Dyer Symphony Style 8 5-Bass Harp Guitar, made by Larson Brothers , c. 1910
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Dyer Symphony Style 8 5-Bass Model Harp Guitar, made by Larson Brothers, c. 1910, made in Chicago, natural varnish finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case.
The fantastic looking and sounding Symphony Harp guitars are one of the most renowned of the Larson Brothers' many fretted creations, and this is the top-of-the-line #8, the showpiece of the line. These magnificent instruments were made exclusively for the W.J. Dyer & Bro. Company of St. Paul in the first decades of the 20th century. Dyer Harp guitars are considered by most enthusiasts as the best instruments of their kind ever made, and many modern luthiers continue to use them as a pattern. Since their re-discovery in the 1980s thanks mainly to Michael Hedges and his followers, the Dyer Symphony Harp Guitar has been generally considered the de facto standard design for guitars with sub-bass strings.
An entire line of guitars and mandolin family "Symphony Harp" instruments were marketed by Dyer well before the First World War, originally based on the patented design of Chris Knutsen but mostly built by the Larson Brothers in Chicago. The guitars were the first to be offered from around the early aught years of the last century, and by far the most successful. This "Style 8" is the top model up the line, with superbly elaborate decorative elements added to the basic formula.
As with all Dyers the body on this Style 8 is made of mahogany a spruce top; these were never built with rosewood; finding pieces large enough was likely a challenge! The body is bound around the edge with ivoroid and colorful abalone inlaid all along the top edge set off with wood strips. The main soundhole is bound with a pearl rosette and additional wood marquetry rings, the secondary soundhole has a pearl ring as well. The bound ebony fingerboard on the mahogany neck has an incredibly elaborate tree of life design in inlaid pearl along practically the entire length. Small pearl accents adorn both headstocks and the elaborate carved ebony bridge. The Style 8 was a later addition to the line made in very limited quantities, even compared to other Dyer models; examples are extremely rare today. Unfortunately this one has lost the paper label carrying the serial number but as a 5 sub bass model this is probably on the earlier side, roughly in the early 1910s period.
All "Dyer Symphony" instruments are distinguished by their hollow upper body extension; on the guitars this serves to hold the banjo-style tuners for the 5 sub-bass string array. Even if these strings are ignored, the extended body with a larger air cavity definitely enhances the instrument's tonal character, giving a depth and airiness unusual in a flat-top guitar of any design, especially as the sub-bass strings add an extra resonance even if not plucked.
This is a very fine-sounding instrument, sonically completely different from both the heavy carved Gibsons and the typical double-neck flat-top German-style harp guitars of the period. It has had some restoration but is structurally well-preserved for its age. Despite a production history spanning a couple of decades, there are only a limited number of these Symphony Harp guitars in existence, and the Style 8 is extremely rare compared to the less decorated models. Each one is a masterpiece of both style and sound; this a feast for the eyes as well. This is the only Style 8 we have ever had, a dazzling showpiece in every way with a huge sound.
Overall length is 41 1/2 in. (105.4 cm.), 15 5/8 in. (39.7 cm.) wide at lower bout, and 4 1/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1/2 in. (648 mm.). Width of nut is 1 7/8 in. (48 mm.).
This fantastic Larson Brothers creation remains in structurally fine condition overall, but has seen some finish work. There is an old light lacquer overfinish over pretty much of the entire instrument, which looks like it was done decades ago. The Larson's original finish remains intact beneath this, with an amber tint to the top and August's dark rosewood-like stain to the mahogany. Very little wear is evident from before or after this revision. The only area showing much distress is the top veneer of the pin block which has a pattern of hairline surface cracks; this seems to be common with these but is not a structural issue. There is a small finish chip off the bass side of the headstock in an inconspicuous spot just above the nut.
Apart from the added finish the instrument remains pretty much as the Brothers built it well over a century ago. There is really very little wear, none of the common pickwear spots and no large areas of loss. We can also find no structural cracks anywhere on the guitar, which for an instrument of this size, age and delicacy is amazing. The original bridge is intact including the original fretwire saddle; it has been reglued but with minimal scarring around it. At some point three retaining dowels were added through the bridge and bridgeplate; these have been removed and the round holes in the bridge top and bridge plate patched.
The Dyer label is missing, which is unfortunately fairly common with these. Both sets of tuners are original. There is some fairly heavy divoting to the fingerboard just in the first position; someone definitely played there long ago, but the pearl all remains intact. The frets we must assume were replaced, but the wire is thin and looks period correct. These show some wear again only in the lower positions. The action is 4/32" bass and treble, the instrument as a whole plays nicely. We find it seems to respond especially well tuned a whole step down to D standard, the harp strings are especially reverberant there giving the instrument a huge expansive sound. It is housed in a very well fitted shaped hard shell case that appears to date to the 1970-80s. That is a real find in itself, but overall this is simply a stunner, the only Style 8 Symphony Harp guitar we have had the pleasure to offer, a stunner in every way. Overall Very Good + Condition.
