Zero Frets and Metal Saddles.

Another feature of the Viennese Romantic guitar of the Stauffer family of instruments is the zero fret. Not all models from the Stauffer collection appear to have carried this feature but it shows up occasionally on the full size Legnani model and the terz guitar. The zero fret is a somewhat taller fret that is placed at the headstock end of the fingerboard at the zero point of the string length and supplies one of the functions of a traditional nut. That would be keeping the strings the correct height above the other frets of the fingerboard. Directly behind it is the nut whose sole function in this case is to keep the strings at the correct spacing.

Coupling this with a metal saddle at the bridge means that the string is always connected to metal at both contact points even when played open.

This metal saddle at the bridge was made from the same material as the frets and did not have any adjustment feature. This was a very good system for the instruments that had the raised/flying fingerboard as all adjustments were done by loosening or tightening the clock key bolt at the base of the neck heel.

On the modern guitar there has been some experimentation with these ideas. Early Martin guitars featured the adjustable neck a la Stauffer and a number of present day master luthiers such as David Schramm are researching the pros and cons of the idea often with excellent results.

A variation of the metal saddle has been used by none other than GFA hall of famer John Gilbert. His adaptation was to use six individual metal pins rather than a single metal saddle/fret to carry the strings thereby ensuring correct string spacing and perfect height adjustment.

The zero fret option does not seem to have caught the interest of the modern classical guitar maker although it is a common feature on most electric guitars and many steel string acoustic instruments. I would think it time well spent for modern makers to experiment more with the possibilities hidden in the zero fret.

One last feature, not unique to Stauffer instruments but used by most plucked string instrument makers for hundreds of years, is the end pin. This little button pin placed in the end of the instrument as a means to attach a strap or ribbon that went over ones shoulder to help hold the instrument has become extinct with the development of the modern classical guitar. It seems a shame as this little button was a charming albeit often overlooked piece of artistic expression. Different elegantly turned shapes, pearl, gold or silver inlays and exotic woods greet those that take the time to search it out...who will stand up for the lowly end pin?

Next we will look at some of the woods used by the early romantic guitar makers and explore why they made the choices they did.

J. A. Stauffer 6 String Early Romantic Guitar "Legnani Model"

Most modern classical guitarists and luthiers are familar with the name Johann George Stauffer but a lesser number are aware that his son Johann Anton Stauffer was a fine guitar maker in the early to mid 19th century Viennese tradition as well. He followed in his fathers footsteps and carried on the innovations that the Stauffers brought to the instrument. The so called "flying fingerboard" was one of these innovations that through the help of virtuoso guitarists like Luigi Legnani and Johann Kaspar Mertz gained great popularity and  spawned many clones.

This method of attaching the neck to the body of the guitar by means of a clock key and bolt allowed the player to easily and quickly alter the action of his/her guitar mid concert if need be.

However, the original purpose for the detachable neck had little to do with adjusting the action of the guitar. It was an early 19th century attempt to design a "Travel guitar". The instrument could be taken apart and stored in a smaller box than a regular guitar case. For this purpose the design had some serious flaws. Not the least of which was that one had to remove or at the very least slack off all the strings when taking the instrument apart and put them all back on to re-assemble the guitar. Not a particularly handy feature for a traveling professional with much playing to do.

But in spite of this and other shortcomings the design became popular because of the easy of adjusting the action and because the fingerboard "flew" over the soundboard the upper frets were more easily accessible than on a more conventional guitar.

From the luthiers point of view making the two major parts of the guitar in seperate pieces makes for more intricate joinery and added time. However, on the positive side finishing is noticeably easier with fewer difficult corners to navigate.

It is interesting to note that a variation of the flying fingerboard (usually refered to as a "raised fingerboard") was used by the late Thomas Humphrey and carried on by present day luthiers Gregory Byers, Michel Bruck and many others. 

Next we will look at some other of the innovations from the Stauffer family of luthiers that have and are finding their way into the modern classical instrument.