Montuoro Guitar Co.
2009
Montuoro guitars are handcrafted in Chicago from the finest available
materials. Each guitar is priced in accordance to its specific design,
ornamentation etc. These are exclusive instruments built to your
specifications, built in accordance to the construction techniques used by
the Larson Brothers of Chicago.
To inquire about an instrument please contact Frankie Montuoro at
montuoroguitars@yahoo.com.
The Guitars
I am pleased to offer 8 different styling’s of guitar that can be matched
to 7 different lower bout dimensions and 10 different body silhouettes
(i.e. Larson, Gibson, Martin etc) and sizes, in either a 12-fret slotted
headstock or a 14-fret solid headstock If there is a specific body shape
from a specific guitar you would like, just ask. All styles are "Built
Under Tension" with a 650mm scale length. I can help you to find a guitar
that fits your needs, and custom orders are always welcome. I am a "maker"
rather than "manufacturer".
Body Sizes
(Lower bout widths)
A note about the bodies listed below: I am offering 10 different body
shapes that coincide with these dimensions, meaning that the molds of the
guitars listed below are based off of a variety of historic instruments I
have come across. Most of the body shapes that are commonly used have been
standardized. Your basic varieties of sizes are 0 / 00/ 000 / 0000 /
Dreadnought / Slope and Jumbo for 12 and 14 fret guitars. I offer a
variety of these, including the not so commonly seen 16" or 17" Euphonons.
Please be clear as to what body shape you desire.
1) Grand Concert: 14-5/8"
2) Auditorium 12 Fret: 15-1/8"
3) Auditorium 14 Fret: 15-1/8"
4) Dreadnought 12 or 14 Fret: 15-5/8"
5) Slope Shoulder 12 or 14 Fret: 15-5/8"
6) Jumbo 14 Fret: 16-1/8"
7) Grand Jumbo 14 Fret: 17-1/8"
Body Depth Neck to Tail
I build two different body depths. The first depth is what is commonly
seen in most 00- or 000-sized guitars. The second is just shy of what you
will find in most Dreadnought- or Jumbo-sized guitars. For instruments
based off the Larson school of design the body is most often body depth
#1, listed below. This depth can be found on Larson instruments with a
lower bout width as large as 17". It is after all an aspect of the design.
Building at this depth is vital to the character of Larson-inspired
guitars. It is important to note this if you are expecting your guitar to
be built as close as possible to these historic instruments.
Generally the shallower depth #1 is most suitable for finger style
playing, whereas the depth #2 is most suitable to attain the driving power
of a Dreadnought or for that darker, deeper sound. Depth #2 is rare in a
Larson-style guitar, seen only on a few of their Dreadnoughts and
Euphonon-made guitars, creating a gigantic and brilliant-sounding
instrument and making the guitar larger overall. This depth may not appeal
to the finger stylist. The guitar's depth is a very important aspect to
your build and will be solidified at the time of the order.
Body Depth #1: 3.313" to 4.125" or 3-5/16" to 4-1/8"
Body Depth #2: 3.750" to 4.750" or 3-3/4" to 4-3/4"
Nut Width
I offer three different nut widths, listed from narrow to wide below.
Nut Width #1: 1.688" or 1-11/16" Narrow ( Normally found on mid to late
1930's Larson made guitars )
Nut Width #2: 1.750" or 1-3/4" Finger-style ( Normally found on many great
pre-war 12 fret guitars )
Nut Width #3: 1.813" or 1-13/16" Wide ( Normally found on many of the
earliest made gut or steel string guitars )
Bridge String Spacing
I use two different bridge spacing listed from narrow to wide below.
