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- VIntage 1950's Favilla Baritone Uke (Ukulele) Demo/Review. Howard's Guitars 4,323 views. Favilla Baritone Low Octave GCEA Thomastic Flatwound strings - Duration: 6:40. Ukulele Allsorts.
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Spent the weekend in the Texas Hill Country and had a close encounter with a Herk Favilla all-mahogany guitar made sometime in the 1960s, probably early in that decade. Probably an F5, based on my online searching (I didn't take notes from the interior label.just recalled the 'Herk Favilla'). It belongs to a woman who was one of my wife's best friends since they were 13 and her roommate back in college. Thought I'd share my thoughts AND find out how many other folks here have tried or currently own a Favilla.
I recall playing this little instrument many years back, and every time I've tried it, I've been favorably impressed by its tone, clarity and playability. This time, alas, it was showing its age and need for some serious TLC. Strings were ancient and crusty: our friend hasn't played in a long while. The original tuners are still on.individual open-backs with oval cream-color ivoroid buttons: one of them needs to have its sleeve reset into the headstock.it's crept up and impinging on the capstan a tad. The saddle is probably at its lowest point before needing some hard decisions about sanding the bridge or resetting the neck (probably not a smart financial move on an instrument this inexpensive at its outset). And right now, the original pickguard is warping and curling badly at several places, exposing unfinished wood beneath (apparently, the finish was applied after the guard was fitted).
Still, for all that, the neck is straight (despite the apparent lack of adjustability.no truss rod cover or inside-the-sound-hole accommodation for an adjusting tool that I could see), current action is quite low, the original medium-fat frets are in quite good shape, and I see no cracks or seam separation or dents.not even very many dings to speak of. It's a very comfortable size: about a 14-fret 00, I'd say, nice and lightweight. Neck a slightly chunky C. Wish I'd had a set of strings with me to change out, since one of the things I've always loved about the Favilla is the clear precision and articulation of notes on the bass E and the A.but the old strings dialed these back to a less impressive response.
The thing about this Favilla is that it beats every older all-mahogany guitar I've ever played, with the possible exception of one small-body 15 Martin. The all-hog Gibsons and Epiphones my friends had back in the '60s couldn't come close for resonance, tone and projection. These days, of course, we have Santa Cruz making the astounding 1929 series and Martin's newer 15 series and even Bedell.I've played one of their all-hog models a couple of years back that did impress. But for its day, this Favilla must have been truly special. Apparently all solid, all American built (save for a handful of imports toward the end of the marque's existence), and really obvious build quality, for quite affordable prices.
So.anyone currently (or formerly) have a Favilla guitar? Or a classical model? Or one of their ukes? If so, what was YOUR impression?
I looked up the brand name online and found this article, which has comments from the last of the family of builders.plus photos of a few of their instruments.
http://www.catfish1952.com/favilla.html
Cheers,
Dirk
I recall playing this little instrument many years back, and every time I've tried it, I've been favorably impressed by its tone, clarity and playability. This time, alas, it was showing its age and need for some serious TLC. Strings were ancient and crusty: our friend hasn't played in a long while. The original tuners are still on.individual open-backs with oval cream-color ivoroid buttons: one of them needs to have its sleeve reset into the headstock.it's crept up and impinging on the capstan a tad. The saddle is probably at its lowest point before needing some hard decisions about sanding the bridge or resetting the neck (probably not a smart financial move on an instrument this inexpensive at its outset). And right now, the original pickguard is warping and curling badly at several places, exposing unfinished wood beneath (apparently, the finish was applied after the guard was fitted).
Still, for all that, the neck is straight (despite the apparent lack of adjustability.no truss rod cover or inside-the-sound-hole accommodation for an adjusting tool that I could see), current action is quite low, the original medium-fat frets are in quite good shape, and I see no cracks or seam separation or dents.not even very many dings to speak of. It's a very comfortable size: about a 14-fret 00, I'd say, nice and lightweight. Neck a slightly chunky C. Wish I'd had a set of strings with me to change out, since one of the things I've always loved about the Favilla is the clear precision and articulation of notes on the bass E and the A.but the old strings dialed these back to a less impressive response.
The thing about this Favilla is that it beats every older all-mahogany guitar I've ever played, with the possible exception of one small-body 15 Martin. The all-hog Gibsons and Epiphones my friends had back in the '60s couldn't come close for resonance, tone and projection. These days, of course, we have Santa Cruz making the astounding 1929 series and Martin's newer 15 series and even Bedell.I've played one of their all-hog models a couple of years back that did impress. But for its day, this Favilla must have been truly special. Apparently all solid, all American built (save for a handful of imports toward the end of the marque's existence), and really obvious build quality, for quite affordable prices.
