A slightly finer Levin parlor from 1919 is ready. Wide rim and finer inlays in the fingerboard of rosewood. On the not too unusual label with Ungdomsstjärnan's publisher, it says no: 13, which should be the model number.

In addition to the neck getting a kiss and the grip board breaking the lid at the sound hole with a few pieces away it was in good condition. The right thickness on the lid and the bottom and no cracks except the damage (!). Neither lid nor bottom had shrunk noticeably. In contrast, the original figure was very obliquely glued, separating 3 mm between the ends. Pretty perfect for the tone if the slope had been the other way 😉

The tuning screws were a bit unusual for a Levin with a lyric shape at the top of the plate. Haven't seen such tuning screws on any other Levin parlor, but this is probably the first one from 1919 that I've worked with. They were not in the best condition so they had to be replaced.

Changed all the bars in the usual order, also tried to give the bar in front of the stable a small asymmetrical slope. I imagine that a little asymmetry can be good. Can not say that I heard anything new when it was finished .. To cover the wound from the obliquely mounted original stable, a replica was made that was a few mm wider than the original. Gave the flat fretboard a small 20 ″ radius to make it easier to play.

Right now I'm learning to adjust the neck relief and the string height at the 1st and 12th band in the best way. Has received an aluminum beam CNC'ad to 0.1 mm negative relief by polar Per Marklund. Have ordered two more with 0.15 and 0.20 mm negative relief. With the help of them, I can grind in an extremely even and nice relief curve over the entire board. When I work with the grinding of the fretboard and the straps, I do it in two steps, both times in the position that the neck gets when the strings are tightened. First the board and then the tops of the straps. A problem that I have not thought much about before is that the banding gives the fingerboard / neck a negative bend due to the compression of the wood when you lower the band. My plan is to use the aluminum beam with 0.15 / 0.20 relief on the fretboard, mount the straps and get a relief of about 0.05 / 0.1 and then use the beam with 0.1 relief to crown the straps with.

What happened to this was that the neck got a minimal back bow after the strapping since I ground the grip board to 0.1 mm relief with the aluminum bar I have. Got tied up an extra time with everything that it means, this time I hand-cut a relief of about 0.2 in the grip board. Was good after banding and coring of the bands. Next time I'll be better I've thought!

As for the string height of the 1st band I have tested with a zero band and different height at 12th and noted with blade dimensions what the height at 1st will be. The height is the distance between the top of the band and the bottom of the string. Here are two tables, one for thin E and one for thick E string:

E 12th / 1: a
2.0 mm 0.30 mm
2.1 mm 0.30 mm
2.2 mm 0.30 mm
2.3 mm 0.35 mm
2.4 mm 0.40 mm
2.5 mm 0.40 mm
2.6 mm 0.45 mm
2.7 mm 0.45 mm
2.8 mm 0.45 mm
2.9 mm 0.45 mm
3.0 mm 0.50 mm
3.1 mm 0.50 mm
3.2 mm 0.50 mm

e 12: e / 1: a
0.6 mm 0.08 mm
0.7 mm 0.08 mm
0.8 mm 0.10 mm
0.9 mm 0.10 mm
1.0 mm 0.10 mm
1.1 mm 0.10 mm
1.2 mm 0.10 mm
1.3 mm 0.15 mm
1.4 mm 0.15 mm
1.5 mm 0.15 mm
1.6 mm 0.15 mm
1.7 mm 0.20 mm
1.8 mm 0.20 mm

Can state that my previous standard measurements were OK for all strings except the two unspun. Here I have had 0.35 / 0.30 mm at 1st but you can actually go down to 0.15 mm without rattling! The guitar becomes easier to play. If you know what you want for the height of the 12th, it is easy to find the height that a zero band gives at the 1st (63 cm mensur). The height of the bars in between follows a straight line between the two outer ones.

It received oversaddle toning and a composite stable leg. Think it sounds very good! Not quite without the wavy tone, I think it depends on the flat bottom found in all Levin parlors.