My journey into the world of Larson made instruments began in the summer of 1985. Prior I never heard their names spoken, or seen a instrument made by them. Euphonon, Maurer, Prairie State ? ? ?.........Gibson, Martin, and Washburn, these where the instruments I had, I played, and I admired. My dream was to save enough money and eventually find a nice pearly guitar (style45). My favorite appointments! So that August (1985) I finally scrapped up $600.00. With my cash in hand and my 1929 000-28 I headed to Gruhn Guitars in Nashville. George had on his list a nice early 1930's 00-45. Man I wanted that. I sent George some photos to see if he would be interested in a trade, and he gladly excepted. Needless to say I was excited. That trip change me forever. Gruhn's shop at that time was much smaller than its present location, but he didn't lack in fine guitars. Wall to wall, I was in heaven. I arrived 5 minutes before closing, and George's hospitality was amazing . He locked the doors. called his wife ( i'll be home later),
and I spent the next 2 hrs playing guitar after guitar. What stuck in my mind was the Euphonon. What is this!? George was totally excited about it. I wasn't quite sure. It was pearl trimmed ( a real plus) sounded unlike anything I've played. Looked so cool! But 300.00 more than the 00-45. Hmmmm. I had some thinking to do. So it was time to let George go home. Before we parted He gave my a book on the Larson's written by Carl's grandson, Bob Hartman, and told me to check it out. This Euphonon was one of the guitars in the book. The adjacent page was two Larson's owned by Stephan Grossman. I loved Grossman's music, and now a little connection started. I remember on one of my albums, Stephan was pictured with a Euphonon. The one in Hartmans book! We shook hands and would meet aging in the morning. 

Hartman's book told the story. I was really taken by the brothers. Just a two man shop, and located in Chicago, just an hour from my home. They made so many different instruments as well. Madolins, mandolas, and harp guitars. Their guitars where even played by some of the finest and well known musicians. Gene Aurtry, and a host of others form the WLS Barn Dance. A show I was a little familiar with because my Uncles had told me stories abut it. Their guitars had a totally different look then the guitars I was use to. The made every thing from 12" parlors to 19" jumbos. So now I really had to decide what to do. I still wanted that Martin. That was the reason I came to Nashville, and I had been wanting a style 45 for a long time. I guess I would just have to wait till the next day.

  The 1938 Euphonon Square Shoulder.

The following morning I returned to the shop excited as ever. Just what was I going home with? On the wall hung many great guitars, but the one that really stood out was that square shoulder Euphonon. It had such an unusual shape. I keep gravitating towards it, but I asked for the Martin instead. George lead me to a small listening room that was relatively quite so I could hear the guitar without the outside interference. The Martin was great. That sweat Martin tone we are all familiar with. Nice balance, and projection. It's classic look etc.........after about 45 minutes, a knock on the door. It was George, and in his hand was the square shoulder Euphonon. Here, give it a try and see what you think. I gladly accepted. Tuned it to one of my favorite open tunings, and away I went. Amazing, the first thing that came to mind was how powerful this guitar was. It had more volume than I was use to. It was close to the size of a dreadnought, but had the balance of the 00 Martin. I was really amazed. For the next 4 hours I would play the Martin, then the Euphonon, Then the Martin. I went through every tune I knew and open tuning arrangement trying to decide what was going home with me. Every time I picked  up the Larson George would knock on the door and say I can hear that one! Right through the walls!  So by now I'm really hooked on the Euphonon. It was quite clear by now, that it really was the sound I was looking for. A great ragtime machine. The real deciding factor was on about the sixth trip George made to that little listening room. He said that he would give me 2400 for my trade in in stead of the originally agreed 2000 If I would take home the Larson and spread the word. I was gleaming, it was decided! Now what I hadn't quite realized at this determining moment, this guitar would change the way I thought about vintage guitars for a very long time to come!

What I didn't realize that weekend at Gruhn's was how really special and unique the Larson creations where. I skimmed the book the night before my purchase, but there was much. much more to discover. The Larson's where much more than guitarmakers. They where inventors. Explorers in the world of guitar making. They where always looking to improve on their craft, and build a better sounding instrument. So now my journey began. 

