#1
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Favilla C8
I received a Favilla C8 as compensation for setup & fretwork completed on a client’s guitar. It was built by Frank N. Favilla circa 1963-1964. I will level the ebony fretboard, install new frets and make a bone saddle for this classical guitar. Other than previous misguided attempts to modify this instrument it is structurally sound. I prefer Pro-Arte hard tensions for my Cordoba Fusion but am not sure what the best choice would be for this fifty year old instrument. Any recommendations?
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RonSenf 2023 Taylor AD22e 2001 Guild F47RCE Certified Fretting Technician - Galloup School of Luthiery 2005 Guitar Builder/Tech |
#2
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I'd start with D'Addario J-45s and experiment from there. So much depends on the blend of the instrument with your playing style.
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#3
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The F'C8's I've seen have been Spruce and Mahogany and sounded good but on the 'soft' side. All of the Favillas I own have Savarez Red Card fitted, they call them 'medium' but others would say they are 'hard'. Is this a regular Favilla Inc. guitar or does it have Frank's name on there as the maker?. He was out of the company by 1959 and passed in 1964. I have three of his own guitars, not world beaters but still very nice, the better regular one's, like a C8,are a whole lot better than a lot of the new stuff on the market.
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#4
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The typed and aged plain paper sound hole label:
Frank N. Favilla Mfgrs. of guitars & mandolins Books, Music, Repair 140 Mulberry Street New York 13, N.Y.
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RonSenf 2023 Taylor AD22e 2001 Guild F47RCE Certified Fretting Technician - Galloup School of Luthiery 2005 Guitar Builder/Tech |
#5
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I've seen another guitar with that label, it could be the one he used on things he had repaired, after he left the company the Favilla family had concerns with him using the name on his own guitars, he used names like "Casa Favilla" "DiVilla" "Villar" ( these are the ones I have) if yours has the usual crown and shield logo on the headstock then it's a Favilla Co. model. If it has the big yellow label inside,it's a later Long Island effort but if it has ink stamps in there then it is the earlier NYC style. I'm interested in his stuff ( can you tell?) please let me know what you've got there.
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#6
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Here are a couple of pics to help identify this Favilla C8.
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RonSenf 2023 Taylor AD22e 2001 Guild F47RCE Certified Fretting Technician - Galloup School of Luthiery 2005 Guitar Builder/Tech |
#7
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I see what you mean by "misguided attempts", anyway that's a Favilla Co. guitar, NYC era made on West 16th.Street, pre 1959. It may well date from when he was still boss of the company, but it has obviously later passed through Frank's hands when he was working alone in Greenwich Village ( far from fashionable at the time ) I don't think we can blame him for the "repairs", his own guitars show he knew what he was doing. Perhaps he took it as a trade-in. The body style on this one is not the usual small Spanish type that Favilla used then, it looks like their steel string "Folk" model - never seen that before, but who knows what went on back then. I like it! would you sell it as it is?.
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#8
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In another life, I collected Favilla instruments. I have owned several ukes and guitars, the best being an all mahogany classical.
All of mine were in mint condition including a uke bought from mandolin great Tiny Moore. I had quite a few conversations with the various Favillas... quite an education. Their serious alienation with other US instrument makers came when the were hired to consult with Japanese instrument makers. Take a close look at the gold logo on the headstock. Is it dead vertical or off a few degrees ? That is a secret age dating device. |
#9
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Frank's the Man
If I have got this figured right, here is a pic. of two of Frank's own guitars. The one with the tap plate is labelled as Casa Favilla and was a bit of a wreck when it arrived but plays fine now with a dark sweet tone. The other is a DiVilla, survived in surprising condition given it's age and is a testament to a guy who knew his job well. I don't remember playing a classical guitar with a zero fret before I had these, but now I'm converted and use one on just about anything I can. They are both in Spruce tops and Mahogany Backs etc. of a quality I wish I could get now.
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#10
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Quote:
The fretboard is not cut out in a semi circle above the sound hole, but is cut straight across. Most of these i see have the fretboard cut out. Can you tell from the serial number when it was made? Is is printed in ink directly on the mahogany inside the soundhole. It also has C-8 Spinet in ink. No paper label, and the Favilla Bros. NY, NY is embossed into the wood inside also, not in ink. |
#11
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I plan to make repairs. I have built a few steel string OM’s and am confident I can do a Yeoman’s job. I will begin after warmer and moister spring air arrives to my shop. The bracing is solid. The work will entail repair to the center crack below the bridge and a crack on the lower treble bout. The saddle slot has been compromised so the channel will be re-routed and filled with new rosewood before making a new saddle slot. New bone saddle. Frets have been filed too low; approximately 1/64 above fretboard at the 1st fret. I will pull the frets and level the fingerboard before installing new frets. I might as well make a new bone nut as long as I am at it. The top has shrunk (due to dryness) from the mahogany binding/edge at the waist on the treble side leaving a short 1/8” gap. I will fill that gap with new Sitka after the top expands and settles with proper humidity. The big question is what to do about the finish. The original finish has lifted off in different areas leaving the instrument looking as if it were “rode hard and put to bed wet”. My eyes tell me to prep and wipe on some new varnish. My mind tells me I will wipe out the providence. What to do? Any suggestions?
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RonSenf 2023 Taylor AD22e 2001 Guild F47RCE Certified Fretting Technician - Galloup School of Luthiery 2005 Guitar Builder/Tech |
#12
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Good luck with all of that, I'm with you on not rushing at it, I'm always amazed at the way shaky looking old guitars can right themselves if kept somewhere they're happy. As for the finish problems, I think it can be a shame to lose the righteous scars these things can pick up over the years, but if you just can't stand it then a thin refinish wouldn't look out of character. Do you spray finish at all? a light overspray might be the answer, if the wear and tear has gone into the surface you'll never make it look as new, so why try?.
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