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This guitar is the size of a Martin 000 and has mahogany back and sides. Like the guitar pictured in post #253, this also has a paper label inside and 'HARWOOD' inlaid on the headstock. The visible serial number is 5470, but the owner says that using enhanced photography, he was able to make out that it's actually 35470, which conforms to the. One of the Aquila guitars imported by Favilla from the late 1960's to 1973. This guitar is 1 of about 100 that bears the Aquila/Favilla label inside. Favilla received one order of these from a guitar builder in Japan (Rokkoman) just before Takamine bought them out.
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
posted 02 May 2000 06:38 AM profilesend emaileditHere is a little blub that I wrtoe that I hope clears up the ShoBro/ShoBud questions.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
Herk Favilla Guitars
The ShoBro
By Ric Nelson
The ShoBro, a resonated guitar eventually available in both Spanish and Hawaiian models, was first manufactured by Shot Jackson beginning in the 1950s. The guitars have a larger body and an arched back producing a mellower sound than other resonator guitars, even though the ShoBros have a Dobro® resonator. Over time, they were available in 5, 6 and 7 string models.
In 1955, Shot, an avid tinkerer with a passion for building guitars, using Jack Anglin's garage as a workshop, built a 7-string petal dobro which he called a petal ShoBro (a play on Shot and dobro). It was featured on several Johnnie and Jack recordings in 1955-56, on his Starday album (SLP-230) and on at least one Melba Montgomery release. Having to be played on a stand, it proved cumbersome for road work and was restricted to sessions. Normally, Shot played a 6-string Norwood Chime (manufactured for and sold by Montgomery Ward) and later one of his own 7-string ShoBros.
Shot and Buddy Emmons formed the ShoBud company (SHOt-BUDdy) in early 1957 to manufacture the ShoBud steel guitar. Also produced were several custom made ShoBros. First located in Shot's garage, they moved to a building on Nesbitt Lane in Madison. In 1967, the Jackson-Emmons partnership was dissolved, with Shot continuing the business at a new location, 416 Broadway in Nashville. Shot sold the ShoBud name and pedal steel guitar line to Baldwin-Gretsch in 1980, continuing a repair business until retirement in June, 1983.
Shot and Buddy Emmons formed the ShoBud company (SHOt-BUDdy) in early 1957 to manufacture the ShoBud steel guitar. Also produced were several custom made ShoBros. First located in Shot's garage, they moved to a building on Nesbitt Lane in Madison. In 1967, the Jackson-Emmons partnership was dissolved, with Shot continuing the business at a new location, 416 Broadway in Nashville. Shot sold the ShoBud name and pedal steel guitar line to Baldwin-Gretsch in 1980, continuing a repair business until retirement in June, 1983.
Dean Guitar Serial Numbers
When Dobro® guitars began to be manufactured again in 1969, Shot interested Baldwin-Gretsch in manufacturing and marketing a resonator guitar of his design under the name ShoBro. The Gretsch models were #6030 for the round-neck Spanish version, with a cut-away body, and #6031 for the Hawaiian square neck instrument. Prior to 1969, these model numbers were assigned to other designs of Gretsch guitars. After 1971, new models numbers were assigned: #7705 Hawaiian 6-string; #7710 Hawaiian 7-string; and #7715 Spanish.
The first models had a long neck, attached at the body at the 14th fret (as some Dobros®). This put excessive pressure on the resonator, causing problems, and was later re-designed attaching at the 12th fret. This later model is preferred. During this time, Shot continued to make hand-crafted guitars, which he labeled ShoBud. At the Gretsch plant, ShoBros were done on an 'assembly line', much to Shot's chagrin since Shot's method was to have one person work on an instrument until completion.
Gretsch was not impressed by the slow ShoBro sales and they dropped the line in 1973. The relatively mellow-sounding ShoBro was not in the same demand as the Dobro® with a brighter tone, sought after by Bluegrass musicians. Gretsch-made ShoBros have sound wells, as do Dobros®, whereas ShoBuds and Shot produced ShoBros do not, giving the latter two a still mellower sound yet; the body is the sound well. They contain sound posts for support.
After 1973, Shot continued to hand-craft guitars, usually with the ShoBro trade mark. The initials of the purchaser on the face of the pegboard or body can identify most of those instruments. It was an extra charge to the customer as was any mother-of-pearl or abalone trim. Shot purchased neck stock and bodies from Gretsch, both usually already having serial numbers and assembled the ShoBros at his shop. He also purchased tail pieces from them which carry the 'Gretsch' name. The Gretsch manufactured ShoBros do not have the same quality/sound as those made by Shot.
He suffered a sever stroke on August 17, 1983, and another in 1990, and died of a heart attack on January 25, 1991. He was inducted into the Steel Guitar Hall of Fame in 1986. One of his personal 7-string ShoBros was donated for permanent display to the Country Music Hall of Fame in Nashville on July 23, 1999.
Shibaura s435 operator manual.
Gretsch Serial Numbers (1965-1973)
Gretsch Serial Numbers (1965-1973)
Number on top of peg board. After June 1967, on back, with Made in USA added (later dropped).
First digit or first two digits = month ( 1-12)
Next digit is later digit of year = (1969-73: 9,0,1,2,3)
Remaining digits = rank of individuals instrument (not just ShoBros but all Gretsch models)
Example: 8 3124 = August, 1973, instrument 124 made a Gretsch
First digit or first two digits = month ( 1-12)
Next digit is later digit of year = (1969-73: 9,0,1,2,3)
Remaining digits = rank of individuals instrument (not just ShoBros but all Gretsch models)
Example: 8 3124 = August, 1973, instrument 124 made a Gretsch