For my 70th birthday I got this old Musima Archtop from my wife. As the neck is slightly twisted, I put an adapter over the nut and had a lap steel guitar. Almost. Because of the radiussed bridge the shubb could not match more than 2 strings, so I finally decided to make a leveled bridge.

My luthier had a piece of hard wood (nut) for me, and I started work with a small saw, sand paper and a stinger.

Here we are:

And this is what it sounds like:

How it started:

Mid Process:

How it is now:

I was shocked that the only thing that is original is the body, neck, fingerboard (and presumably the frets). But that's a risk one takes being a 'guitar gambler'.

I have come to understand why people do this to guitars, but am still shaking my head. I have ordered and received reproduction guard/rest, mounting bracket, and a P-90 spacer kit containing three heights.

Since the hardware present cannot be used for age reference, there is only the style of the neck and marking anomaly.

The 'weird' number, handwritten in pencil, visible thru the f-hole opposite the side with guard & controls is 5G4341. I don't see anything that matches that format in published references I can find. The 4341 falls into a number-only format for 1950. The G could be an indicator of Gibson instead of another brand affiliated with them, but the location is not consistent with the marking formats that use a letter for brand. It's also in the wrong location for pre-war ones that had letters A-G (in a different location), and it is absolutely post-war.

It has a no-binding fingerboard with simple dot inlays up to the 15th fret only (20 frets present). I have never found a 1950 ES-150 online with dots. They all have the large inlays that start at the first fret. I just cannot bring myself to call those trapezoids, as others do...I passed 5th-grade geometry! They have straight, flat, top & bottom, but the sides are curved, unlike a trapezoid drawn by anyone with at least a 5th grade education. I'd compare them to Grecian urns, but that doesn't sound familiar in guitars.

All the 1947-1948 ES-150's I see featured online have the dot inlays. Those are also the two years credited with the worst marking effort by Gibson. 1949 might have either dots or the fancier neck, maybe (I think I read one statement to that effect once).

No markings on back of headstock either. I haven't squeezed the guts of a webcam inside yet, just a flashlight & dental mirror. It's unlikely there would be two numbers, anyway.

The gold Gibson headstock marking is the style that appeared in 1947 and later, so that excludes 1946.

I am going to wait until I decide whether to leave the aftermarket P-90 in or use an older one that may need rewinding. Once that is sorted out figuring out where to drill guard/rest holes can happen. No hurry. The guard/rest was described as 1950-52 so I want to stop ruminating about the dots vs. 1950 doubt.

Has anyone ever seen another FON or S/N with this format? I have not personally ever seen a Gibson s/n that wasn't on a paper label, & I'm not sure ES-150 's had labels.

I did not present photos because it's kind of a grave-robber's special at the moment...'after' pics should probably be available in combination showing 'before' photos. Maybe the snickering will not be as deafening then. 🙄

What it actually is has no bearing on its value, but I'd like to know for the sake of knowing with has much confidence as possible. If I add it to homeowner's insurance coverage, saying 'um, I dunno' to year, s/n, etc is annoying. It would feel better to confidently know why it's such a mystery and that I have pursued as many clues as are available.

Thank you

Murray

According to the seller it was built in 1956; tailpiece/damping system is Framus, pickup is Roger brand. She wanted 400 €; I did not buy it (enough archtop guitars for the moment). The neck is quite straight, the strings are very old. The guitar does not not sound good, which might be related to the strange plastic bridge.

The seller wanted 400 €; I did not buy it (enough archtop guitars for the moment).The neck is quite straight. The guitar does not not sound good, which migth be related to the very old strings and mainlyto the strange plastic bridge.

Specialised on old german archtops is Stefan Lobhttps://www.schlaggitarren.de/ , this is his Isana corner: http://www.schlaggitarren.de/home.php?text=hersteller&kenn=13

This is what Reverb says about Isana (Franz Sander):

The Isana Black Pearl that was played by Elvis Presley has been reissued in 2018, slightly modernized.

More Isana instruments, pictures found in the internet:

FEEL INVITED TO POST THE OLD GERMAN ARCHTOPS YOU OWN/SEE/FIND/WANT TO OWN!

Hello everyone, yesterday I bought this old archtop for less than 100 euros. Comes out it is a Busato, or at least it has the small tag behind the headstock and the BB tuners. I would like to know If someone has more infos about this model.