Bridge Spacing #1: 1.130" or 2-1/8" ( Used on 14 fret necks only that have
nut width #1 )
Bridge Spacing #2: 2.313" or 2-5/16" ( Used on 12 &14 fret necks that have
nut widths #2 or #3 )
Styles
Please Note: The styles that are listed below represent instruments built
in the same cosmetic fashion as Larson built guitars, i.e. assortments of
colorful wood marquetry and pearl purflings. As an example, 14 fret
guitars get the Euphonon style headstock shape rather than the square C.F.
Martin & Co. style paddle headstock. The marquetry that goes into a Larson
fashioned guitar is generally far more ornate than most of the pre-war
flat tops. Even on what might be considered a basic model, the purflings
are almost always multi-colored wood bound with ivroid and include a fancy
back strip. The rosettes are far more ornate, including sound holes bound
with ivroid.
I build all guitars "under tension". I want to remark that building
guitars "under tension" is not a Larson invention. It is a character that
has been alive and well throughout the history of building musical
instruments and furniture. This includes an X brace pattern using premium
Red Spruce. The tops on all guitars except Styles 3 & 4 are always Red
Spruce. If you want a guitar that has that "Larson" sound, but you are not
concerned with too much ornamentation consider my Style 3 and Style 4
guitars. The Style 3 is Mahogany and the Style 4 is Indian Rosewood. These
guitars will not have fancy wood or pearl marquetry and inlay. They are
similar in ornamentation to what you would find on many fine pre-war built
guitars. Also, the 14 fret guitars have the Euphonon style headstock
without binding. Slotted headstocks will remain the same. Rest assured
that the overall construction (i.e. bracing design etc) will not change on
any instrument. Everything is finely crafted, one at a time.
Style 3: Mahogany back & sides, mahogany neck with ebony veneer, Sitka
top, Adirondack bracing, front and back edges bound with ivroid, end graft
of ivroid, unbound ebony fingerboard with pearl dots, ebony bridge with
ivroid or ebony pins, no back stripe, Waverly tuners and custom case:
Style 4: Indian Rosewood back & sides, mahogany neck with ebony veneer,
Sitka top, Adirondack bracing, front and back edges bound with ivroid, end
graft of ivroid, unbound ebony fingerboard with pearl dots, ebony bridge
with ivroid or ebony pins, no back stripe, Waverly tuners and custom case:
Style 5: Select mahogany body, mahogany neck with ebony veneer, Adirondack
top, wood purfling and ivroid bound sound hole, front and back edges bound
with ivroid, top edges inlaid with fancy wood purfling, ebony fingerboard
with pearl dots, ebony bridge with ivroid pins, inlaid fancy wood back
stripe, Waverly tuners and custom case.
Style 6: Select Indian Rosewood body, mahogany neck with ebony veneer,
Adirondack top, wood purfling and ivroid bound sound hole, front and back
edges bound with ivroid, top edges inlaid with fancy wood purfling, ebony
fingerboard bound with ivroid, fancier group #2 of pearl fingerboard
markers, ebony bridge with ivroid pins, inlaid back stripe, Waverly tuners
and custom case.
Style 7: Select Brazilian rosewood body, mahogany neck with ebony veneer,
Adirondack top, wood purfling and ivroid bound sound hole, front and back
edges bound with ivroid, top edges inlaid with fancy wood purfling, ebony
fingerboard bound with ivroid, fancier group #3 pearl fingerboard markers,
ebony bridge inlaid with pearl and ivroid pins, inlaid back stripe,
Waverly tuners and custom case.
Style 8: Select Brazilian rosewood body, mahogany neck with ebony veneer
and "Floral Fall" abalone headstock inlay, Adirondack top with Adirondack
bracing, green abalone purfling and ivroid bound sound hole, front and
back edges bound with ivroid, top edges inlaid with green abalone
purfling, ebony fingerboard bound with ivroid, fancier group #4 pearl
fingerboard markers, ebony bridge inlaid with pearl and ivroid pins
accented with pearl, inlaid back stripe, select Waverly tuners and custom
case.
