what kind of tailpc. is that? or is it just coming off?
what kind of tailpc. is that? or is it just coming off?
Just slightly loose
For your viewing pleasure, here is the 1923 Gibson Service Handbook in its entirety. Thanks kindly to the owner for lending me this booklet. I'll let him speak up if he'd like to
Lots of fun stuff to read there!
The early Loars had several traits that make them look a bit different. The recurve and/or the way the binding transitions gives them a sharper edge look. The scroll work is almost invariably sharper and slightly pronounced in height. And of course the light finish.Originally Posted by (Michael Lewis @ Feb. 25 2006, 02:37)
I'll open up this can of worms by saying, only as THEORY, and FODDER for possible discussion and not even hard opinion that: the possibility exists that a completely different set of individuals may have produced or participated in the early ones, those made up until about May. They all have the appearance that a violin maker worked on them. I do not see some of these nuances on F4's or other instruments of that particular period.
They have distinctive wood, distinctive finishes, generally sound brighter, tend to come apart more easily and have carving nuances not seen in the rest.
Go figure again, once more
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
I would agree. As for the reason, I'm certainly not sure.
My own personal theory, in regards to F5's in general, is that the guys on the floor had a lot more to do with them than they were given credit for. I believe imigrants, from Italy in particular, who grew up in the violin culture, perhaps even tenured at a shop from boyhood, had a lot to do with the development of the F5.
This is TOTALLY speculation on my part, but, I can see the designers, Loar, Hart, etc, having these ideas, and the fellows on the shop floor having an immediate understanding of how to implement it, F holes, finish, bridge in the middle, Stradivarious arching.. the whole thing.
Agreed also that they sound brighter, and usually louder. They are primarily 1/4 sawn, again more violin like, and, my personal fave.
I think one possible reason, and the one that makes the most sense to me, for the change, is simply economics.
Gibson was in financial trouble, and things kind of went downhill. I believe that's one reason why the next ones were primarily slab cut. Easier, cheaper.
I think that the early ones MAY be the best ones, as a group.
Ken
Here is an example. Quartersawn, light finish. Find an F4 that has this wood. This is 71634
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
71059. The ridge of the scroll is higher, and this funky greenish binding does not show up on F4's
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
Ken, we Italians appreciate all the positive speculation that's out there. Lloyd Loar was, indeed, an Italian immigrant. Unfortunately, he felt the sting of quasi-nationalism and ended up changing his name to Anglo-ize it.
Lloyd Loarelli, yep .................. a great Italian American.
..... f5joe
Is that true, about Lloyds last name? or are just mess'n?
Mike Lettieri
AKA Mandolinmyster
Gentlemen, thanks for the insight. It just keeps geting better.
Well, hey, what do you think Albert and Julious Bellson's real name was....? It wasn't Bellson.
Bellsonelli, according to my records.
............. hey, just funnin' here.
But it's wonderful to believe that Italian-Americans may have contributed.
f5joebalogne
..... f5joe
ok.ok. #I tossed it out there for thought, not geneology.
Again, I'm not stating that I believe this is the case, but it does have some indicators that suggest the possibility. #Remember, Gibson smothered their ads with references to Stradivari principles on the F5, and the new "varnish" so it bears investigation whether they may have outsourced a bit of expertise or brought some individuals into the company for a specific purpose
Darryl G. Wolfe, The F5 Journal
www.f5journal.com
Handel tuners of assumed German origin debunked -maybe- and now the Loar Italian connection! I love this place!
Jamie
There are two things to aim at in life: first, to get what you want; and, after that, to enjoy it. Only the wisest of mankind achieve the second. Logan Pearsall Smith, 1865 - 1946
+ Give Blood, Save a Life +
A great shot of Monroe and his Loar. The poster is from 1958, the photo is quite a bit earlier than that.
Julius lived a few blocks from me in Kalamazoo. We were fairly well acquainted, and on one occasion while visiting in his office in the 1970s, he told me his family name was Belsoni. May have had or two ll's or two nn's; he just mentioned it in passing without spelling it. And, of course, he said it was changed because of the stigma of immigration. Wonderful gentleman and a fine classical mandolinist; loved to give impromptu tours of the factory. The employees at Gibson obviously held Julius in very high regard.Originally Posted by (Ken Waltham @ Mar. 01 2006, 06:42)
BTW, Julius preferred the sound of his F-4 over any F-5.
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