product catalogue

T h e L a r s o n B ro s. o f C h i c ag o – e s ta bl i s h e d 1900
2009/2010
product catalogue
C
arl and August Larson of Chicago have left a
remarkable legacy of fine fretted instruments
from a career extending from the mid-1890’s to the
early 1940’s. Their work is unique among pre-World
War II guitar manufacturers as it represents the only
non-industrially produced range of flat-top steelstring instruments that are still widely recognized as
being of high-quality and high monetary value. Larson-built instruments continue to be sought after by
musicians as well as collectors all over the world for
their distinctive tonal quality.
H
aving emigrated from Sweden to the United States in the 1880’s, the Larson brothers produced a wide variety of different styles of
guitars, harp guitars, mandolins, mandolas, mando-cellos, tiples, and ukes under a variety of trade
names, such as Maurer, Prairie State, Euphonon,
Dyer, and Stahl. Many of these instruments, such
as the Dyer and Stahl brands, were produced for
distribution by others and were stamped as being
made by these distributors when they were, in fact,
made by the Larsons.
the
Return
Of a
LEGEND
T
hat’s why none of the Larsons’ instruments
bore a Larson label or stamp. Representing just
a two-man operation, the brothers kept their personal profile low, concentrating on the production
of a remarkable variety and quantity of very finely
crafted and innovatively designed instruments.
C
arl and August Larson invented some unique
design and construction features: Their laminated bracing, metal support rods on Prairie State
brand instruments, their system of building tops
and backs under tension, as well as a number of
other design features clearly set them apart from
their competitors. The Larsons held patents on a
number of these inventions and may justifiably be
considered to be some of the most innovative designers of fretted instrument of their time.
I
n 2006, one of the most respected European luthiers teamed up with German product designer Toni Götz in order to go for the relaunch of the
Larson brand. When building new Larson guitars,
they decided to stick to the very same concepts first
utilized by the Larsons about 100 years ago.
T
his means that you will be able to rediscover
all the wonderful little details that already set
a Larson apart from the crowd centuries ago! The
result of the Larson brand relaunch are remarkably
fine instruments which offer the typical, unique
tone of the original Larson guitars.
E
ven though all new Larson instruments are
built as acoustic guitars, it is very simple to
add a pickup system in order to transfer the unique
sound of a new Larson to an amplifier. For a perfect
acoustic sound we recommend Headway pickups.
MAURER
T
his model might be the re-creation
details such as special wooden purfling and
of the old Maurer guitar models,
slotted peghead made on the laminated neck
but like Bob Dylan said, “the times they are
1 ¾” width at the nut. Finger pickers will defi-
a’changing….” While the Stetson was intend-
nitely appreciate this comfortable width and
ed to get as close as possible to the original, the
smaller body that provides very balanced tone
Maurer is a different instrument altogether.
with strong basses, full midrange and clear
The first difference is pretty obvious. While
trebles. Playing this guitar will almost feel like
the original features a 12-fret neck, the new
playing the piano!
guitar has 14 frets! This change led the master
luthier to a complete redesign of the soundboard construction. If you should use a mirror in order to have a look inside, you might
think that the construction is very similar, but
you are, in fact, mistaken. Each brace is in an
absolutely different position, the profiles differ
from piece to piece. The developer spent hundreds of hours designing this bracing system
to get as close as possible to the original Larson
guitar, utilizing a very similar body shape, but
a longer neck. The bridge as well as the soundboard had to be shifted forward. But the result
is unbelievably close to those old instruments.
The new Maurer guitar also features the appearance of the old Larson guitars, employing
PRAIRIE STATE
T
his guitar is quite far away from
players request a big guitar with a big
the old Maurer jumbos. The only
sound projection. That’s why our master
thing that this model has in common
luthier created a new body shape, but
with its predecessor is the size. It is a new
used the old bracing system with some
century jumbo which is, however, con-
changes. You can also find the same styl-
structed in the same style as the old gui-
ish features as on the other two models,
tars. We know that contemporary guitar
but with a different peghead and a narrower 1 11/16” neck as well. In fact, this
guitar is a modern instrument that provides a very modern sound, but you can
still feel the touch of history in it.
STETSON
A
t first glance, this guitar seems to be
a plain dreadnought, but the very
opposite is true. So what’s the main difference between this model and many others
produced by various companies all around
the world? Is it the sound? The construction? The answer is simple – all of them!
