Straps attached at headstock: Have any of you ever seen any damage from this?

[Kerry Krishna]

 An acquaintance on Facebook saw a picture of a young guy playing a Martin with the strap attached at the headstock and raised a bit of fuss about it. I remember when I was a young guitarist , I thought the same thing too. But I have never seen anything ever come through my shop that would indicate that there is a problem with it.

 What think you Forum? 

[George Roberts]

Some more trivia......

Early Martins sometimes had a button at the top of the back of the headstock.  It always seemed like an awkward spot to me, and if used for a strap, the strap would be rubbing against the tuning pegs.  It made me wonder if the button was there to hang the guitar up, like a beautiful picture, or if it was just for "frosting" rather than function.

[Kerry Krishna]

 FRank knows why it is there. Frank, can you clue us in? 

[Peter Poyser]

Violins have a Headstock Scroll.

This is designed with a Thumbrest at one end of the Peghead and a Scroll to Hang the Violin on the Other.

Early Martin Guitars copied many Traditional Guitar Design Aspects.  We wouldn't want anyone anywhere to think C.F. Martin Invented the Guitar as we fundamentally know it, would we?  

Johann Stauffer created a form of Violin Scroll Headstock that had the ability the Hang the Instrument and also Tie Ribbons for a Strap as many Guitars had been manufactured, promoted and popular as a Ladies Instrument.

The Early Martin Headstock basically copied Johann Stauffer's Design but when the more familiar French and German Guitar Headstocks, but with Slots came to be imported to America, things appear to suddenly change and quite dramatically.

By the 1840's Martin was making Guitar Headstocks like the Picture Shown. But after the very late 19th Century is where I would place the one in the picture. Headstock Stamps didn't appear until the Very End of that Century, so it's probably a 20th Century Instrument, would be my quick guess with that restored Instrument. Ivory Pegs in a Solid Headstock. Slotted Headstocks with Machine Heads continued to be made, with the Former Design available, but usually purely as an option.

The Design of The Earliest Solid Headstock had Tiny Holes, Precisely Where the Picture above shows an Ivory Strap Button to be afixed. The Headstock was Rather Wider than you think of Today. These Holes were for Tying a Small Ribbon, basically for Hanging the Instrument, just like the Ivory Button. But equally could be used on a Solid Headstock for Tying Ribbons at the End of Straps.

Way back in European History, particularly in England. So many Ladies had taken up the Guitar that it was displacing the Harpsichord as the Fashionable Instrument of Choice in the Home. The way Harpsichord Makers and Dealers tried to get around this commercial problem, was by Buying Lots of Guitars and giving them to Streetwalkers, Prostitutes and Harlots Outside Brothels, so that they would be used in the Street as Opposed to the Home, and by Direct Association, become Highly Disreputable and Hopefully, Completely Unfashionable, so they could continue Making and Selling Harpsichords.

 

 

The Salient Point is, Hanging the Instrument.

And Tying Ribbons on an Instrument, formerly in the then recent history, likely to be used by a Lady.

Some Gibson's had Metal Rings or Plates Screwed at the Top of the Back of the Headstock, and also above at the Endpin.

These were both fitted at either end where Ribbons or more likely with the later Instruments Fine Leather Ribbon Ended Straps could be Tied. To my mind it was an improvement of the same basic Design Concept.

Quote: "Fender basses used to come with a strap button on the back of the headstock. Some Fender vintage reissues still do.

 

 

Yes.

This is absolutely correct.

The actual reason for this particular Strap Button.

Placed in this location, was not, strange as it may seem, so that one could use a Strap, fixed to the Headstock.

Even though its existence, actually facilitated that possibility, and thereby enabled that to happen, as Freddie Tavares ably demonstrated.

The real reason for the Existence of the Strap Button located behind the Headstock on certain versions of Fender Basses, was that Leo needed to hide the existence of a Hole.

There is also one at the other end of the Neck but hidden away in the Neck Pocket. These Two Holes Correctly Positioned, and Securely Held the Neck, whilst certain Machining Process took place during Manufacture.

A Swinging Jig the Neck was afixed to, enabled the Neck to be Sanded with a Rocking Motion, which presumably is why the Instruments were found to be so good for Rock Players. Fret Slot and Nut Slots were also cut with the same Rocking Motion.

Leo Fender was hence, quite obviously a Real Rock and Roller, and the Rolled Edges of the Neck were where the Rolling entered the Rock and Roll Equation.

Clearly Rock and Roll has nothing at all to do with Music, Sex, Drugs or Rebellion.

It's all about Manufacturing Guitars.

 

 

People will tell you that the Strap Button existed for Upright Bass Players, for Formally Dressed, Tuxedo Wearing Players, and they will tell you that the Strap Button was even used as in Freddie Tavares case, For Fitting a Strap to the Heavier Headstock Instrument.

But its real purpose, was to Functionally Disguise a Machining Process Guide Hole, it is if you like, A Form of Camouflage.

 

 

This is a True Story.

Last Night, I said to a Buddy of Mine.

"The Other Day I went to the Army Surplus Stores.

I was looking for a Camouflage Jacket and Camouflage Trousers.

Unfortunately, I couldn't find any Camouflage Jackets or Trousers, or see any at all."

 

I think he was so amazed at the notion that I would ever be seen in public in such attire, (and probably expected me to always be wearing  a Penguin Suit), that he completely missed the actual Joke Altogether.