As you can see from the photos the major problem with the guitar is in the back, beacuseit has woodworms holes. The previous owner started to fill them up with wood plus shaped like the holes ( kind of meticolous work, but I guess it is worth?).

The tuners miss two knobs and one is chipped, do they make replacements?

Also I wouldlike to know what kind of tailpiece and bridge It might have had ( this had a round sicilian one, the aluminium casted you all know).

I hope you could help me with more infos about it and some tips on how to repair it.

Acoustic Disc has announced the release of We Love Django! in download format only.

Track Listing

• Django (prologue) - Don Stiernberg
• Swing '48 - Stephane Wrembel Trio with David Grisman
• Daphne - Oscar Alemán
• Bolero de Django - David Grisman Quintet*
• Swing '39 - Jethro Burns and Tiny Moore
• Tears - Frank Vignola
• Blue Drag - Eric Bogart and Stringology*
• Anouman - David Grisman and Denny Zeitlin
• At the Jimmy's Bar - Stephane Wrembel Trio with David Grisman
• Improvisation No. 1 - John Jorgensen
• Oriental Shuffle - Pete Toyne Trio*
• Swing Mineur - Svend Asmussen with David Grisman Quartet
• Minor Swing - Stephane Grappelli and David Grisman
• Douce Ambience - Eric Bogart and Stringology*
• Nuages - David Grisman Quintet
• Swing '42 - Martin Taylor and David Grisman
• Mabel - Stephane Wrembel Trio with David Grisman
• Manoir de Mes Reves - Stephane Grappelli with the Diz Disley Trio
• Django (epilogue) - Don Stiernberg

This unique celebration of the music of Django Reinhardt features 16 of his original compositions interpreted by a variety of stellar artists including his partner Stephane Grappelli, his rival and friend, Oscar Alemán and his contemporary, Svend Asmussen. Also featured are performances by Jethro Burns and Tiny Moore, David Grisman, Tony Rice, John Jorgensen, Frank Vignola, Stephane Wrembel, Denny Zeitlin and others.

This collection was produced by David Grisman and gleaned from his personal archives and the Acoustic Disc catalog. It includes five previously unissued tracks and was mastered in the sonically superior Hi-Definition format. As David says in his notes, "Django Reinhardt's astonishing musicianship always hits the mark, technically and emotionally, and continues to inspire generation after generation of players and listeners. We Love Django!"

Nick, you are still remembered. Just wanted you to know. Djangofest is still awesome, but not the same.

Just scored this on eBay for $370! I hope it’s good, anybody have any experience with one?

I have a 17” L5-style full-depth archtop guitar that needs a case, hardshell or padded-softcase ideally (I kinda don’t want to spend $$$$ for a custom carbon fiber case).

Does anybody have a recommendation of what to buy and where?

thanks!

Let's suppose I have access to a fine violin maker who's willing to have a crack at a 'Hacc'aferri... (my dad, yo!)

(He also has copious experience in taking apart and repairing sensitive instruments)

His having years of experience making extremely fine, sought after and well-loved instruments in the violin family - including ‘cellos - BUT having no moulds or other ‘jig'-type things relevant to 'maccaferri-style' guitar making, caused me to think along the following lines:

Consider the lowly cheap n' nasties: The Stagg, The Aeirsi, The SX etc.

What, EXACTLY, is it that makes them so bad?

My intuitive sense is that it must come down MAINLY to the ’Top’ (poor materials, poor construction, too-heavy bracing that doesn't allow the soundboard to sing properly.. etc.) - and, that things like the back, sides, neck material, headstock style, relative cheapness or expensiveness of the tailpiece and machines, play little (if any) part in the beloved characteristic SOUND of manouche guitars.. 

Am I broadly correct?

Obviously - should it need to be said - my goal is THE SOUND, I couldn't give a rat's a** what it looks like..

(He can make and has made (and fretted and fitted) excellent rosewood fingerboards in the past so that part is not an issue either, nor is the bridge.)

To get to MY QUESTION:

Any reason NOT to just buy an 'El Cheapo’ (for the 'bits' - and to save him having to make tools to make sides etc.) - and hand-craft an excellent Top/Soundboard and fingerboard for her??

Your thoughts please, gurus!

Cheers

Phil