The fantastic looking and sounding Symphony Harp guitars are one of the most renowned of the Larson Brothers' many fretted creations, and this is the top-of-the-line #8, the showpiece of the line. These magnificent instruments were made exclusively for the W.J. Dyer & Bro. Company of St. Paul in the first decades of the 20th century. Dyer Harp guitars are considered by most enthusiasts as the best instruments of their kind ever made, and many modern luthiers continue to use them as a pattern. Since their re-discovery in the 1980s thanks mainly to Michael Hedges and his followers, the Dyer Symphony Harp Guitar has been generally considered the de facto standard design for guitars with sub-bass strings.
An entire line of guitars and mandolin family "Symphony Harp" instruments were marketed by Dyer well before the First World War, originally based on the patented design of Chris Knutsen but mostly built by the Larson Brothers in Chicago. The guitars were the first to be offered from around the early aught years of the last century, and by far the most successful. This "Style 8" is the top model up the line, with superbly elaborate decorative elements added to the basic formula.
As with all Dyers the body on this Style 8 is made of mahogany a spruce top; these were never built with rosewood; finding pieces large enough was likely a challenge! The body is bound around the edge with ivoroid and colorful abalone inlaid all along the top edge set off with wood strips. The main soundhole is bound with a pearl rosette and additional wood marquetry rings, the secondary soundhole has a pearl ring as well. The bound ebony fingerboard on the mahogany neck has an incredibly elaborate tree of life design in inlaid pearl along practically the entire length. Small pearl accents adorn both headstocks and the elaborate carved ebony bridge. The Style 8 was a later addition to the line made in very limited quantities, even compared to other Dyer models; examples are extremely rare today. Unfortunately this one has lost the paper label carrying the serial number but as a 5 sub bass model this is probably on the earlier side, roughly in the early 1910s period.
All "Dyer Symphony" instruments are distinguished by their hollow upper body extension; on the guitars this serves to hold the banjo-style tuners for the 5 sub-bass string array. Even if these strings are ignored, the extended body with a larger air cavity definitely enhances the instrument's tonal character, giving a depth and airiness unusual in a flat-top guitar of any design, especially as the sub-bass strings add an extra resonance even if not plucked.
This is a very fine-sounding instrument, sonically completely different from both the heavy carved Gibsons and the typical double-neck flat-top German-style harp guitars of the period. It has had some restoration but is structurally well-preserved for its age. Despite a production history spanning a couple of decades, there are only a limited number of these Symphony Harp guitars in existence, and the Style 8 is extremely rare compared to the less decorated models. Each one is a masterpiece of both style and sound; this a feast for the eyes as well. This is the only Style 8 we have ever had, a dazzling showpiece in every way with a huge sound.
Overall length is 41 1/2 in. (105.4 cm.), 15 5/8 in. (39.7 cm.) wide at lower bout, and 4 1/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1/2 in. (648 mm.). Width of nut is 1 7/8 in. (48 mm.).
This fantastic Larson Brothers creation remains in structurally fine condition overall, but has seen some finish work. There is an old light lacquer overfinish over pretty much of the entire instrument, which looks like it was done decades ago. The Larson's original finish remains intact beneath this, with an amber tint to the top and August's dark rosewood-like stain to the mahogany. Very little wear is evident from before or after this revision. The only area showing much distress is the top veneer of the pin block which has a pattern of hairline surface cracks; this seems to be common with these but is not a structural issue. There is a small finish chip off the bass side of the headstock in an inconspicuous spot just above the nut.
Apart from the added finish the instrument remains pretty much as the Brothers built it well over a century ago. There is really very little wear, none of the common pickwear spots and no large areas of loss. We can also find no structural cracks anywhere on the guitar, which for an instrument of this size, age and delicacy is amazing. The original bridge is intact including the original fretwire saddle; it has been reglued but with minimal scarring around it. At some point three retaining dowels were added through the bridge and bridgeplate; these have been removed and the round holes in the bridge top and bridge plate patched.
The Dyer label is missing, which is unfortunately fairly common with these. Both sets of tuners are original. There is some fairly heavy divoting to the fingerboard just in the first position; someone definitely played there long ago, but the pearl all remains intact. The frets we must assume were replaced, but the wire is thin and looks period correct. These show some wear again only in the lower positions. The action is 4/32" bass and treble, the instrument as a whole plays nicely. We find it seems to respond especially well tuned a whole step down to D standard, the harp strings are especially reverberant there giving the instrument a huge expansive sound. It is housed in a very well fitted shaped hard shell case that appears to date to the 1970-80s. That is a real find in itself, but overall this is simply a stunner, the only Style 8 Symphony Harp guitar we have had the pleasure to offer, a stunner in every way. Overall Very Good + Condition.