The top is braced using the unique Larson-style laminated bracing system. It is
almost authentic as to the braces position,
but the braces are slightly scalloped, which
is an element that the Larsons never used
on laminated braces. This feature helps to
provide the sound that you will find on
all old Larson guitars. Our goal was to
construct a guitar that – even though it
is new – sounds like a guitar which is almost a hundred years old. All the details
are carried out in vintage style in order
to get as close to the original as possible.
Larson guitars feature a very simple black/
white/black wooden purfling besides the
white plastic binding – not only around
the edge of the body, but also around the
sound hole. The result is a guitar with a
remarkable sound different from all other
dreadnoughts. By the way: Back in their
days, the Larsons’ guitars very often beat
their main competitor – Martin guitars
– as their sound was more progressive. After 100 years, you now have the chance to
rediscover that sound!
The
Standard
SERIES
A
ugust and Carl Larson questioned nearly every aspect of
guitar building, and, by doing so, revolutionized the musical instruments industry. Many an invention was tested in the
Larson brothers’ own Chicago workshop – that’s why it’s rather
difficult to speak of a “Larson standard”.
W
hen we developed the new Larson Bros. Standard Series, we decided to feature concepts that can be found
on numerous original Larson-made instruments. The construction of the neck as well as the neck joint is traditional, meaning
that the reinforced neck is joined to the body by means of a
dove-tail neck joint and can be adjusted easily with a truss rod.
T
he tension of both top and bottom is retained by the sturdy “laminated bracing” – a feature that was originally developed and patented by the Larsons. We further developed this
concept into a concept of “scalloped laminated bracing”, thereby
achieving the parabolic top as well as ideal top vibrations.
O
f course the look of the Standard Series matches the original models. For the tops we only use naturally dried,
solid spruce, for the soundbox we rely on Kaya mahogany and
Indian rosewood.
T
he sound pattern of the new Larson Bros. Standard Series
is refreshingly different from the uniform sound of traditionally built instruments with x-bracing. Upon playing the first
chord, the musician is struck by the impressive transparency of
sound created by the Larsons’ bracing pattern. A powerful midrange as well as warm, crystal-clear trebles make Larson Bros.
instruments an ideal partner for both recording purposes and
live performances on stage.
MAURER STYLE 1
MAURER STYLE 2
STANDARD SERIES
Body Shape
triple-o
Bac k & S i d e s
all-solid Indian rosewood
To p
solid spruce
Neck
mahogany
Peghead
square-slotted
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
Larson wood purfling
Body Shape
triple-o
Bac k & S i d e s
all-solid mahogany
To p
solid spruce
Neck
mahogany
Peghead
square-slotted
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
12
Larson wood purfling
13
Prairie state STYLE 12
Prairie state STYLE 13
STANDARD SERIES
Body Shape
jumbo
Bac k & S i d e s
all-solid flamed maple
To p
solid spruce
Neck
mahogany
Peghead
Larson
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
abalone top border, abalone rosette
Body Shape
jumbo
Bac k & S i d e s
all-solid Indian rosewood
To p
solid spruce
Neck
mahogany
Peghead
Larson
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
14
abalone top border, abalone rosette
15
STETSON STYLE 1
STETSON STYLE 2
STANDARD SERIES
Body Shape
dreadnought
Bac k & S i d e s
all-solid Indian rosewood
To p
solid spruce
Neck
mahogany
Peghead
square
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
Larson rosette
Body Shape
dreadnought
Bac k & S i d e s
all-solid mahogany
To p
solid spruce
Neck
mahogany
Peghead
square
Fingerboard, Bridge,
P e g h e a d O v e r l ay
ebony
D e c o r at i o n s
16
Larson rosette
17
The
ES SERIES
T
he Larson brothers have registered numerous patents
that nearly all guitar manufacturers are relying on today
as industry standards. Considering that some of the these inventions date back as far as the 19th century, the Larsons were
true innovators, even though very few people nowadays realize
that these industry standards originate in the technical genius
of August and Carl Larson.
T
he Larson brothers were first to equip their guitar bodies
with parabolic tops and backs. In order to keep the arch
stable, they developed the “laminated bracing”, thereby retaining the top’s tension.
