Let us state here and now that Flammang model numbers are a secret code but we’ll let you in on it. When a model designation starts with letter “P” it’s Parlor, when it starts with a “J” it’s a slope-shouldered Jumbo; a traditional dreadnought starts with – guess what? – a “D.” The deconstruction of the model designation continues in that in the number “-35” the 5 stands for sunburst, the 30 series means for mahogany sides and back. If you see a “-50” that means rosewood sides and back. If there’s a -40 it’s either maple or Koa (both hard woods), and Brazilian rosewood is 60. Now you know David’s codography. There is no reference to the top wood in the Flammangian code so if you have any good ideas please drop David a line.
This guitar is classic and traditional in that the top is finished in a “burgundy burst” only slightly lighter at the center of the face and becoming progressively darker until, by its edge, it is opaque (unless you are standing in direct sunlight). The pickguard is what we generally call “Penguin” shape although we know that some penguins that object to it. Others might say “boot-shaped.” The main thing is that it is made from a deliciously dark and dignified prewar fire-stripe tortoise shell replicated celluloid that this builder obtains from John Grevin. The ivoroid bound black ebony fingerboard is inlaid with 7 cats-eyes in 6 positions; the top is ringed with 19th century style “rope” marquetry and so decorated is the soundhole; the back is bordered in crème and black purfling. Its polished ebony head plate is snakehead-inspired, bound in ivoroid and, of course, features the mother of pearl lower-case “f” that, in any language signifies felicitous fretted finery. Our six matching tuners are Waverly open-backs with ivoroid buttons; the back and sides are fashioned from ribbon mahogany with vertical black lines running through an otherwise continuous grain. The top is Adirondack “Red” Spruce; the scale length is 24.56” with a 1 ¾” nut, 2 5/16th” bridge string spacing. You will be pleased to know that this guitar has two finger-braces on each side of the upper portion of the underside of the top, while the nut, the saddle and the bridge pins and end pin are actual bone. This is the guitar with the “opened-up” X brace and the three tone bars in the lower bout, beneath the face, which the company that is famous for making slope-shouldered jumbos did in the early ‘30s and then later abandoned. It is possible that they thought that everybody preferred the Martin sound, but in fact the result of this rare bracing pattern is a crispy, clean, clear yet dense and robust signal that purveys power and tonal complexity beyond all mortal expectations. One of the finest sounding slope-shouldered dreadnoughts as you will have ever experienced, derived from the Great Depression and yet nothing you hear and play will make you as happy.