That I couldn't find the Camouflage Jackets or Trousers, because of course, they were All Completely Camouflaged.

But the Camouflage of the Fender Bass, Rear Headstock, Strap Button.

Means that just like the Camouflage Jacket and Trousers.

My friend thought I sought, "Nothing Can be Seen."

It's all, in reality. Simply A Big Disguise.

 

 

 

Quote: "An acquaintance on Facebook saw a picture of a young guy playing a Martin with the strap attached at the headstock and raised a bit of fuss about it."

 

 

 

What is Facebook?

It Sounds like Somewhere Best Avoided.

Cities such as Reading, Birmingham, Leicester, Manchester, Bradford or Glasgow come to mind.

I completely concur with Frank Ford and everyone else, completely about the suitability of Correctly Fitted, (does no harm to the finish) Headstock Strap.

So there's NO ARGUMENT at All about this matter.

But I do have a little to add.

 

 

Historically.

The places a Strap was Fitted to a Guitar was on the Lower Side of the Soundhole for Classical Guitars.

Later, the Instrument became Popular with Ladies and naturally Coloured Ribbons Ends and Decorated Straps became Acquainted with this Instrument.

As Larger, Heavier Steel Strung Guitars came along that were Held, Played and Performed with differently, the Strap was fitted to the Headstock as Described. Sometimes with a Ring on the Strap.

When Archtop Guitars came along, with a Raised Fretboard Extension, it allowed a Strap to go under the Extension and around the Body and Neck Joint, which was more convenient to the Emerging "Lead" Style Guitars of the Era.

Eventually, as with Violins, the fashion changed, The Neck Angle Pitch and Fretboard Extention was brought more in line with the Guitar Body. Gradually Raised Fretboard Extensions became less common and thus Strap Buttons were placed, often in Reinforced Body Areas on Archtop Models.

Eventually, the Advent of The Solid Body Guitar, meant that Strap Button could be placed quite easily in Optimal Playing Positions, for Guitarists that were increasingly utilising the Higher Register of the Instruments Compass, and wanted no possible obstruction to Playing around the Neck to Body Joint Area.

Some Instruments like Parsons St. Gibson thin line 335 Models, although originally not supplied fitted with Front Strap Buttons, cried out for  a Strap Button placed Centrally Behind the Neck Body Joint, an obvious omission Gibson have now corrected, although on Acoustic Guitars this would be considered to be an ill advised place to position such a Button.

The thing is, Popular Music in reality has nothing at all to do with Music. (If I told you the name of who explained and helped me understand this, you probably would be so amazed you would hardly believe it), but Popular Music, is really, all about Image.

So within Show Business, there are Certain Artists who are really All About Image, and hardly anything at all to do with Music.

Although on the Surface, they appear to be and are known as Musical Artists.

This is the basic premise I am asking you to consider. 

 

 

Amongst such types.

The Guitar can Act, more of a Stage Prop.

Than any kind of Genuine Musical Instrument that is Played.

And I have known some that Lean Heavily on the Guitar, and into the Mic, with the Strap fixed to the Headstock.

During Heavily Accented Beats in the "Music" they use the Guitar for Staged Emphasis, in a Dramatic Jerking Motion with Quite Considerable Force.

In Performance, Artists don't always realise just how much Adrenaline is coursing through their veins, and how much Muscle Strength they are Applying to their Gymnastic Routines.

 

 

They are of course.

Trying to Out Elvis.

Mr Presley Himself.

 

 

The Best Artists.

Can of course, Pose.

Exaggerate and Emphasise.

And use Stage Craft without, Over Exerting their Bodies.

Which can lead to all sorts of Aches and Strains and Various Physiological Problems.

But lesser Artists can't, because they are of course, Caricaturing and Over Emphasising "Artistic" Movements. 

It is Instruments that belong to "Artists" of this type that are the Only, Singular Individuals that ever have a Problem with Headstock Fitted Straps.

The Dead Giveaway, is the Glue that eventually, can do nothing but give at the Neck/Body Joint, and consequentially, the Tiny Gap and Movement that appears on the lower, underside of the Neck Heel appears.

 

 

This Damage is Not Caused By Playing The Instrument.

But fundamentally by the Continual Strain.

Of Using it as a Stage Prop.

 

 

Today, I have friends.

Who Jump Up In The Air whilst Playing On Stage.

And Perform all kinds of Gymnastics whilst Performing with their Instruments.

Doubtlessly their Instruments will Pay a Price for any Abuse, as I Know their Bodies, Already Are Doing.

There are other ways to draw attention to oneself on Stage. These include Tossing the Guitar onto the Air, Smashing it on the Floor, breaking it against an Amplifier and Setting it on Fire.

 

 

Wearing Fancy Hats and Clothes whilst Jerking the Guitar around like crazy, is essentially, no different.

Personally I always liked the way Don Everly fixed his Strap to the Steinegger Ike Everly Guitar he and Phil, later used. Enjoy their Concert at the Royal Albert Hall.

http://www.youtube.com/watch?v=zZteW1meHAQ

 

 

This Movie takes us.

Right back to the Early History of the Guitar.

And the Ribbons that were used to Tie The Strap to the Headstock by Ladies.

 

 

P

[George Roberts]

Peter,

Very informative.  Thank you so much.

Good eye on the headstock.  It was actually made in 1915.

The Victorians often hung pictures using a hook that was suspended from the ceiling moulding.  They probably hung the guitars the same way.  It likely did in far more guitars than straps attached to the headstock.

George