Flammang

The name Flammang derives from Luxembourg, a grand duchy in Europe bounded by Belgium, Germany and France. Did you know this country has only 998 square miles, with a population of under 400,000 which is about the same as Staten Island? This maker's name is pronounced with the accent on the second syllable. Flam-mang! I know it's hard to believe (and to say) but soon this word will become part of the standard vernacular -- the generic synonym for "fine acoustic flattop." David Flammang, however, is not from the grand duchy, himself, he works in East Hampton, Connecticut but is originally from Waterloo, Iowa, the 8th of 9 children, who was destined to be a woodworker. The summers of his youth, an article in the October issue of Woodshop News says, were spent building houses with his father. After giving college a try he worked with his brother, Paul, for another dozen years in trim carpentry which involves doing high-level finished woodwork in homes: the moldings and the cabinetwork. Although David built his first guitar in 1988 it took him until 1996 to begin constructing them full time, including the time he spent making guitars under the Euphonon brand for Walter Lipton of Orford, New Hampshire. "My guitars are about balance, appearance and tone," he modestly says. One of his guitars was played by Donna Martin at the Lilith Fair performances and many are used by singer-songwriters on the east coast. A CD album is planned featuring various artists, each of whom owns and will use his or her Flammang in the recording studio. We'll provide details as they come out of our Telex machine, the one that you hear clicking constantly in the background when you phone us. Production so far has been 39 guitars under the Flammang brand name, each displaying the lower case "f" logo on its headstock, simple yet elegant, understated, just like his guitars, and inlaid in mother of pearl.

Early "L" model EL-35, mango`burst
This quite unusual guitar is based on the l930s Gibson L-1, the Robert Johnson style of guitar, with a slightly larger lower bout, and is not as deep as the Nick Lucas. It has a newer Gibson type of X-bracing, scalloped the way Gibson would do it instead of having the '20s style H-bracing. It has a l2" radius on the fretboard (as does a Gibson), a straight bridge, a nut width of 1 3/4" and saddle spacing of 2 1/4". This guitar is radiant in the standard color of mango'burst (a peachy shade) but it can be ordered in natural or conventional sunburst (c'burst). The two-way truss rod is adjustable through the soundhole, the headstock shape is reminiscent of the early era, and it has the shorter scale of 24.9". This model has an ebony bound ebony fretboard, it utilizes Grover square-back tuners with small metal buttons, and it is available in non-cutaway only. Standard woods are Sitka spruce and Honduran mahogany but rosewood, curly maple, or koa are available at additional cost. This particular example has lightly tinted back and sides which "brings out the mahogany coloring," in addition to having the elegant and mouth-watering mango'burst top.
LGC-57 or "Large Grand Concert," rosewood and cedar with abalone trim
Although the guitar we presently offer is dressed up with some options, this is, in fact, the standard model of the Flammang guitar, a rosewood and cedar instrument which contains essentially the same air volume as the Grand Auditorium. It has a scale length of 25.4", nut width of 1 3/4" and saddle spacing of 2 1/4". It has a carved wooden diamond on the back of the headstock and abalone border around the ebony bound ebony headstock, an ebony bound ebony fretboard also trimmed in white-black-white purfling on the face of the board. It has the old Weymann style, almost-gothic, floral banjo inlay pattern in abalone on the fretboard, optional gold Schaller tuners with ebony buttons, abalone trim all around the face, an abalone rosette (of course). It has white-black-white purfling mitered around the back and sides (a lot of work goes into that) and it is finished in a nitro-cellulose lacquer in unstained natural for the top and unstained rosewood back and sides. This model is optionally available with either the Venetian or Florentine cutaway, or in the same choices of wood that the "Early L" comes, is usually bound on body, neck and peghead in either rosewood or ebony. Alternate neck widths are optional, and each Flammang guitar is housed in a plywood arched top-and-back hard shell plush lined case.
Models
Scale Length
Grand Concert 24.9 or 25.4
Grand Auditorium (Old Large Grand Concert) 25.4
Square Shoulder Dreadnought 25.4
Round Shoulder Dreadnought 24.9
Roy Smeck (12 fret Round Shoulder) 24.9
EL 24.9
L 24.9
Parlor 24.9
   
Standard Model $4,200
Guitar Includes:
Top Sitka or Western Red Cedar
Back & sides East Indian rosewood or Honduran mahogany
Rosette Green Abalone with black & white lines
Bindings Indian Rosewood or Ebony
Fingerboard Ebony
Headstock Veneer Ebony or Indian Rosewood
Neck Mahogany
'F' inlay on headstock Mother of Pearl
Nut & saddle Bone
Tuners Chrome Schaller
Case Cedar Creek custom case
   
Flammang Options
Cutaways
Venetian 400
Florentine 550
Green Abalone
Top Edge 500
Inlay for Cutaway 150
Back Center  
Headstock Edge 150
Fingerboard
Fingerboard Binding with purfling 150
Scalloped Diamonds 75
Abalone or Mother of Pearl Dots 25
Majestic - Mother of Pearl pattern 425
Belle Voce - Mother of Pearl Pattern 425
Weyman Pattern 425
Bindings
Plastic bindings $200
Bound sound hole with checker purfling 80
Checker purfling on top edge 25
Mitered purflings - back 150
Mitered purfling - back & sides 250
Mitered side purflings-cutaway (Venetian) 75
Mitered side purfling-Cutaway (Florentine) 150
Bound sound hole 50
Bound headstock without purfling 100
Bound headstock with purflings 150
Tuners
Gold Schaller 100
Open backs & other tuners Ask
Tops
Englemann 150
German Spruce 200-300
Sunburst on top 300
Red Spruce 250-600
Back & Sides
Figured Mahogany 300-600
Curly Maple 300
Koa 600-800
Brazilian Rosewood 1500-4,000
Other woods Ask
   
   

 

5-23-05