Jean Barault - Neck?

SteveG

Thanks Michael.

I was getting my information from the Charles book, which says 1952, but added the "around" because #763 ,which shipped in 1949, has a rosewood neck. At least, I'm pretty sure it does, without having seen it myself.

I've admired pictures of your guitar and have seen at least one video of it being played. I've never even seen a Selmer in real life. Cool to be talking to an owner/player of one. I'd love to see the profile of your guitar's neck, and examine the top. Or any Selmer petite bouche, for that matter.

cheers

klaatu

Michael Bauer wrote:

So Roulot was already working on those guitars by late 1950.

Excuse my ignorance, Michael. Who or what was Roulot? It's probably in the Charle book, but it's easier to just ask.

Michael Bauer

Steve--

I actually have played #763 several times, and I would have sworn it had a walnut neck, but I just looked at some photos of it and it appears to be of one piece again, not with a separate slotted headstock. The rosewood neck guitars are pretty heavy by comparison (just in the neck), and I don't recall #763 being heavy at all. I also recall the neckwood being lighter in color than mine. I can ask Jacques Mazzoleni, since I played it at his house. The pictures are on Jacques' website. I'm curious what others think.

There is so much obscure about Selmers. As I said in another post, Charle's book in an invaluable resource, but it's apparent he has had to make educated guesses or approimations about many things. Even Francois would admit that the definitive book on Selmers is yet to be written. So few of these guitars have survived that the gaps in knowledge are huge, and the emergence of a new guitar from the shadows can change timeframes and what we think of as "right". To me it's part of the fun.

If you want to hear more videos of #862, search "cminor7b5" on YouTube. There are a bunch of songs with Aurelien Bouly playing it. And if you ever come to Chicago, let me know. Maybe we can arrange for you to examine it to your heart's content.

Benny--

Pierre Roulot was the last man working in the Selmer guitar shop (from 1950 to the end), and single handedly made the last year's guitars. From 1948-50, he had Lucien Guerinet in the shop with him, but Lucien retired in 1950 and was not replaced.

Michael

klaatu

Michael Bauer wrote:

Pierre Roulot was the last man working in the Selmer guitar shop (from 1950 to the end), and single handedly made the last year's guitars. From 1948-50, he had Lucien Guerinet in the shop with him, but Lucien retired in 1950 and was not replaced.

Ah, last man standing, huh? Thanks for the info, Michael, the history of these instruments is fascinating. I may have read that in the Charle book, assuming it's there, but obviously did not retain it. They do say the memory is the second thing to go. I'd tell you what the first is, but I forgot.

SteveG

Michael Bauer wrote:

Steve--
And if you ever come to Chicago, let me know. Maybe we can arrange for you to examine it to your heart's content.

Michael

Thanks for the generous offer, Michael. I can't imagine that I'll ever take you up on it,though. If I have a Selmer related question that can only answered by looking at one you may get a PM asking you to look for me. Nice to have met you online.

cheers

seanray

Thanks for the plethora of information.

So it seems like the slotted neck joint was so unorthodox that even Selmer stopped using it. I assume luthier's like Barault employ this joint along with other details like a pliage in an effort to recreate guitars as historically accurate as possible.

Michael Bauer

Here's what Rodrigo Shopis replied to me yesterday:

I think that the Selmer Co. like all companies have budgets and would use as much of there wood stock as possible ; meaning mass production parts making for neck ( 2) ; less wood wastage . The tongue and butt joint gave strength . Anytime one laminates or glues something it gains more strength, provided you spend much time making sure joint glue surface are dead on and that is TIME and time means money and slower production . Selmers were expensive at the time. Putting aluminum or wood inserts gave strength or with later models a heavier stiffer wood like one-piece Rosewood ( sound also ) Why one -piece Rosewood? Maybe end of business production call with remaining stock before deciding to eventually end guitar business production ; production call of worker/cabinetmaker/carpenter/ woodworkers ? In 1952 , when the guitar production stopped , I believe there was one ( 1 ) guitar employee. I don't think Selmer hired luthiers . With the end in sight , I believe production simplified with one person worker . Maccaferri was with the company about a year in the initial phase and production set-up ; However , being a Mozzoni trained luthier as a boy and a player ; his chops were at its' best ; making sure every thing was spot on during the set-up period . The Brass at Selmer didn't give much interest in the guitar part of the business ; wind instruments were their trade . So, I think things degraded as time went on till the end . I know from English mototcycle production that whatever was on the shelve at the time was used in the assembly ; a 1967 Velocette Venom Clubman could have some 1937 parts ! I hope this helps . Regards , Rodrigo

bill raymond

Although the mortise and tenon joint that Maccaferri and Selmer introduced seems odd, it seems that Maccaferri must have learned that method of construction in Mozzani's workshop, as this is the type of head-neck joint that Mozzani used. I can't say whether Mozzani originated it or got it from someone else. It seems much easier to me to use a simple scarf joint as most Spanish classical guitar makers did.

seeirwin

FWIW, not everybody stopped making guitars this way: my Taylor 310 had a similar headstock/neck joint. I believe Gonzalo's Mateos-made Gallato has the Selmer/AJL/Barault/Taylor style joint, too.

http://www.elderly.com/new_instruments/ ... k-back.jpg

klaatu

seeirwin wrote:

I believe Gonzalo's Mateos-made Gallato has the Selmer/AJL/Barault/Taylor style joint, too.

Probably. The current crop of non-Mateos Gallatos (not the Asian one) feature that joint.