|
Post by Mark Makin on Aug 2, 2021 9:30:46 GMT
I dont think it is factory original either. Why do it on a finished B series duco instrument? Notice there is no pearl on any of the "difficult" parts. How long ago this was done I wouldn't like to say. This type of pearl is much later. The only pearloid used by National in the early 30s was the cream pearloid used on Style 3 and Style 4s. Personally, I always think it's a shame that 'over the top' DIY always seems to happen to 'rarer' instruments. There are only 5 duco mandolins known and this has to happen to it. There are plenty of normal Triolians out there!.
|
|
|
Post by Mark Makin on Jun 8, 2021 18:02:34 GMT
Hi Snakehips No, this is from an additional 36 pages (produced over lockdown) of Regals, Kays, Faux dobros, Australian copies, Del Oros, Hollywoods, Schiresons, french resonators, European Radiotones etc. etc. All the stuff that came into production before the war because of the need to copy what the Dopyeras were doing.
|
|
|
Post by Mark Makin on Jun 8, 2021 10:51:55 GMT
Here is some information about Harmony resonators that were built using both Schireson and National cones.
|
|
|
Post by Mark Makin on Jun 2, 2021 6:11:53 GMT
No
|
|
|
Post by Mark Makin on May 24, 2021 19:53:24 GMT
These are the pictures I took at the best concert I ever went to....55 years ago last week. Happy birthday Bob. Attachments:
|
|
|
Post by Mark Makin on Mar 10, 2021 7:42:15 GMT
Hello Sam, here is a “secret” from master luthier and National repairer Marc Schoenberger......” the best solution for tricone gaskets is to cut rings from the covers of DC Marvel comics!!”
|
|
|
Post by Mark Makin on Feb 2, 2021 12:37:29 GMT
I agree with you that this is VERY confusing at the moment. Firstly, I know that 260 (with no zero prefix) is DEFINITELY a square neck acanthus de luxe pattern. It is owned by Colin McCubbin and we have photos. 0260 (roundneck) transferred from Brozman's original database. He recorded it as a "Stock Style 4" which, naively at the time in 1993, we concluded was an early pattern of Style 4. 0261 (roundneck) I have recorded as a Style 1 owned by Mike Lewis. On asking Mike about it, he doesn't recall it at all!!! So for the minute, we're up in the air about it. I think confirmation from Elderly would be a start!
In answer to "how many roundneck acanthus triplates do we have?" - we know of 0122, 0127, 0141, 0162, 0163, 0260(?), and 0269.
While we're on the subject - we know of fewer squarenecks - only 260, 339, 376, 414.
|
|
|
Post by Mark Makin on Nov 18, 2020 16:08:08 GMT
Incidentally, if that serial number (T76217) is correct, then I suspect that it comes from a Supro Coronado 2. These are the instruments that would have been on the bench at Valco when that serial number was issued. They are definitely the same type.
|
|
|
Post by Mark Makin on Nov 18, 2020 15:58:59 GMT
Hi HH I can understand your confusion here. The neck is definitely NOT the standard neck that would have been fitted when this was first released as a "catalogue item". This would have a flame shaped white headstock and been branded as an AIRLINE. The red version was a Supro and the white one - a National. As you already know, the Valco company 'mixed and matched' any neck with any other feature when they were assembling the last instruments to be sold at the Valco liquidation sale in 1968.
The neck on this instrument was, as far as I know, never used on these instruments nor do you see these instruments with T numbers at this time (1962) so I suspect that the neck is a later addition. You DO get these Folkstar-type instruments with metal plate serial numbers but they are usually G plates from 1962/3. By far the largest number of them have foil stickers with a 1 or a 2 prefix. These date to 1965-68. It does seem that the earliest ones occuring are the black ones in 1962/3. The red and white tend to be the later ones through 1964/5.
I think it is unlikely to be an assemblage at the 1968 liquidation sale because it would not have been released with the much earlier serial number. I think, the neck and the number on it were transplanted to a broken necked Airline 'Folkstar' at a later date. I think the black body is probably an earlier one because it still was issued with its cream plastic 'air vent' sound holes. The later models of black instruments are often fitted with the small screen holes that should appear on the red Supro Folkstars. I think they must have run out of those airvent fixtures much earlier than the Supro fittings. Try googling 'Jeff Lang' and have a look at the sound holes and neck on his. It is very definitely a 1968 'assemblage'
|
|
|
Post by Mark Makin on Jul 25, 2020 19:11:15 GMT
I’ve just been made aware that my very very good friend Chris (CP) Lee has died of a massive and instant heart attack this lunchtime in Manchester.
