|
 STROMBERG |
| Instruments previously built in Boston, MA between 1906 and the mid-1950s. |
| The Stromberg business was started in Boston, Massachusetts in 1906 by Charles Stromberg (born in Sweden 1866) who immigrated to Boston in April 1886. Charles Stromberg was a master luthier. He specialized in banjo, drum, mandolin, and guitars after working for several years at Thompson and Odell (est. 1874), a Boston based firm that manufactured brass instruments, percussion instruments, fretted instruments, music publications, stringed instruments, and accessories. Thompson & Odell sold the manufacturing of the fretted instrument business to the Vega Company in Boston in 1905. Stromberg was one of the country's leading repairers of harps with his masterful ability in carving headstocks, replacing sound boards, and making new machine mechanisms. His reputation among Boston's early engravers, violin, drum, banjo, and piano makers was very high. Charles, in addition, repaired violins, cellos, and basses. Repairs were a steady source of income for the Stromberg business. His oldest son, Harry (born in Chelsea, Massachusetts 1890), worked with Charles from 1907 on and his youngest son, Elmer (born in Chelsea in 1895), apprenticed at the shop with older brother Harry from July 1910 until March 1917, when Elmer left the business to serve in World War I. He returned to the business in March 1919 after serving his country for two years in France. At that time, the shop was located at 40 Sudbury Street and later moved to 19 Washington Street in early 1920s. Shop locations were in an area based in the heart of Boston's famous Scollay Square with burlesque and theater establishments. The Strombergs produced drums, mandolins, guitars, and banjos during the early 1920s from the 19 Washington Street location. Throughout the 1920s (the Jazz Age of banjo music), the Strombergs produced custom tenor banjos. They competed with other banjo manufacturers, and were part of the eastern corridor in banjo manufacturing. The Stromberg reputation was very strong in Boston and the New England area. Banjoists who often desired a custom-made instrument chose the Stromberg banjo as it was highly decorative and the sound would carry for the player in large dance halls. In October of 1926, Elmer Stromberg applied for a patent for a series of tubes around the tone chamber of the banjo just under the head. This created a new sustaining sound and more volume and was called the "Cupperphone." The Stromberg Cupperphone banjo consisted of forty-one hollow, perforated metal tubes 13/16 in.high and 13/16 in. in diameter fitted to the wooden rim to produce a louder and clearer tone. This was an option for the banjos, and this Cupperphone feature made the Stromberg banjo one of the loudest and heaviest built in the country. The two models offered at this time were the Deluxe, and Marimba models. The patent was granted in June of 1928. Harry Stromberg left the business in 1927. By the late 1920s, banjo players were beginning to switch from banjo to guitar to create deeper sounding rhythm sections in orchestras. As the style of music changed, the guitar needed to be heard better. While musicians' needs focused towards the guitar, the banjo's popularity declined and Elmer began producing archtop guitars for Boston musicians. In June of 1927, the shop relocated to 40 Hanover Street where they began producing archtop guitars. By the early 1930s, banjo players began ordering guitars. As early as 1927, Elmer began taking guitar orders, and offered several types based on a 16 inch body, called the G series. The models G1, G2, and Deluxe models were offered featuring a small headstock, with laminated body and segmented f-holes. |
| HISTORY: 1930-PRESENT |
| STROMBERG GUITAR IDENTIFICATION |
| 1940S STYLE GUITARS |
| MODELS PRODUCED AFTER 1949 |