So.anyone currently (or formerly) have a Favilla guitar? Or a classical model? Or one of their ukes? If so, what was YOUR impression?
I looked up the brand name online and found this article, which has comments from the last of the family of builders.plus photos of a few of their instruments.
http://www.catfish1952.com/favilla.html
Cheers,
Dirk
Born | 1905 |
---|---|
Died | September 1, 1964 (aged 58–59) |
Nationality | United States |
Occupation | Luthier |
Known for | Founder of D'Angelico Guitars |
John D'Angelico (Little Italy, Manhattan, 1905 – Manhattan, September 1, 1964) was a luthier from New York City, noted for his handmade archtopguitars and mandolins. He founded the D'Angelico Guitars company, where other notable luthiers like Jimmy D'Aquisto served as apprentices.
Luthiery[edit]
John D’Angelico was born in 1905 in New York to an Italian-American family, and was apprenticed in 1914 to his great-uncle, Raphael Ciani, who made violins, mandolins, and flat top guitars.[1][2][3] This apprenticeship would become the basis for construction principles he later incorporated into his archtop guitars.[4] After Ciani died D'Angelico took over the management of the business, but he didn't like having to supervise the 15 employees. As a result, he left and founded in 1932 D'Angelico Guitars at 40 Kenmare Street in Manhattan's Little Italy.[5][6] Here he began making guitars initially based on the 16 inch Gibson L-5 and subsequently working on his own designs.
Instrument designs and output[edit]
![List List](https://reverb-res.cloudinary.com/image/upload/s--kZvMf3M9--/a_exif,c_limit,f_auto,fl_progressive,g_south,h_620,q_auto:eco,w_620/v1378920073/bohlx8j8ccf4q0fnzapq.jpg)
Initially D'Angelico's guitars were based largely on the 1920s version of the Gibson L-5 with a 16 inch lower bout and 'snakehead' headstock design, but by 1937, he had settled on four main f-hole archtop guitar designs, heavily influenced by the GibsonL-5:[7][8]
1933 D'Angelico archtop guitar #1034
D'Angelico Excel (1950) previously owned by Chet Atkins, in the Country Music Hall of Fame
- Style A – 17 inch body. Phased out in the 1940s.
- Style B – 17 inch body. Phased out in the 1940s.
- Excel – 17 inch body
- New Yorker – 18 inch body. Approximately 300 made.[9]
Through at least the late 1930s, D’Angelico's guitar necks had non-adjustable steel reinforcement. Later models had functional truss rods.[10] By the late 40s, D'Angelico was building only the Excel and the New Yorker. All New Yorker models featured pearl inlays in the headstock and fingerboards, as well as quadruple bindings.[11]
All of D’Angelico's guitars were hand-built, and many were customized for specific people, so substantial variation is evident in his output. D’Angelico's shop rarely made more than 30 guitars per year.[12] In all, it is estimated that he built 1,164 guitars.[13] D’Angelico also built a few round-hole (as opposed to f-hole) archtops, and a few mandolins.
While D'Angelico's craftsmanship was not always exemplary, the performance of his guitars established him as the premier maker of archtop guitars.[3] During the late 1930s, when production was at its peak, D'Angelico made approximately 35 instruments per year with the help of only two workers, one of whom was Vincent 'Jimmy' DiSerio.[3][14][4] His recognition as the 'finest builder of archtop guitars' later brought offers from larger companies, but ultimately he decided to keep his operation under his own name.[4][14]
During the 1950s, some of the instruments leaving D'Angelico's shop had mixed features, such as an Excel-sized guitar with New Yorker features created for Johnny Smith, or D'Angelico necks custom fitted to bodies customers brought in.[15] Original D'Angelico guitars are identified by a serial number punched inside the bass f-hole—the serial numbers ranging from 1001 to 2164.[15]
Microsoft yahei ui font for mac. In 1952 Jimmy D'Aquisto joined the company as an apprentice.[3]
D'Angelico had a heart attack in 1959 and also parted ways with DiSerio, who left to work at the Favilla guitar company. As a result, he closed the business but soon reopened it after D'Aquisto who was unable to find work, convinced him to do so.[3] Diablo 2 demo for mac. After several more heart attacks and having also suffered from pneumonia John D'Angelico died in 1964 at the age of 59. He had built 1,164 numbered guitars with the last ten finished by D'Aquisto.[3][16] D'Aquisto then bought the business but a poor business decision lost him the right to the D’Angelico name.[17]
The D'Angelico Guitars brand has continued under other owners.
