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.