We’ve installed the tuners correctly, however there are left-over screw holes and minor impressions on the back of the headstock. Styled after Gibson’s K-2 Mandocellos built two decades earlier, we suspect this instrument was commissioned by a musician who couldn’t find a Gibson K in Wartime Winnipeg, Manitoba.Playability is excellent despite moderate fret wear, and the instrument is lively and even-toned. The last Gibson mandocellos were shipped from Kalamazoo in the late 1920’s, and certainly few, if any, voyaged northwest to the Canadian prairies. Elchuk appears to have been an experienced and gifted builder.These instruments are larger bodied than a Gibson, L&H, or Martin mandolin, and as such have more bass response than you’d generally expect.
With its beautiful Handel tuners, richly hued sunburst finish and fine craftsmanship, it is an instrument to behold as much as it is to play.
It is crack-free, and shows only very light wear to finish and frets.
Open back centerseam and neck heel joint both glued in our shop, refretted and set-up as well.
Playability is excellent with low action and perfect frets.
The Mandolutes were popular in their day, and are the most oft-encountered Weymann-branded instruments today.
Apart from the very plain Model 20, all Mandolutes feature steam-bent tops and backs, fiddle-edge sides, and ornate hand-engraved front-side tuning machines. Built by Stromberg-Voisinet in the late 1930’s, the Kay Kraft line included guitars, mandolins, and banjos.Over the years we’ve encountered many four and six string guitars, tenor and 5 string banjos, and a number of mandolins.It’s entirely original but for newer Schaller tuning machines and is well set-up.Neck and frets are in good shape, body is crack free and well arched.This example is in excellent shape and completely original.