Employees[edit]
Some of D'Angelico's employees went on to become craftsmen in their own right. Among them were Jimmy Di Serio, who worked for D'Angelico from 1932–1959, and D'Aquisto who would eventually buy the business from the D'Angelico family. D'Angelico and D'Aquisto are generally regarded as the two greatest archtop guitar makers of the 20th century.[18]
My little pony fighting is magic windows. In 2011, works by D'Angelico and D'Aquisto were included in the 'Guitar Heroes' exhibition at the Metropolitan Museum of Art in New York City.[19]
Vincent 'Jimmy' DiSerio, was commissioned by Ralph Patt to modify a GibsonES-150 (six-string archtop hollow-body guitar) to have a wider neck, wider pickup, and eight strings circa 1965; seven strings enabled Patt's major-thirds tuning to have the E-E range of standard tuning, while the eighth string enabled the high A♭.[20]
See also[edit]
Notes[edit]
- Peterson, Jonathon (2002). 'Tuning in thirds: A new approach to playing leads to a new kind of guitar'. American Lutherie: The Quarterly Journal of the Guild of American Luthiers. 8222 South Park Avenue, Tacoma WA 98408: USA.: The Guild of American Luthiers. Number 72 (Winter): 36–43. ISSN1041-7176. Archived from the original on 21 October 2011. Retrieved 9 October 2012.CS1 maint: location (link) CS1 maint: ref=harv (link)
References[edit]
- ^Bonds, Ray (ed.) (2006). 'The illustrated directory of guitars.' Barnes & Noble/Salamander Books, p. 104.
- ^Wheeler, Tom (1982). American guitars: an illustrated history.' Harper & Row. p. 22.
- ^ abcdefAcoustic Guitars: The Illustrated Encyclopedia. New York: Chartwell Books. 2011. pp. 38–42. ISBN978-0-7858-3571-4.
- ^ abcWilliam), Green, Frank W/m (Frank (2008). D'Angelico : John D'Angelico : master guitar builder : what's in a name?. Centerstream. ISBN9781574242171. OCLC191808803.
- ^Will Levith (January 23, 2015). 'Joe Bonamassa and the Amazing Technicolor D'Angelico Shop'. Archived from the original on April 4, 2015. Retrieved April 1, 2015.
- ^Teddy Kim (August 22, 2014). 'Rock On! D'Angelico Guitars Is Back in Business in Chelsea'. Retrieved April 1, 2015.
- ^Bonds, Ray (ed.) (2006). p. 104.
- ^Achard, Ken (1999). 'The History and Development of the American Guitar.' The Bold Strummer, p. 16.
- ^Denyer, Ralph (1998). 'The guitar handbook.' Alfred A. Knopf. p. 47.
- ^Wheeler, Tom (1982). pp. 22-23.
- ^Achard, Ken (1999). p. 16.
- ^Bonds, Ray (ed.) (2006). p. 106.
- ^Wheeler, Tom (1982). pp. 22.
- ^ ab'About | D'Angelico Guitars'. angelicoguitars.com. Retrieved 2017-06-09.
- ^ abAchard, Ken (1999). p. 43.
- ^'NAMM 2015: Revived D'Angelico guitar brand shows off new acoustics'. January 23, 2015. Retrieved April 1, 2015.
- ^Stern, Stephen (Fall 1995). 'Jimmy D'Aquisto – Luthier Extraordinaire'(PDF). Frontline magazine. Retrieved March 3, 2019.
- ^'Images from the Lillibridge Gallery'. D'Angelico/D'Aquisto/Gudelsky Workshop. National Music Museum; The University of South Dakota 414 East Clark Street Vermillion, SD 57069. September 8, 2009. Retrieved December 4, 2012.
- ^'Guitar heroes: Legendary craftsmen from Italy to New York, February 9-July 4, 2011'. John D'Angelico. The Metropolitan Museum of Art, New York. Retrieved December 4, 2012.
- ^Peterson (2002, p. 37)
External links[edit]
Wikimedia Commons has media related to John D'Angelico. |
Bass Guitar Serial Numbers
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