Chris was best known to music fans in the early 70s as the founder and leader of the ‘Berts’ , better known as Alberto y Lost Trios Paranoias. Also a member of Greasy Bear.
His working life was as a university professor in Media at Salford University. He became one of few leading authorities on Bob Dylan particularly with his book “Like the Night” which documented the famous confrontational concert in 1966 at the Free Trade Hall in Manchester. I took the photographs used in the book which is how we became friends back around 20 years ago. We have, since then, often appeared together at functions, interviews, documentaries and concerts related to celebrations of the 50th anniversary of the concert.
Such a personal shock ....particularly as i heard 5 minutes after the news of Peter Green. Not a good day
|
|
|
Post by Mark Makin on Jul 16, 2020 11:58:21 GMT
Yes, he was helped on to the stage. He was very frail and leaned on my shoulder wheezing heavily while he struggled to sign my programme - he pressed on so hard, the indent of the biro went through all the other pages! He had a helper on each arm to support him as they took him from the dressing room to the stage. That's why they left his national standing against the wall. I spotted it and followed the three of them to the stage and passed it up to them.
bukka White was a big, strong, vibrant character. It was he who got me all the other signatures in the dressing room. He just grabbed my programme and rushed round the room, forcing Little Walter and Skip James to sign. He even kicked Sonny Terry in the leg to wake him up in his armchair to rubber stamp his picture!
While this was going on, I strummed a Martin D35 that was standing by the door. I heard a high pitched voice behind me say "Be careful of that boy, it's worth more than both of us!".....Skip James
MM - I DO like 'Blind Venetian!"
|
|
|
Post by Mark Makin on Jul 16, 2020 10:35:34 GMT
Son House performed at Birmingham Town Hall on October 25th 1967...and I carried his National to the edge of the stage just after he signed my programme. Yeaaah! (Sorry about the Venetian blind...the photo's behind glass in my office!) The other artists on the bill were Bukka White, Skip James, Sonny and Brownie, Little Walter, Hound Dog Taylor, Koko Taylor, Odie Payne and Dillard Crume
|
|
|
Post by Mark Makin on Jul 12, 2020 12:32:33 GMT
|
|
|
Post by Mark Makin on Jun 1, 2020 1:39:17 GMT
Hi jro, - At the moment, I see no reason to disagree with your thoughts concerning this Style 3. It is certainly the earliest round neck that we’ve seen and the snowflake markers do indicate a “custom” element. I’ve spoken with Marc S and it does seem to be a ‘factory’ build although I do find it odd to see snowflake (Martin-type) markers on a National. In the earliest days of the National production, triplates were only available in plain or engraved (style 2) form. This was the only choice up to around Number 500 (sq nk). Occasionally a few random ‘tests’ were done of exotic lavish patterns. 146 was the first Style 4 and a few others with an ‘acanthus’ pattern were produced. None of these instruments were considered as regular styles and they all have the word ‘deluxe’ scratched inside. The first (we assume) square neck Style 3 has been found. It is a separate fronds early version like yours and is numbered 390. It is more lavish in that the engraving includes a pair of lovebirds and various butterflies resting on the lily of the valley leaves. In the middle of each side waist engraving is a large letter ‘E’. We believe this to represent ‘Elizabeth’ Dopyera - Johns wife, who is credited with the design of the Style 3. Remember that there were many more square necks produced than round necks so higher serial numbers were reached at an earlier date than round necks. 390 and 0318 would have been made at approximately the same date - around Feb/Mar 1928. The Style 3 , of course, was the last pattern to go into production.
|
|
|
Post by Mark Makin on May 15, 2020 18:43:34 GMT
Hi Resotonic I haven't seen that logo on this particular guitar (it is, in fact, a 1952 Model 1122 National Cosmopolitan) but the brand has cropped up a few times in the last few years. It is what's referred to as a "Trade House" guitar. Manufactured by National Valco in Chicago as a request by a relatively obscure music store or school in small numbers. Valco would produce guitars for anybody who required 'branded' instruments. 'Tonemaster' guitars, for instance, were produced for Norman English Music of Lansing, Michigan under the company name of "English Electronics". There were many other small companies like this. I have added a page of my book that includes a 're-branded' National flat top as a Royal Aire. Because of the model details, we can date it to 1948. As your Cosmopolitan has the black and cream vinyl pickup, that will date it to 1952 so it would seem that whoever 'Royal Aire' were they had a relationship with the National/Dobro/Supro company for at least 5 years or so. incidentally, the blank cutout of the logo plate is the same metal blank that is usually overprinted with the Black/blue/white National amplifier plates of the early 50s. Also compare it with the logo plate on the model 1191 on the same page of the book.So it was definitely conceived and made inside the national company Best Mark
|
|