Style 8 Special Solo: Select Brazilian rosewood body, mahogany neck with
ebony veneer and "Floral Fall" abalone headstock inlay, European Spruce
Soundboard with laminated Brazilian rosewood X-brace. red abalone purfling
and ivroid bound sound hole, front and back edges bound with ivroid, top
edges inlaid with red abalone purfling, ebony fingerboard bound with
ivroid, fancier group #4 pearl fingerboard markers, ebony bridge inlaid
with pearl and ivroid pins accented with pearl, inlaid back stripe, select
Waverly tuners and custom case.
Style 9 The Elaborate: Select Brazilian rosewood, mahogany neck with ebony
veneer and "Double Floral Fall" abalone headstock inlay, European Spruce
Soundboard, All top braces are laminated with Brazilian rosewood, red
abalone purfling and ivroid bound sound hole, front and back edges bound
with ivroid, top edges inlaid with red abalone purfling, ebony fingerboard
bound with ivroid and fanciest inlay group #5 "Tree of Life" in beautiful
pearl, ebony bridge inlaid with pearl and ivroid pins accented with pearl,
inlaid back stripe, select Wavely tuners and custom case.
I can build whatever you may desire, but these styles represent a line of
instruments that I truly cherish, in both aesthetic and design. They are
beautiful shadows from the past and some of the most distinctive guitars
you will ever see.
Materials
Rosewood
There is no reason to go into the details surrounding Brazilian Rosewood.
Anyone reading this is well aware of it. Be aware that I only have a
limited supply of this material. As of 2008 I will only be making guitars
out of Brazilian Rosewood that are a Style 8, Style 8 Special Solo & Style
9, in either 12 or 14 frets. If you are looking to substitute Brazilian
Rosewood, you have the option of Indian Rosewood. Indian Rosewood is a
marvelous sounding material. However, it sounds nothing like Brazilian
Rosewood in my opinion. If you are looking for the sound of Brazilian
Rosewood, look no further than Honduran Rosewood. In many ways it can be
far superior to Brazilian Rosewood, especially in its stability. Honduran
is a bit denser than Brazilian Rosewood. Sonically you would have a very
hard time differentiating between the two. The sound that Honduran
Rosewood delivers is the same quality that causes us to love guitars made
out of Brazilian Rosewood. Many of the finest guitar makers in the world
claim Honduran superior to Brazilian Rosewood. If you have never heard or
played a finely made Honduran Rosewood guitar, you will be astonished when
you do. Both Indian Rosewood & Honduran Rosewood guitars have a reduced
price point. Please email me for information.
Mahogany
Quarter sawn Honduran Mahogany is used for the necks, for back and side
material and for neck and tail blocks. Mahogany offers the most
universally accepted sound of an acoustic guitar. It can be really warm
and bright at the same time, with a distinctive snap to its sound. Many
even prefer it over Brazilian Rosewood. Although not as robust as
Rosewood, the mellow alternative is quite nice. Most Doc Watson and
Clarence White records were cut with Mahogany guitars. Also, Mahogany is
the most cost effective material for a traditionally made guitar.
Koa
Premium Hawaiian Koa is used for back & sides. Koa exhibits a tonal
quality that reminds me of a combination between Mahogany and Maple. It is
porous, like Mahogany, but has a more reflective tonal quality. Koa can be
used for the soundboard material as well. They make truly stunning guitars
in every way. Interest in a Koa made guitar please emails me for info.
Maple
Premium European Maple is used for back & sides, bridge plates, necks or,
at special request, as brace material. Maple is the traditional choice for
the violin family of instruments, as well as for arch top guitars. Maple
has a highly reflective sound. It's no mystery as to why violin makers use
it. It makes amazing sounding guitars too. Think of huge sounding J-200's.
High flame on Maple also makes it visually stunning. Interest in a Maple
made guitar please emails me for info.
