Ok folks, this instrument (F4 #5713) is quite literally the reason I got into this whole archiving business in the first place (note the archive logo). These spectacular photos by Dave at Elderly instruments:
Ok folks, this instrument (F4 #5713) is quite literally the reason I got into this whole archiving business in the first place (note the archive logo). These spectacular photos by Dave at Elderly instruments:
The Back..
Senor Torchio:
Handel tuners.. appear to have been left natural brass (like the tailpiece cover) which gives a sort of "gold hardware" look..
Those pics are incredible. It's so har to take good photos of metal parts.
yes, I've been in touch with the photographer at Elderly who took them- they are fantastic shots.
I think the brass parts aren't quite as tricky as chrome to photograph, they are more "scattering" of light than those mirror-finish ones are. Still, amazing details. I particularly like the shot of the Handels, the detail on the stamping is nice to see that sharply.
Wow! Thanks for posting these.
Playing with the flash tonight while I had the strings off. Here's a nice shot showing where the FON is on a snakehead..
Another nice detail showing the serial that's pencilled under the bridge. The "T" and "B" are markers for Treble & Bass sides. I posted a shot of this once before, but this one came out nicer
Kind of a nice view of the tailpiece cover. Stamp looks like it was wearing out a bit?
Dan - You are the King Of The Camera!
2015 Chevy Silverado
2 bottles of Knob Creek bourbon
1953 modified Kay string bass named "Bambi"
Nice bridge top. It looks like it has some sort of stamp on it
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
Sunken original on the base in this shot, Darryl's saddle on the top. *enormous* difference in tone for the better with the replacement..
Notice how I don't cut the compensations down so low on the saddle. #It may not be exactly/perfectly correct, but I have not heard of one cracking in that lower right corner where the original eventually do. I also cut the wheel relief a shade deeper so that the top will go all the way down to the base
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
Hey Darryl& Dan,
I remember reading someplace, (probally here) that you don't want the saddle resting on the base, keep it raised off the base via the thumbwheels for better vibration transmission (more focused) from saddle-thru the posts- to base- to the the tone bars. B.S.or truth?
Michael Lettieri
Wow, that's weird. Just last night I was talking to Sharon Gilchrist who is a good picker out of Santa Fe and she has a Gilchrist F-5 made in the 80's that had the exact same headstock inlay and vine that that 3-pointer has. I had never seen the inlay before and now within 24 hours I have seen it on a vintage gibson and a modern gilly. Kinda cool.
It doesn't matter . . . I'm going to WINFIELD!!!!!
Nugget did several of them too.. recenly, so has Hans Brentrup!
I had the strings off my F4 so I polished the abolone on the headstock. I can't seem to capture the depth of the color though with my camera. They did some nice work back in those days.
Here's a truss rod F4 with an amazing back..
Very nice..
This image and the previous two are of #70946, a 1922 F4
You guys see this one yet? It's a 1924 A-4 snakehead on ebay right now. It's really quite nice, I thought the bridge might have been replaced because of the small wheels, but feel free to enlighten me on that...here's the pic.
Bridge looks period-correct to me.
Charlie
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