Very few Larson would find themselves on the market. Especially compared to Martins and Gibsons. When one did, I would try to grab it. Guitars in theses days where much
more affordable, and the Larson's, since they where so rare, and not well know, where even more affordable then their counterparts. So over the years many of these fine instruments
passed through my hands. I was quite taken by everyone of them. The smaller guitars, 12" - 15" 12 fret parlors seemed most plentiful. The larger bodied, 15"-19" fourteen
fret models are the rarest. As far as a designated models, The Larson's made many different styles and looks. Body widths varied, body depths varied, but all where exceptionally
well made. The most common feature was the laminated  main braces. The ' X ' and lateral brace beneath the fingerboard extension. The lamination consisted of hardwood
strip, usually rosewood, between two strips of spruce. This 3-piece construction produces a much more ridged brace, therefore a much stronger top. In addition to the lamination
the tops where built " under tension". This is achieved by making the braces with the appropriate arch, and conforming the soundboard to them. This arch also helps in the stability of the top.
I have rarely encountered a Larson with a cracked top! If this method of construction is responsible or not, I'm sure it was intended and well thought out by the Brothers.
This lamination of the braces is the one most common feature found on all Larsons. Very rarely will you find one that is not laminated. and would be on their student or lower
budget models. In some instances, the center strip was laminated with maple, and I have seen maple, and rosewood combinations on the same guitar.

Another innovative feature, and one that I am the most intrigued with, are the jumbo Prairie State models. These are the guitars made in the latter years of production.
I feel the Prairie State line of guitars where the most inventive in the Larson line. In addition to the laminated main braces the Larson's devised a rod system. The rods act as
a way for additional support to counteract stress on the top of the guitar. In most cases there are two rods. A larger fixed, and a smaller adjustable which came through the neck
block and wrapped around the heel which traveled down through the end block, and could be adjusted, or tightened with a fixture that doubled as the end pin. Wow! What a radical idea! 
The Larson believed this would have to eliminate stress on the soundboard and allow for a more resilient top. You need to consider these where some of the largest guitars ever
manufactured by anyone. Sizes up to 21" wide! This rod system came into play on most if not all PS's that where in access of 16". It is found on 14" and 15'', but I believe the Larson's
well intended all there larger guitars to incorporate this system. There is a lot of surface area on a 19" and 21" guitar. The rod idea would certainly help relieve tension from the pull of the strings.
In the two rod version, the larger rod is fixed ( non-adjustable ), and runs closer to the underneath of the top. This would push or act as a truss rod and keep the body ridged,
The smaller rod, (the adjustable), wrapped around the neck heel  and relieved forward pull on the neck caused by the tension of the strings. These rods working in unison would make for one
solid, and well intended for, steel string guitar! Another interesting thing I have found, and am very fascinated by this, is when the guitar is played the rods vibrate. I'm sure this was not
intentional, but just as an open string would vibrate, the rods pick up sympathetic vibrations which add to the unique tone, and beauty of these guitars.  

Over the years my Larson collecting has lead me to make some great connections. The Larson circle is quite small, and we all got to know each other, or at least what instruments we had, and/or gravitated towards. I first meet Bob Hartman in the mid 1990's. Bob is the grandson to Carl Larson. Bob's knowledge of Larson instruments is superlative. He has seen and studied so many great examples. He is helped them gain recognition with collectors, and has written several informative books. Prior to Bob's books there was no documentation of these fine,
and sometime mysterious instruments. I am very grateful to him for sharing his knowledge, and all the history he has gathered, and made available.

For many years, since the acquisition of my first Euphonon, I've questioned why there were not more instruments being built using such innovative construction techniques as the Larson Brothers. Possibly the Larson creations where just a little ahead of their time. With small production totals compared to the big makers, just not enough instrument to fall readily into hands of players, and collectors. I had this dream for many years, building guitars in the Larson tradition, but where would I start? My background in woodworking and Graphic Design might certainly give me the edge needed, but what an undertaking. My passion for guitars would soon unlock this door. I had already acquired quite an array of tools. I sold the big stuff to get the more suitable  tools needed for guitarmaking. I had made over the years drawings of Larson body styles, bracing patterns, inlays, etc. At least enough to produce one guitar. So now the big decision. Where would I get the funds!? It was now time to part with my Larson collection. It was tough, but I knew what lays ahead would in the long run be more rewarding. One of my first
customers was Dave Portman. Dave not only purchased part of my collection, but he owns a few of the first handmade guitars I produced. Dave has become a friend over the years, and has help very much in the early part on my business. Dave not only has allowed me access to his collection for drawings and measurements, but also created the name of my business. New Era Guitars. Dave's knowledge and collection has been a great inspiration. 

Upon completion of my first three guitars, I called Bob Hartman. Bob up to this point was not aware I was a builder, and I wanted to show him what I was up to and where I wanted to go with my idea of making Larson Reproductions. Needless to say Bob was quite thrilled to meet. It was a great meeting, and Bob was very impressed. Impressed enough to give me an his endorsement!  Bob makes trips to my shop with his repair work, and we talk guitars, and make plans for new additions to my line. 

I am now fulfilling that 20+ year dream. I have had a great response form my customers, and my build list is continually growing. It's a tough market to crack, and a long slow  journey ahead, but the craft, and rewards are endless.

Anthony R. Klassen
ARK - New Era Guitars