiddles
2007 Martin 000-15S 12 fret Auditorium-slot head
Deering Classic Open Back
Too many microphones
BridgerCreekBoys.com
Anyhow, according to Paul Fox's "Complete Guide to Gibson Mandolins...", it's an experimental F-style from 1929.
To me it looks like Gibson sought to make reasonable use of their left-over short neck blanks on f-hole models and moved the f-holes lower on the body, in order to allow the bridge in the correct position right in the middle between the f-hole notches (like on F5s). To make up for the funny looks, they may have added the extra holes on the upper body; just my suggestion. Moreover, it obviously never went beyond that proto type status, and Gibson chose a simpler solution by using those neck blanks on F5-bodies resulting into the new F-7, F-10, F-12 models in the '30s, which had the f-hole in the higher "right" position and bridge too low in the "wrong" place.
Dawg's 1929 Gibson "Lil Pup" mandolin
http://www.vintageinstruments.com/mu...upfulpage.html
Late twenties prototype Gibson Mandolin
It's become known as "Lil Pup" and David Grisman has played it at quite a few gigs.
Nobody we know has seen another one.
It's got the 'extra' teardrop or comma soundholes in the upper bouts and a two point body shape. It has an F-5 fingerboard but not elevated and it joins the body at about the eleventh fret.
14" Scale length.
At least as rare as hens teeth and it sounds great.
Wow, thanks for this great thread. Love it!
Dark Hollow
In Memory of Ricky Jay
The Thrill Is Gone
Love that F-10 conversion! Yeh Man!
Now that's rare, the mandolin chop is louder in the mix than all other instruments including the guitar break (at least on my computer). Billy is right, great F-10 sound.
I tell ya man those short neck 30's- 7's, 10's and 12's converted are some seriously way underrated axes! I don't know for sure but Dawgs F-10 I believe just has a spliced in piece in the hogwood neck by Gilchrist. Not positive but I believe that's it? Maybe David will chime in at some point and tell us about it for us geeks!
Not that I remember another thread, but just looked on the Tone Poems book and it says the neck was modified to standard length "I heard it was spliced but very well could be another neck? since it also says in the book that Gil retained the original head stock veneer, tuners, and rosewood inlayed fret board" On all those the board scale is the same as an F-5 board just those darn short leftover F-2/F-4 necks needed used somewhere huh! Original or converted any a super rare piece of history and original most sound great while not the full power of an F-5, In My Honest Personal Opinion these original 7's, 10's and 12's are way better all around mandolins than say your F-2's, F-4's and all the round hole A's, Not saying they're bad because some are really fine but the F-holes bring out something more. I have a well played and a few repairs done to a 1935 Gibson A-50 F-hole elevated board and that thing I like to think of an A style F-7, Its a powerhouse of a mandolin for some reason, David Harvey who did the neck set for it among a few other things couldn't believe the tone and power, he said by far the best A model he's had the pleasure working on and playing. Actually he said he's heard F-5's from that era that didn't have that power and tone. Its better than the 3 other 35 elevated board F-hole A-50's I've had in the past. David wondered if maybe Gibson subcontracted the work out to an archtop builder at the time like Stromberg or D'Angelico?
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