F
or the tops of the new Larson Bros. ES Series, we exclusively use European spruce, applying a 17th-century
method of artificially aging the wood. Due to this, the specific
mass of the material is reduced, making it practically impossible for the top to tear. In addition, the tonal response of the
instrument is optimized.
T
he tops are of different thickness, which significantly improves the dynamics, the transparency and the overtone
spectrum of the ES Series. When comparing this to guitars that
were built until the first third of the 20th century, you will find
that guitars always featured “flat tops”, i.e. tops without any arch
at all. Furthermore, the tops usually had a constant thickness.
C
arl and August Larson were very aware of the importance
of the neck construction and its impact on the sound of
the instrument. The Larsons didn’t have any preference when it
came to the neck joint. That’s why they used dove-tail as well as
bolt-on neck joints.
W
hen we developed the new Larson Bros. ES Series, we
decided to use the bolt-on method. The neck is reinforced by means of a carbon tube. The weight is reduced, and
even though we picked a more “massive” neck profile, the neck
remains light as a feather, retaining perfect stability and giving
the instrument ideal vibration characteristics.
MAURER STYLE 1 ES
MAURER STYLE 2 ES
ES SERIES
Body Shape
small body
To p
aged spruce
Bac k & S i d e s
mahogany
Body Shape
small body
To p
aged spruce
Bac k & S i d e s
Indian rosewood
Neck
Neck
Logo
Logo
mahogany
abalone
Peghead
square-slotted
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Maurer Style
Rosette
wood mosaic
Binding
Ivoroid cream
mahogany
abalone
Peghead
square-slotted
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Maurer Style
Rosette
wood mosaic
Binding
Ivoroid cream
Purfling
wood mosaic
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
20
high-gloss
21
MAURER 12-fret STYLE 2 ES
Body Shape
small body
To p
aged spruce
Bac k & S i d e s
Indian rosewood
small jumbo
To p
aged spruce
Bac k & S i d e s
flamed maple
Neck
Logo
Logo
abalone
Peghead
square-slotted
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
Body Shape
Neck
mahogany
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Maurer Style
Rosette
wood mosaic
Binding
mahogany
abalone
Peghead
Larson P-State
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Larson Style
Rosette
multiple wood Ivoroid
Binding
Ivoroid cream
Ivoroid cream
Purfling
Purfling
wood mosaic
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
high-gloss
22
PRAIRIE STATE SJ Style 3 ES
ES SERIES
black/white/black/white
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
high-gloss
23
PRAIRIE STATE OM Style 1 ES
Body Shape
Body Shape
OM
OM
To p
To p
aged spruce
Bac k & S i d e s
mahogany
aged spruce
Bac k & S i d e s
Indian rosewood
Neck
Neck
Logo
Logo
mahogany
abalone
Peghead
Larson P-State
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Larson Style
Rosette
multiple wood Ivoroid
Binding
mahogany
abalone
Peghead
Larson P-State
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Larson Style
Rosette
multiple wood Ivoroid
Binding
Ivoroid cream
Ivoroid cream
Purfling
Purfling
black/white/black/white
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
24
PRAIRIE STATE OM Style 2 ES
ES SERIES
high-gloss
black/white/black/white
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
high-gloss
25
STETSON STYLE 1 ES
Body Shape
dreadnought
To p
aged spruce
Bac k & S i d e s
mahogany
Body Shape
dreadnought
To p
aged spruce
Bac k & S i d e s
Indian rosewood
Neck
Neck
Logo
Logo
mahogany
abalone
Peghead
square Solid
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Larson Style
Rosette
multiple wood Ivoroid
Binding
mahogany
abalone
Peghead
square-slotted
P e g h e a d O v e r l ay
ebony
Fingerboard
ebony
F i n g e r b o a r d I n l ay
Larson flower
Bridge
ebony/Larson Style
Rosette
wood mosaic
Binding
Ivoroid cream
Ivoroid cream
Purfling
Purfling
black/white/black/white
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
26
STETSON STYLE 2 ES
ES SERIES
high-gloss
wood mosaic
Tu n e r s
vintage Gotoh
Nut & Saddle
Tusq
Finish
high-gloss
27
2009/2010
product catalogue
Larson Bros. GbR
Am Rehberg 15
D-97268 Kirchheim
Germany
Fon: + 49 (0) 9366 999 79
Fax: + 49 (0) 9366 990327
www.larsonbros.com
[email protected]