Ebony
African Ebony is used for fingerboards, head-plates, bridges & bridge
pins. Ebony is becoming more expensive every day especially for high
quality Madagascar material. I prefer the sound of ebony over Rosewood for
fingerboards and bridges. Ebony is most often seen in high end traditional
guitars. It can also be used for nuts. An ebony nut will mellow the
guitar's tone.
Spruce Soundboards
Style 3 & Style 4 guitars - Sitka Spruce is used. "Bear Claw Sitka" at
request.
Style 5, Style 6, Style 7 & Style 8 - Adirondack Red Spruce is used.
Style 8 Special Solo 16 & Style 9 - European White Spruce is used.
Please note that most builders charge an upwards of $750 to $1000 extra
for an Adirondack Spruce soundboard, and even higher prices for European
Spruce soundboards. The material used by the Montuoro Guitar Co. is
premium aged stock, and you won't have to pay extra for Red Spruce on
Style 5 through Style 9 guitars!
Spruce Brace Wood
Premium quarter sawn Adirondack Red Spruce on each and every guitar.
Laminated Braces
Rosewood or Maple is sandwiched between Adirondack Red Spruce. You will
find laminated braces on the Style 8 Special Solo and Style 9 guitars
only. Laminating anything makes it stronger. It is a personal preference,
whether or not you feel laminated braces have a superior tonal quality
over non laminated braces. I feel it adds something different to the
guitar, creating more power and sustain. Some deeper low-end frequencies
are removed, while increasing the middle and higher frequencies.
Laminated Necks
Five piece necks laminated with Rosewood, Maple & Mahogany. Laminated
necks are included on Style 8 Special Solo or Style 9 guitars only, in
either 12 or 14 fret configurations. The laminations are a thin center
line of Maple sandwiched between two slightly thicker Rosewood lines, with
the outsides being made of Mahogany.
Single Piece Necks
Premium quarter sawn Honduran Mahogany.
Truss Rod
This is always a great point of contention. I will not go into boring
diatribe. This is my feeling: when trying to capture the sound of a
vintage guitar in a modern build, the only way to get as close as possible
is to not change anything from the original recipe! The end…
If you want an adjustable truss rod in your guitar I will gladly oblige.
The truss rod will be installed for adjustment through the sound hole. It
is a double action rod that works very well. I have made finding the truss
rod nut incredibly easy.
If you want the closest interpretation to a historic build as possible,
the guitar should not have an adjustable truss rod. Choose instead a non
adjustable truss rod or neck stabilizer. Throughout history, the three
materials listed below have been the most widely accepted and used. To
preserve antiquity, graphite and the likes are not listed.
#1: Ebony ( C.F. Martin & Co. )
#2: Maple ( Larson Bros. )
#3: Steel ( C.F. Martin & Co. or Larson Bros. ) The Larson Bros rarely
used steel in the neck except in the early to late 1930's Euphonon,
Prairie State guitars etc.
With all of the patents that the Larson Bros obtained for reinforcement of
steel string guitars, it's amazing that their research did not lead them
to create even one guitar with an adjustable truss rod imbedded in the
neck. I would have to imagine they pondered it. Or maybe they felt that it
was unnecessary and that it possibly detrimentally affected the guitar's
tone? Old single action rods "ala" Gibson are usually seized and frozen.
Last but not least, C.F. Martin & Co. went 152 years before they started
using adjustable truss rods...Something to think about.
Spruce Blocks & Kerf Lining
Premium Spruce kerf lining on each guitar.
Premium Spruce kerf lining, neck & tail blocks on Style 8 Special Solo &
Style 9.
Binding
Ivroid binding is used to trim the outside edges of the guitar. It is also
used to bind the fingerboard, headstock, lip of the sound hole and as end
graft & heel cap material. Ivroid represents the closest material
available today to the material used on historic guitars. It has a creamy
ivory visual appeal to it.
