Fretless "Minstrel" banjo

Here's my take on this classic 19th century instrument, one of the earliest versions of the American 5 string banjo, gut-strung and fretless.  It's ideal for old-time music makers, American Civil War re-enactors, or anyone who wants to explore different sounds.  This is my interpretation, rather than a slavish copy, using a tuneable hand drum with Mylar skin, but following the old style with ebony fiddle tuning pegs, ogee style neck (the various points and curves on the neck mark the 5th, 7th and 12th frets), tied-on tailpiece. Fitted with Aquila Nylgut strings and with a gunstock oil finish, this is a nice balance of old-timey appearance and modern playability.

 

A 'banjer' that's just the job for a bit of  entertaining round the ol' campfire...

 

"Boucher" style scroll headstock with ebony violin pegs and overwidth bone nut.

 

Simple rim with tuneable head, dowelstick with tied-on maple tailpiece

 

19th Century German parlour guitar

Here's my restoration of a nice German Markneukirchen guitar. I took off of the back to repair the braces and repair cracks in the top, put it all back together, replaced the bindings in rosewood and refinished it in French polish. To protect it, I made a period style "coffin" case, simply painted black and lined with flannel.

 

 

Stella 929

These guitars were made in their thousands in Chicago by Harmony, and this design was made from the mid 1930s through to the 1970s, retaining the same basic shape and construction throughout that period. I've had countless examples of these through my workshop, and most of them needed a fair bit of attention - I've never had one with a bent neck, but 90% of them need a neck re-set to make them playable. I love them for live work, as they are compact and robust, and sound great with a soundhole pickup then put through a good amp.  Check Ian Siegal's version "John the Revelator" on his Meat and Potatoes album...huge, huge sound from that little Stella (supplied by ChickenboneJohn of course).

This one has an unusual 'faux flame' airbrushed pattern, and is fitted with my favorite pickup, the Lawrence A300, and is shown with the original fibreboard case. The very early ones didn't have any neck reinforcement, but have lovely "vee" shaped necks, and the example I've had were noticeably better sounding than the newer ones. Why that should be I really don't know, as they have the same all solid birch construction and simple ladder bracing.

 

 

 Stella Jumbo

Another guitar from the budget Stella line from Harmony. Again all-solid birch construction - USA-built Stellas were NEVER made from plywood. This one is also fitted with a Lawrence pickup and replacement Kluson tuners, and of course, needed a neck re-set. Don't be fooled by those block markers on the fretboard..they are painted and the body is also painted with faux bindings. There are no match for the Harmony guitars of the same period, some of which were made with really nice timbers, but nevertheless I still like them as a solid no-nonsense knock-about gitbox.

 

 

1937 Harmony "frosted Duco" finish

Here's a rarity, a simple all-birch guitar but with that special frosted Duco crytaline finish that is sometimes seen on the old National resonator guitars. I've only ever seen 3 of these - one sunburst and two black, and I've had both of the black ones! Very lightly built and sweet sounding..and complete with the original case too.

 

1960s Harmony Sovereign

This is a really nice example, as original with no scratchplate and lovely tight grained wood on the top, Brazilian rosewood fretboard and bridge...and pretty clean generally. It didn't need much to set it in order: a neck reset, dress the frets and overhaul the tuners (they never were that great on any of the Harmony guitars). This is exactly the same guitar that you'll see pictures of Mance Lipscombe holding.

 

1950s Kay jazz guitar

This is lovely superclean example -All I had to do was re-set the neck and put new strings on (flatwound of course).  The pickups don't have much 'poke', and they are a touch microphonic, but it does sound great and looks the part, super for jazz and blues and always gets compliments on how good it sounds. This is the guitar I use most of the time for live work.

 Oahu lap steel

Absolutely beautiful pearloid covered lapsteel, made by National Valco in the 1950s. It's fitted with the very sought after "string thru'" pickup (as used by Ry Cooder on one of his strats). This one is a very early model, with a screw-on lead rather than the more usual jack, and came complete with the original braided lead and hard case. These sound as good as they look - the pickup is amazingly crudely built, with what looks like very few windings on cardboard bobbins, but the sound is truly exceptional.

 

 

19th C German parlor guitar

Another nice example - I replaced the bridge with a 'pyramid ' style pin bridge, put new bindings on and refinished it. Fitted with silk and steel strings, it's a very sweet sounding and totally playable little guitar.

 

 

Teisco Del Rey Electric

Totally cool 1960s Japanese instriment..chock full of great features -  4 + 2 headstock, bar fretboard markers, brushed aluminium scratchplate, an unusual bridge that REALLY works well, rocker tone switches and a great fat warm sounding pickup.