Built in the 1920s by the storied luthiers, this guitar has maintained an exceptional tone over the years.
From around 1900 up until World War II, Swedish immigrant brothers Carl and August Larson’s two-man, Chicago-based workshop turned out an amazing assortment of handmade instruments. Their products ranged from ukuleles to harp guitars, standard guitars, mandolins, mandolas, mandocellos, and even a mandobass. I found this 97-year-old Larson brothers flattop at the 1994 New York Guitar Show, when interest in the brothers’ work was on the rise but the actual instruments were hard to find, with even many experienced dealers knowing little about them.
The brothers’ instruments manifested some advanced designs: Their guitars were steel-strung decades before Martins. Tops and backs were built with a slight arch—“built under tension”—and August patented an ingenious laminated X-bracing system in 1904. The main brace was a sandwich of spruce with an ebony or rosewood center strip, which increased strength without significantly adding weight. Their name would be better remembered if they put it on the instruments, but they never did. Much of their output was marketed under other sellers’ names; in-house brands included Maurer, Prairie State, and Euphonon, but never Larson.
The headstock is overlaid with Brazilian rosewood and accented with a pearl floral pattern inlay.
Photo by George Aslaender
This guitar was built for William C. Stahl, a mandolin virtuoso who turned to teaching and publishing, and one of the brothers’ largest accounts. While primarily promoting mandolins, he also sold guitars. Not all were Larsons, but the brothers’ wares made up much of his line, and Larson-built instruments would appear in Stahl’s trade ads by 1907. He claimed they were built under his “personal supervision,” which is unlikely, as Stahl lived in Milwaukee! Stahl denigrated “machine-made” instruments; his were “handmade … reasonable in price and perfect as human hands can make them … the loudest and sweetest-toned in the world.”
Some Stahls carry a paper label; others, like this, show a “Wm. C. Stahl, Maker, Milwaukee” hot stamp on the back strip. Stahl’s 1912 catalog offered a range of guitars; this most resembles the Solo Style 8. According to Larson historian Robert Carl Hartman, the serial number indicates that it was constructed in 1927. A 12-fret, 13 1/2″-wide concert-size guitar, it sports many typical higher-grade Larson appointments. The back and sides are Brazilian rosewood, with more figure than the straight grain Martin preferred. The spruce top has laminated X-bracing; many Stahl guitars did not. August Larson may have originally intended to reserve his patented system for his own wares, but perhaps by the 1920s, the distinction was lost.
“Their name would be better remembered if they put it on the instruments, but they never did.”
Visually, this instrument is quite elaborate. The top is bordered in ivoroid with delicate half-herringbone wood marquetry bands bordering abalone inlay, as is the soundhole. The back is triple bound with marquetry down the center. The flat-pyramid ebony bridge has engraved pearl stars on each end. The 24 3/4″-scale mahogany neck is carved to a wide but comfortable round-backed shape, and is 1 7/8″ wide at the nut. Most period guitars (including Martins) usually featured a “V” profile, along with an “ovaled,” or arched, fretboard, so this gives a surprisingly modern feel for a 97-year-old guitar.
This guitar was made for William C. Stahl, and has a “Wm. C. Stahl, Maker, Milwaukee” hot stamp on the back strip.
Photo by George Aslaender
The thick ebony board is bound and inlaid with shaped pearl pieces and dots, while the headstock is overlaid with Brazilian rosewood, accented with a pearl floral pattern inlay. The tuners are engraved ivoroid-button strips typical of the period. A number of Stahl guitars of this pattern are known, including one rather famous example with a colorful history of ownership by Eric Clapton, Jimi Hendrix, and Felix Pappalardi of Mountain, who used it on the evocative song “The Laird” from Mountain Climbing!
Larson products have distinctive construction and finishing traits fairly consistent through a 40-plus year span and amazing range of designs. The guitars often have a distinct sonic character. I characterize this one like an acoustic version of a good Telecaster; singing high end that never gets shrill, a tight, well-defined bass, and shimmering mids with more natural reverb than many flattops. It records extremely well, being particularly responsive to open tunings where the overtones mingle but retain their clarity.
This guitar has seen some ups and downs over the last century: The finish shows numerous wear marks and scratches with repaired cracks to the back and sides. The neck was reset and the bridge is a replica with a compensated saddle. None of this has impeded its sound at all.