Purflings of Pearl and Wood
Purfling is the material sandwiched between the top's edge and the outside
layer of binding. I utilize a combination of wood and pearl around the
edges & rosettes of Style 8's and above. I use wood purfling around the
edges & rosettes on Styles 7's and lower.
Inlay
The inlay combinations I offer vary from extremely plain and simple to
very ornate representations of historic guitars. On Style 3 & 4 I use
pearl dots only. Style 5, 6, 7, 8, 8 Special Solo & 9 the guitars are
paired with exact representations of historically used designs. But you
can mix and match any combination you would like.
Bridges
Group 1: "Star" engraved in white pearl.
Group 2: "Clover" in white pearl.
Fingerboards
Group 1: Montuoro Guitar Co. pearl dot inlay at 3, 5 & 7th frets.
Group 2: Multi pearl dot inlay at 3, 5, 7, 10, 12 & 15th frets.
Group 3: Combination of fancy pearl markers (i.e "bow ties") and pearl
dots at 3, 5, 7, 10, 12, 15 & 17th frets.
Group 4: White pearl squares at 3, 5, 7, 9, 12 & 15th frets.
Group 5: "Tree of Life" in mixed pearl covering entire fingerboard length.
Headstocks
Group 1: No headstock inlay.
Group 2: "Torch" style in white pearl.
Group 3: "Floral Fall" style in abalone.
Finish
The finish I use is for the most part my little secret. I can't tell you
everything. My finish recipe is based on many years of research - trial
and error. I will tell you this much - it is of the evaporative varnish
family. It's a historically accurate formula that yields the most striking
vintage patina while being thin enough to not interfere with tone. I
utilize special pigments to achieve the warmest possible color on
soundboards. This effect really adds to the instrument's handmade appeal.
Note* Please keep in mind this type of finish is not like a modern day
lacquer finish. It still is of course a high quality finish just an
aesthetic variation. Since no vinyl type sealers are utilized during my
finish process you will see a bit more grain line and shrinkage especially
along wood purflings. The finish will get dull, can wrinkle or become
damaged much faster than a lacquer finish. Great care is taken to make
sure that just the right amount of finish is applied. Encasing a guitar in
lacquer is not protocol for me. When hand building is concerned. And for
that reason I do not use lacquer as a base ever. I do however spray two
very thin coats of lacquer last to act as a protective barrier supplying
the finish with more resistance to you and the elements then a complete
French polish would. I have found this works really great. It does not
affect tone when used in this fashion. The finish on these instruments is
a spirit based varnish and should be cared for as such.
Either way the end result is an instrument that may by modern standards
have some imperfections and considered inferior. Such as the patina and
small amount of exposed grain etc. But that’s based on factory production
environments. But on the other hand the trade off for the dynamic range
and tonal difference helps make up for it. I have had no complaints yet.
Frets
I use two different sizes of T frets. The first frets listed were used in
many historic guitars but are on the smaller side - actually the same size
used on mandolins. The second sets of frets listed are a bit larger and
have been used prominently with many manufacturers since the early 1930's
to the present.
Fret-wire 1: .053" wide x .037" tall (Larson Bros. on most everything
except mid to late 1930's guitars)
Fret-wire 2: .078" wide x .040" tall (C.F.Martin & Co. since 1934)
This is an important aspect to your build and will be solidified at the
time of the order.
Tuners
Waverly's are my choice, with either nickel or ivroid oval button. On
slotted headstocks I use 3-on-a-plate engraved Wavely's with either nickel
or ivroid oval button. If you prefer gold tuners or would like to select a
different style tuner button please email me for info.
Cases
Geib furnishes my cases. It's hard to find many products made in the USA
these days. They are black tolex with red interior, 7 layer ply, soft
leather handle etc. They are top of the line cases. All cases come
hand-branded with the Montuoro logo affixed next to the handle, on a piece
of leftover spruce from your soundboard material.
Sincerely,
Frankie Montuoro
2009
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