10/11/2021 0 Comments Conn Guitar Serial Numbers
A Scherl & Roth 3/4 size cello, model R500E3 and serial number 7235632.Photo Courtesy of Fanny’s House of Music Mossman guitars are considered to be some of the better handcrafted instruments from the 70s and 80s. Olds Serial Number List.Scherl & Roth Arietta Cello 3/4 Outfit from Conn-Selmer is 100 original and. Getzen 300 Series B-flat Trumpet, serial K93040, complete with case and practice book. The widely available original Conn brass serial number list contains inaccuracies in serial numbers earlier than approximately 1920. This is a silver Getzen Capri series trumpet. The serial number present on.They Walnut Valley Festival was spawned during their return trip to Winfield. I believe this is taken at the festival Stu and Sam attended that (festival/show) was put on by Jimmie Driftwood. Special thanks to Willis Pracht and Dennis Schut who provided additional information and materials31/8/19- Photos added, quotes refined, more guitars added to the database2019- We're on facebook now! Do drop by and say Hi! Sam Ontjes, Jimmie Driftwood and Stuart Mossman.
Conn Guitar S Serial Number 7235632Mossman uses Watson's feedback to improve his guitars (Kansas City Star, September 22, 1974) 1966: Mossman shows his guitar to Doc Watson. According to the now-defunct official Mossman Guitars website, he designs and builds close to 50 prototypes in Winfield, Kansas. 1961-65: Starts building classical guitars. Stuart Mossman and Mossman Guitars: a brief timeline. This is the maximum Mossman felt he could personally inspect. 1974: Production numbers 8 to 10 per day. Solid wood construction is a big selling point for Mossman who lamented the use of laminates in acoustic guitars. Mossman Guitars is established at Strother's Field near Winfield. Watson uses it on stage and reportedly tells Mossman it was the "second-best guitar he'd ever played." (Kansas City Star, September 22, 1974) A disagreement over responsibility for the damage results in a lawsuit and cash flow problems for the company. However, 1,200 guitars are damaged due to inappropriate storage in a Nevada warehouse. The company is able to bounce back with the aid of a government-backed loan and production is increased to 150 instruments a month to meet a distribution deal with C.G. 1975: Fire in the finishing area destroys the entire stock of Brazilian Rosewood. Most are under the age of thirty, with the exception of Stuart Mossman, who is thirty-two. Office staff number 5 with a production manager and the remainder craftspersons in the shop. In the same letter, he makes special thanks to Dan Crary and John Denver for their support. 30 December 1983: Stuart Mossman writes to Frets to announce his retirement from lutherie due to a sensitivity to glues and lacquers. The address on the catalogue now read 2101 East Ninth Street, Winfield Kansas 67156. 1979: The few remaining people produce a small number of instruments a month. We are inclined to use Baxendale's dates but all further details are logged as 1985/6) (Scott Baxendale remembers it as August 1985, the Mossman website stated 1986. Baxendale relocates the company to Garland, Texas. Many were still owned and kept by Mossman himself. Before turning over the company, Mossman designs a final 25 guitars of the finest wood previously set aside. Had previously worked in the shipping department at one of the most reputable American guitar factories, stated his reason for starting his business as "somebody had to do it". 1999: Stuart Mossman passes away aged 56.In his article, John Southern wrote that Stuart Mossman 1991: The company relocates to Sulphur Springs, Texas. For years, however, Crary played a Mossman and was featured on the cover of Frets Magazine in February 1980 holding his Mossman Great Plains guitar. Items like a twelve-foot belt sander and a saw that cuts fret slots 21 frets at a time, all had to made for the Winfield shop."One of the better known early Mossman enthusiasts is flat-picker Dan Crary, now a Taylor endorser with his own signature model. Most of the machinery used by Mossman is designed and built by Mossman. The Walnut Valley Association has put together the National Guitar FlatPicking Championship every year since then Then in 1968, Mossman joined with Bob Redford and Joe Muret to form the Walnut Valley Association. In 1966, Mossman and a former school buddy, Sam Ontjes, originated the Walnut Valley Folk Festival. New Mossman guitars have also been well received by country and bluegrass performers. Mossman also sold several guitars to his Hollywood friends Keith and Bobby Carradine and other well-known actors. But in the case of the Mossman I own now, I have never owned a guitar that is equal to it, and it's less than two years old." Other high-profile Mossman users, there were never any paid endorsements, included John Denver, Emmylou Harris, Hank Snow, Cat Stevens, and Merle Travis. Unfortunately, it was not in my hands when that happened, or I would have taken it back to Stu, and he would have set it straight again. It was a smaller bodied thing, probably mahogany, a shorter scale, and not a lot of oomph, but it did good service for several years, until it warped. Sounds unlikely, I know but, I took his first try at a 12 off his hands (for $210). I like to say, as well, that I taught him how to make a 12 string. I was an investor before the fire and loaned Stu some seed money to start the new factory. I told Stu that a 12 string wasn't worth owning unless you could play lead on it. Ie: Gibson's tailpiece, which strangled the sound, Martin's stiff upper lip action, Guild's huge sacrifices in fluidity to produce the excellently sturdy and consistent big, loud box it admittedly is none of them cutting the mustard for us. Anyway, I told him in detail, the shortcomings of the axe (there were a few), and together we probed deeply into the build-flaws of the various name-brand 12's. Four of them passed through my hands, not counting the little prototype. The result of those sessions was the Mossman 12, as we have come to know it. But it had to be a tough enough build to withstand tuning it up to concert. That's just the way it's supposed to be and I'm not going to give up on it until it's in my hands. I know it's going to come back to me. That says something right there for the guitar: memorable! After 18 years that sound is still ringing in my ears. The only reason I know the new one is "better" is because I remember so well the sound and feel of the original. A better instrument, really, than the one I'm looking for, but it was a damn good guitar, and had some real heart and soul that transcended any kind of quality you could measure.
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