When Stahl promoted his instruments a century ago, he wrote, “The music of the future won’t be the caterwauling of gut. It will be the virile pulsing of the plucked steel-string,” claiming, “No instruments can be made any better.” This pearl-trimmed gem goes a long way towards proving both points.
With three sizes to choose from, 7" (18cm), 17.6" (45cm), and 24"(61cm), no detail was overlooked from top to bottom in creating a new higher standard.
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7" (18cm) L-Beam smaller size is the perfect length for controllability and is specifically designed for spot leveling of your frets, creating fall away, as well as smaller instruments like the ukulele and mandolin. This small guy is in a weight class by itself at .578 lbs
(262g).17.6" (45cm) L-Beam longer size, compared to the common 16" length found in other designs, is the perfect length to cover and level all the frets, ensuring precise accuracy with fewer strokes. The 17.6" L-Beam is in a weight class by itself at 1.435 lbs (651g).
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Fret Leveler - Leveling (L-Beam) 7" (18cm) for Guitar, Ukulele, Mandolin
Fret Leveler - Leveling (L-Beam) 7" (18cm) for Guitar, Ukulele, Mandolin
We all know dead strings can compromise our tone, but so can fret wear.
While it might be easy for players to see, feel, and hear their guitar strings wearing out, it’s less obvious to see worn frets, despite their sharing equal responsibility for each note. Fret and string interaction is fundamental to the function of a guitar, but many players give little thought to the influence frets have on the way our guitars work, and how we play them.
Though the earliest frets were little more than pieces of string tied around a neck and slid into position by the player, guitar frets have been made from metal for centuries. For much of this time, a fret was a simple, straight-sided length of metal hammered into a groove sawn into the fretboard. This method worked well—particularly with relatively large-diameter gut strings—because the player’s fingertip was largely on top of the string and didn’t contact the abrupt, straight-sided fret much.
As smaller-diameter steel strings became increasingly common, the player’s fingertips contacted the sides of the fret more than before, creating a distinctly bumpy, ridged feeling on the neck. In response, wire makers created what we think of as a modern T-style fret, characterized by its larger semi-circular top section held in place by a slender straight portion, and, often, small teeth embossed in the sides to bite into the wood fretboard. This style of fret makes for a smoother playing feel and is easier to install at a uniform height. That’s thanks to the built-in stop that bumps into the fretboard’s surface when fully seated.
Regardless of the fret’s exact cross-section, the most critical aspect is that the top of each fret is exactly the same level as those in front and behind it. If not, the vibrating string is likely to contact the unwanted high spot and create a buzz or incorrect note. The frets don’t necessarily require identical height between the fretboard surface and the top of each fret—only that the tops of all frets fall in an even plane with each other. In fact, this is a typical scenario for a guitar.
The issue is that when two metal things rub together, they wear. Mostly, the harder metal will wear away the softer metal. Guitar strings and their differing alloys and construction styles have a wide variety of hardness, as do fret wires. Frets are bound to wear unevenly as we play, progressing to the point where an often-played note is measurably lower in elevation than a less-worn fret, preventing the string from playing accurately. The remedy is to grind the tops of all the frets into a uniform lower plane with respect to the intended radius of the fretboard, and then reshape the sides of each fret to a semicircular cross section to restore accurate pitch and consistent playability to every note. Since frets in the lower and middle portions of the fretboard are typically subjected to more wear than the highest notes, each successive fret-leveling operation tends to result in slightly shorter frets near the nut, and slightly taller ones at the dusty end of the fretboard.
After establishing a uniform plane across the tops of the frets, a second consideration is the overall height of the fret. The distance between the depressed string and the fretboard surface significantly changes the feel and playing style of a guitar neck. Put simply, smaller frets will tend to offer more accurate pitch for each note, while larger, taller frets can offer more expressive notes.
When a string is pressed to the fret, our fingertips subtly bend the string sharp as we push toward the fretboard surface. And as our fingertips contact the wood fretboard, the extra finger pressure is distributed, preventing the player from raising the pitch any further. This bending effect is minimized with small frets since they somewhat limit the player from pressing too much and raising notes higher than the intended pitch. In contrast, tall frets can exaggerate a deviation from the intended pitch, but they also allow for a myriad of expressive effects. This is because the player’s fingertips have a high degree of control to bend down toward the fretboard or sideways to alter the nuance of each note.
Regardless of the style or metal alloy, frets will wear over time. They can be leveled a number of times, but once they’re too low to play comfortably, it’s time to replace them to restore playability and expression to your guitar.