Great Acoustics—1938 Euphonon Dreadnought

Brothers Carl and August Larson were remarkably prolific luthiers, building a wide range of fretted instruments over the first four decades of the 20th century—guitars, harp guitars, ukuleles, and every member of the mandolin family. For reasons lost to history, they never used their own names, instead working under brands like Mauer, Stahl, Dyer, Prairie State, and Euphonon. As a result, they aren’t as widely known as they should be, though their instruments are highly prized by those in the know.

The Larsons lived and worked in Chicago, and their guitars were popular with performers on the National Barn Dance, the influential WLS radio show that began in 1924 and reached listeners throughout the Midwest. Famous Barn Dance members like Gene Autry and Patsy Montana had custom Larson guitars, as did now lesser-known players like Bob Atcher and the DeZurik Sisters. The Larsons also learned early on that many of these country performers were enthusiastic strummers, and more than a few of their guitars from the 1930s have extra-large pickguards to protect the tops—like the circa-1938 Euphonon dreadnought shown here.

Because the brothers were such skilled luthiers, they recognized immediately that the dreadnought was a special guitar. Martin introduced the 14-fret version in 1934, and the Larsons were building their own by 1936, making them among the first luthiers to adopt the body shape. Game recognizes game, as the kids say.

August Larson held a number of guitar-related patents, including one for laminated bracing that pressed the top into a subtle but distinct arch. This “built under tension” style of construction produced a clear, crisp, balanced tone with exceptional volume and projection. This Euphonon uses that bracing style, which works especially well on a large guitar like this. The back and sides are
Brazilian rosewood, the top is spruce with abalone purfling, and—as is typical with Larsons—the extensive play wear is a testament to just how good it sounds.

This article originally appeared in the Spring 2026 issue of Acoustic Guitar magazine.