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Thread: 1920s or 30s Weymann Mandolute varnish

  1. #1

    Default 1920s or 30s Weymann Mandolute varnish

    Hello all. I have recently come into the possession of an old Weymann mandolin that had no fretboard. I have carefully hide-glued on a new fretboard with a slight wedge underneath to bring the action up a bit higher and I am now looking to seal and finish the new, raw wood to match the older varnish, which I would like to preserve intact. My only problem is that I am not sure what type of varnish was used on this particular brand. I am assuming that this mandolin is from the 20s or 30s. I would love to hear from anyone who has dealt with or knows about these particular instruments, or similar instruments from this era. Any advice is appreciated. Thanks
    -Jon
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  2. #2
    Registered User Greg Mirken's Avatar
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    Default Re: 1920s or 30s Weymann Mandolute varnish

    I don't know the answer, but I would test the finish in the footprint of a tuner with alcohol on a Q-tip. If it's oil varnish [unlikely] it won't be affected. Spirit varnish [shellac] will be marked.
    Shade Tree Fretted Instrument Repair, retired
    Nevada City, California

  3. #3

    Default Re: 1920s or 30s Weymann Mandolute varnish

    I restored one a few years ago and touched it up with French polish, it was obviously shellac-based varnish from the factory.
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  5. #4

    Default Re: 1920s or 30s Weymann Mandolute varnish

    Quote Originally Posted by Greg Mirken View Post
    I don't know the answer, but I would test the finish in the footprint of a tuner with alcohol on a Q-tip. If it's oil varnish [unlikely] it won't be affected. Spirit varnish [shellac] will be marked.
    Thanks, Greg. I will test it. I thought I'd ask before I mess anything up with alcohol.

  6. #5

    Default Re: 1920s or 30s Weymann Mandolute varnish

    That's a beautiful instrument! Was this a complete refinish, or did the original varnish have that red tint? It's very violin-like. I would love to eventually be able to execute a finish like that. Mine was definitely a budget model mandolin, but it only cost me $50, and it needed only a few minor repairs. I have some shellac crystals on the way, so perhaps it's time to practice some French polishing!

  7. #6

    Default Re: 1920s or 30s Weymann Mandolute varnish

    The finish is probably exactly the same as what's on the sides of your instrument. The only thing I changed was the pickguard, which had disintegrated, and some repairs. These are cool instruments... but not great instruments. They're beautifully made, and what tone they produce is beautifully warm and rich, it's just super quiet and there's not much to dig out of it in terms of additional volume. Nice for playing alone in a quiet room late at night, but it'd get lost if you're playing with anyone else.
    BTW, you should string it with light or super-light strings, normal mandolin medium strings probably won't destroy it, but don't seem to give any benefit.
    Also, the one I worked on had never had the bridge in the right place. It appeared the bridge would need to actually be over the pickguard to intonate properly, so that took some fiddling since the pickguard is raised .25mm or so above the soundboard. You might have to cut a groove or relief into the bridge to get it to intonate properly.

  8. #7

    Default Re: 1920s or 30s Weymann Mandolute varnish

    Quote Originally Posted by Marty Jacobson View Post
    The finish is probably exactly the same as what's on the sides of your instrument. The only thing I changed was the pickguard, which had disintegrated, and some repairs. These are cool instruments... but not great instruments. They're beautifully made, and what tone they produce is beautifully warm and rich, it's just super quiet and there's not much to dig out of it in terms of additional volume. Nice for playing alone in a quiet room late at night, but it'd get lost if you're playing with anyone else.
    BTW, you should string it with light or super-light strings, normal mandolin medium strings probably won't destroy it, but don't seem to give any benefit.
    Also, the one I worked on had never had the bridge in the right place. It appeared the bridge would need to actually be over the pickguard to intonate properly, so that took some fiddling since the pickguard is raised .25mm or so above the soundboard. You might have to cut a groove or relief into the bridge to get it to intonate properly.
    I hear you about the strings. These old, delicate instruments weren't really meant for our modern strings. I learned that hard lesson years ago after painstakingly refurbishing an old bowlback in my early 20s, only to watch it cave-in and pull apart under string tension. Sad times.

    It seems that the area where the bridge should be (originally) is slightly over the original pick guard and directly between two braces that are only about an inch apart. I initially installed a fingerboard with a slightly longer scale and strung it up, but it didn't project very well. My bridge placement may have been too close to the rear brace. I suspect that it might sound slightly better with proper bridge placement with my new fingerboard. I am also toying around with some experimental bridges from this site:

    http://www.murphymethod.com/index.cf...t&contentId=87

    I cut a couple of his solid bridges out of maple on my laser engraver and have contoured them to fit in the proper position on the mandolin. Even if I don't get too much more volume out of it, there is something appealing about how compact and tiny these Mandolutes are. I am taking a somewhat Eddie Van Halen approach to building this (not entirely, but I am ok with my interventions being visible/not visually seamless in the end product), so the end product may not be as professionally executed as the amazing work that you exhibit on your website, but if it plays well and sounds ok for me, I will accept the outcome. Your master-level skill definitely does inspire me to want to make higher quality work, though. Thanks for sharing your site.
    -Jon

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