My new Tony Francis Weissenborn

[Rob Anderlik]

To fans of the Weissenborn guitar:

Here are some photos of old growth air-dried koa that I've picked out for my new Weissenborn guitar which is being made by New Zealand based luthier Tony Francis. If you are not already familiar with Tony's work and/or interested in learning more about Weissenborn guitars I highly recommend taking a look at his blog http://tonyfrancisguitarco.blogspot.com/ Tony is a boutique guitar manufacturer and vintage guitar repairman, specializing in Hawaiian slide guitars. There’s a really cool section posted there detailing the restoration of a vintage teardrop Weissenborn guitar that I thoroughly enjoyed.

My introduction to Tony's guitars came through a former student of mine who came to class one day with his new style 1 Weissenborn in tow. When he opened the case I was duly impressed by the obvious attention to detail in replicating the design of a vintage Weissenborn. I mean down to minute details! Once I played that guitar, however, I knew that I'd have to buy one someday. I'd never played anything that so fully captured the sound/playability of my vintage mid-1920's style 1 Weissenborn guitar. That initial experience led to an ongoing conversation with Tony which further piqued my interest. Tony's commitment to faithfully executing Herman Weissenborn original design is nothing short of extraordinary - old growth air-dried Koa, hide glue construction throughout, hand applied nitrocellulose finish and a hundred other details which may not be apparent to the eye but contribute to creating that magical Weissenborn tone.

It will take a few months for my new guitar to be completed. I will post more photos as the construction process continues. I am really looking forward to this!

[T. W. Hatem]

I'm happy for you Rob. I am already looking forward to what new music Tony's guitar will inspire you to create !

This is going to be a great match !

[Jerry Desmet]

Nice news.

[Rob Anderlik]

Thanks guys!

I am really looking forward to my new guitar!

[James Williamson]

You won't reqret it Rob, Tony is everything you mention and more. As I've said elsewhere, excellance is what we've come to take for granted with Tony and he never lets us down....BTW, that restored teardrop you mention is now in my family room....what a job he did on it.

Just to give folks an idea of how into this Tony is, the other day he send me a picture of Mrs Weissenborn playing an old pre production Weissenborn. Who knew there even WAS a Mrs Weissenborn?

[Rob Anderlik]

Some photos detailing the construction of my new style 1 Weissenborn. Note Tony's attention to detail in graduating the thickness of guitars soundboard in the 1st photo: Not that I'm an expert or authority on the subject, but I do know that part of the "magic" of the original Weissenborn guitars was that they were lightly braced and incredibly responsive instruments. I've heard it said that it's what on the inside that really counts when it comes to tone/playability/responsiveness of a guitar. Case in point - notice the "Christmas Tree" bridge plate. "Christmas tree" is a term coined by George Noe in his book Chris J. Knutsen (although primarily about Knutsen - famous Harp and Hawaiian guitar maker - this book is the reference on Weissenborn) for the massive bridge plate that is glued to the top to support the string tension associated with traditional Hawaiian tunings. To compensate for the increased mass of the bridge plate, the bridge was reduced in length and height. You see this on all of Weissenborns guitars made after around 1927, and the designed remained unchanged until his shop closed in 1937. This keeps the top nice and flat over the years of tension with the Hawaiian tunings these guitars were designed to take. The bracing is incredibly light, with the top strength being controlled by graduating top thickness - a throwback to Weissenborns days as a violin maker.

[George Noe]

Rob,

I am excited for you getting a Tony Francis Weissenborn! In my opinion, Tony is THE Weissenborn expert--his complete knowledge of the history of the guitars and his luthier skills just blow me away. In that vein, I, too, have commissioned Tony to build a guitar for me--one like the little solid-neck Mrs. Weissenborn is playing in the photo and the one on p.122 of my book. The photo of Mrs. Weissenborn was taken in 1920 and turned up in the case of an old Weissenborn purchased by David Ogden earlier this year.

Tom Noe (aka George T. Noe)
Everett WA

[Chris Drew]

That'll be one sweet guitar.
She'll sound amazing in your hands, Rob.

