sourdough weeks

Had to deal with old projects that I have had lying around since amateur time. I was especially ashamed of the Levin-like guitar that I had for 4 years sugar dropped sugar, you have to pick it up quickly. In any case, I'm done with my three toughest items that have been sent to their owners. Took three weeks instead of a week as I had thought… GammelGura guitars in the ongoing batch have had to take the beating. Also did some quick repairs between yards to get together for food and rent. There were at least three very nice guitars!
A very cool Hawaii National dobro from the 20's. This was the least work on, just a milling of carbon fiber rod and a turnover of neck. Adjusted for both slide and sheet music, a bit higher at the upper saddle and a couple of tenths higher at the 12th band than normal. Also put there discreet white side dots. Stringed up with a 0.13 set of ground strings.
  
A unique Edelton "cello guitar". Probably one of the world's first jazz guitars from the 20's. Actually a cello with a guitar neck, the body itself is made just like a cello with f-holes and extremely curved bottom and lid. The cello guitar was a huge job. Both in size and in time :P During the renovation in 1946, it was ugly painted on the lid and the bindings had milled in too deep. Built on the kerflingen both at the bottom and lid and repaired cracks in the sides. They had failed to bend the rim at the narrowest curve in the waist. Glued cracks and reinforced the lid. Took the opportunity to replace ladder bracing with a variant of parallel bracing that gives better strength to the lid and gives better sound. Mounted a K&K.
The biggest job was to repaint it completely because I couldn't keep the fragile original paint rope-free. Would have painted only the lid, but now there was new liquor paint on the entire guitar.
The neck, which was a large square lump, was rounded to a more beautiful shape. The neck is still a real club and does not learn to bend. It had, on the other hand, twisted and I sanded a small radius on the board to get it straight without sanding the mother-of-pearl inserts in the ebony board. Also it repainted on the back.
A German 50's stall fit very well after a little modification (the plastic leg was changed to legs and I added more wood underneath to be able to shape it against the lid). The original was missing. The 1946 renovation was probably not complete. One of the original tuning screws was taken but there were 6 new unused ones to install. Fitted almost perfectly but had to drill a few larger holes and mecca a little to get the new ones. Very big exchange on them, a little bit too small to fine tune (but it goes fast in the beginning!).

Strung up with a Newtone Masterclass 0.11 set. This one can handle 0.12 or 0.13 without any problem if you want. The original case is rough but works :)

      

Some nature pictures too.

    

Took a small measure on the cell guitar.

Body length: 54,5 cm
Upper max width: 31,4 cm
Lower max width: 42,5 cm
Width (neck, waist, end plug): 10, 10, 11,5 cm
Mens watch: 64 cm
Grip board width (upper saddle, last strap): 48, 60 mm
Stall height: 30 mm

Very high volume. Probably the best sound I've heard on an archtop. Overall, warm and distinct tone. Lovely bottom but not bumpy. A party instrument.

The one I've had for 4 years. An incredible guitar. Mahogany in side and bottom, Brazilian jakaranda in grip board and stables. Waverly tuning screws. Looks like a high end Levin in every way, but lacks both numbers, stamp and logo with logo. A mystery. Comes from Gothenburg so it is perhaps an employee who specialized one for himself. Tuning screws and the shallow attachment of the neck foot to the body suggest 1900-1910, but it may be younger. Sounds damn good with Newtone Heritage 0.11. After all the chair I had with this one it feels great that it was sent, but at the same time it was one of the coolest parlor guitars I have worked with.

    

See also thread on Acoustic Guitar Forum

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