It would be interesting to hear a "back-to-back" recording of this (when she's finished & played in a while) against your 1920s original.

[Rob Anderlik]

Thanks guys, I appreciate it! George, I've heard many good things about your book. I need to get my hands on a copy. It's on my to-do list!

[George Noe]

Mrs. Weissenborn is the lady on left with the little solid neck Weissenborn. The other seated lady is Mrs. Mayer who the the Weissenborns were visiting that day.

[Rob Anderlik]

Thanks for posting this. Love the photo!

[Rob Anderlik]

Hey Chris:

Your website is wonderful!

Regards,
Rob

[Chris Drew]

Hey Rob, I'm glad you like the hollowneck website!
If only I had more time to spend on it...!

I'm always glad to recieve any contributions toward the site, photos, tabs or just info.

@George, could I possibly post that photo on the hollowneck site when I next update?
It would be a nice addition to the history page, which is due a re-jig.

[George Noe]

Chris,

While Dave Ogden sent me that photo without restrictions of any kind, I think it would be appropriate for you get his permission to use it. There are a series of photos and an interesting story that goes with them that you should discuss with Dave. Dave bought the instrument that Mrs. Mayer is playing in the photo, and it is one of the thin pre-production Style 2s with green dressmakers' tape for a backstrip, which indelibly links HW to this genre of early Weissenborns. I sent Dave's contact info to you website.

Tom Noe

[Darrell Urbien]

Hi Tom,

Was that photo taken in Los Angeles?

[George Noe]

The photo was taken in the LA area someplace, but the exact location has not yet been pinpointed.

[Alan Hamley]

Hey Rob,

I've been a fan of your music and web site for years. Ever since I first set out to learn to play a lap slide instrument you have given me inspiration.

You new guitar is going to be very special indeed. Tony is a great bloke and a fine guitar builder. He was very generous with his time when I had a go at building a weissenborn copy guitar.

Look forward to watching this one grow.

It is very interesting to see the Xmas tree bridge patch and the brace pattern. I reckon that design is the answer to fix the old problem with the sunken chest in the bridge area on the older original guitars.

Thanks again for sharing the pictures and look forward to seeing and hearing this guitar.

Cheers

Alan

[Mitch Crane]

Wow...Mrs W doing forward slants ? Pretty cool !

Rob, I'm still unclear about Tony's nut width ? Is it 1 5/8" or 1 7/8" ... not string spacing but nut width. I'm teetering on ordering a style 2... Keep us posted with fresh pics as they arrive !

[Tony Francis]

Kia ora Everyone - thanks all for your kind words, its really cool to see you like Robs guitar. Although its still a way off, I am really looking forward to hearing Rob play it!

I'm still unclear about Tony's nut width ? Is it 1 5/8" or 1 7/8" ... not string spacing but nut width.

Hi Mitch,

Here are the specs for the late 1920s Weissenborns that I use for my guitars;

Width of body at nut is 50,8mm / 2.0" for Teardrop and Style 1 guitars, and 49,0mm / 1.929" for Styles 2, 3 and 4 which receive the additional leveling operation following binding / marquetry.

I don't have a specific nut width since each is custom made for each guitar to fit just inside the finish edges and maintain the original shape/look/feel.

The string spacing at the nut is 40,25mm / 1.584" and 61,5mm / 2.420" at the bridge (or 1 5/8 and 2 3/8 inches). Its important to note here the original Weissenborns varied a little +/- on this measurement because the string spread was laid out by eye.

More about Weissenborn setup here; http://bb.steelguitarforum.com/viewtopic.php?t=186893.

Best,

Tony Francis

[Rob Anderlik]

Hey Tony:

Was there a standard height at the nut for the original Weissenborn guitars? The reason I ask is that I am guessing that no one back then played them with a capo?

I played my vintage Weissenborn for many years before I finally got around to having a new/higher nut put on so I could use a capo and I'd be curious to know more about this.

Thanks,
Rob

[Mitch Crane]

Thanks Tony !

Rob, your concern is the same as mine re; nut height as well. I've only played one original and the nut height was very low. I'd have a tendency to "bottom out" the high notes, hitting the bar on the fretboard. I too, like to sometimes play with a capo, but moreso, just the low "action" and the bar hitting is my main concern. (I know, get better technique, right ?)... so I'd need to be really sure about the width / height and if Tony would deviate slightly from his purist methods in this area of the nut ? Or does this in some way detract from the sound of the instrument if the nut is "too tall" ?

[Steve Branscom]

Did anyone use a capo in the 20's and what did they look like. Josh Graves used a church key as a makeshift capo but that was much later. Maybe in looking at the nut height you're hampered by only thinking about current capo design.

[Alan Hamley]

Hello again,

May I ask two questions please?

Tony, could you provide the thickness of your Xmas tree bridge patch and the length, width and height of your bridge used on Rob's guitar?

Cheers

Alan

[Tony Francis]

Was there a standard height at the nut for the original Weissenborn guitars? The reason I ask is that I am guessing that no one back then played them with a capo?

Hi Rob,

These are the standard late 1920s Weissenborn setup specs as posted over at the other thread, nut details also same for most earlier Hawaiians;

String height (to underside)
@ Nut: 5,0mm / 0.196"(B) - 5,5mm / 0.216"(T)
@ Saddle: 11,5mm / 0.452"

Most people would simply call this 1/4" at the nut.

I've only played one original and the nut height was very low. I'd have a tendency to "bottom out" the high notes, hitting the bar on the fretboard.

Hi Mitch,

Yes you are quite correct these setup specs are quite low compared to many other slide guitars both new and vintage. Playing style and choice of weapon will effect whether the slide digs into the wood. With traditional flat bars or bullet bars this is rarely an issue, but if you are using a modern contoured bar, wear is inevitable. The best (or worst) I have seen is Ben Harpers touring Weissenborns;



So I guess this is the same issue as other kinds of play wear. Some consider it a part of the charm, others reckless abuse.

if Tony would deviate slightly from his purist methods in this area of the nut ? Or does this in some way detract from the sound of the instrument if the nut is "too tall" ?

Of course this is always an option. I want the player to be totally happy with his/her guitar and setup to provide the most musically creative experience possible, which is what the old guitars for me are all about.

But its a balancing act. The original specs are part of the design, construction and execution of vintage Weissenborns as a whole. With the original setup the strings are low which adds a lot of flexibility to the voice, while too much height/tension will kill it musically speaking. Ben Elder once said something along the lines of "to dobrotise a Weissenborn is to miss its fundamental glory" - I couldn't agree more.

So perhaps the best option for anyone who likes a higher action is to start with the original setup and see how it feels, and then have taller nuts / saddles that can be switched out as required.

I would of course be interested to hear everyones thoughts on this.

Best,

Tony Francis

[Tony Francis]

The reason I ask is that I am guessing that no one back then played them with a capo?

I played my vintage Weissenborn for many years before I finally got around to having a new/higher nut put on so I could use a capo and I'd be curious to know more about this.

Did anyone use a capo in the 20's and what did they look like. Josh Graves used a church key as a makeshift capo but that was much later. Maybe in looking at the nut height you're hampered by only thinking about current capo design.

Hi Rob and Steve,

I am not aware of anybody back then using capos on Weissenborn guitars. But we are super fortunate to have Tom Noe, Ben Elder, Darrell Urbien and others amongst us who will be able to get to the bottom of that one!

Hello again,

May I ask two questions please?

Tony, could you provide the thickness of your Xmas tree bridge patch and the length, width and height of your bridge used on Rob's guitar?

Cheers

Alan

Kia ora Alan,

Sure thing. The Christmas tree bridge plates I have measured range from 3,3mm / 0.130" to 2,8mm / 0.110" at the center, and are graduated toward the wings.
Overall length is 6.0".

The "Christmas tree" is a term coined by Tom Noe, and is one part feature of a major design change / refinement that Tom talks about in his wonderful book. Tom really deserves full credit here because he was the first to look at Weissenborns work chronologically and detail these changes. Its really essential reading for anyone interested in Hawaiian guitars - if you don't already have a copy you can get it direct from Tom at his website; http://noeenterprises.com/

Best,

Tony Francis