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Paul Tutmarc

Paul Tutmarc (May 29, 1896 – September 23, 1972) was an American musician, inventor, and manufacturer from , , renowned as the pioneer of solid-body electric string instruments, particularly for creating the world's first in the mid-1930s. Born in , , Tutmarc moved to the in , where he established himself as a versatile performer on radio stations like KOMO and KJR, a artist, bandleader, and instructor of guitar and voice. Tutmarc's inventive career began in the early amid the growing demand for amplified instruments in larger venues, leading him to experiment with electric pickups in collaboration with engineer Art Stimson. By , he had developed one of the earliest electric guitars featuring a slanted split-polepiece humbucking pickup, which reduced noise and improved sound clarity—a design that predated many later innovations. In 1934, he founded the Audiovox Manufacturing Company in to produce these instruments, initially focusing on electric lap steel guitars before expanding to basses. Tutmarc's most enduring contribution came in 1935–1936 with the Audiovox Model 736 "Electronic Bass Fiddle," a compact, 42-inch solid-body electric bass made of black walnut with a 30-inch scale length, 16 frets, and an , designed to be played horizontally like a guitar rather than upright like a . This , paired with a custom Audiovox 936 , addressed the challenges of amplifying large upright basses and sold for $65, though it achieved limited commercial success during its time. Despite being overshadowed by later designs like Leo Fender's Precision Bass in 1951, Tutmarc's work laid foundational groundwork for modern electric bass guitars, and surviving examples, such as one sold for $23,850 in 2018, underscore his lasting influence on . His family's musical legacy continued through his children, including son Bud Tutmarc and second wife Bonnie Guitar, who became a prominent recording artist.

Early life

Birth and family background

Paul Tutmarc was born Paul Harvey Tutmark on May 29, 1896, in , , to Frank J. Tutmark and Eva Mlynar, parents of Austria-Hungarian immigrant descent. As one of at least nine children in a modest immigrant , Tutmarc grew up in the Midwest, with the household appearing in the 1900 U.S. Census in Tiffany, Dunn County, Wisconsin, before returning to by 1910. The family's economic challenges shaped his early years; by age 12, Tutmarc was contributing to the household by singing in his church choir and playing instruments for pay, fostering an initial interest in performance amid a supportive environment. In his early twenties, around 1917, Tutmarc moved to , , to work in the shipyards, transitioning from his Midwestern roots to the Pacific Northwest where his musical and inventive pursuits later flourished.

Musical beginnings

Paul Tutmarc's early exposure to music began in his childhood in , where he joined the local church choir and began developing his abilities. In , by age 12, he was performing on guitar and while in local settings, earning money to help support his family during financially challenging times. These early experiences laid the foundation for his instrumental skills and stage presence. In his mid-teens, around age 15, Tutmarc expanded his repertoire to include the Hawaiian-style , which he played at community events and informal gatherings, building proficiency in stringed instruments central to emerging styles.

Musical career

Performances and radio work

In the late 1920s, after relocating to in 1928, Paul Tutmarc established himself as a prominent performer on local radio and stage circuits. He debuted as a soloist on KJR radio, where he showcased his vocals and guitar skills, quickly earning the nickname "Silver Toned " from his earlier appearances on Tacoma's KMO . His radio work extended to regular spots on KOMO, including a weekly show, and in 1929, blending smooth singing with instrumental interludes that captivated audiences during the era's burgeoning broadcast scene. Tutmarc's live performances complemented his radio presence, featuring frequent appearances at Seattle's major venues such as the 5th Avenue Theater, Orpheum, and Pantages circuits. He performed as a soloist with renowned dance orchestras, including those led by Jackie Souders, Jules Buffano, and Vic Meyers, delivering a repertoire that fused steel guitar melodies, folk tunes, and contemporary popular songs to suit the vaudeville-style formats of the time. In 1929, he briefly pursued opportunities in , appearing in the short films It’s a Great Life and The Voice of Hollywood. One notable highlight came in 1929 when he sang "There’s Danger In Your Eyes" directly to actress during a theater engagement, underscoring his charismatic stage presence amid the music craze sweeping the . To expand his reach, Tutmarc formed small ensembles for live shows, most notably The Islanders, a Hawaiian steel guitar group that played at house parties, ballrooms, and regional events, adapting to the lively, improvisational demands of entertainment. He also collaborated with Georgie Stoll’s Syncopaters for radio and theater broadcasts, incorporating his versatile instrumental background—honed from early training on multiple instruments—to create dynamic, crowd-pleasing sets. By the 1930s, Tutmarc reached peak popularity as a radio personality in , with his KJR and KOMO segments drawing steady listeners through engaging performances that highlighted his dapper style and vocal prowess. These broadcasts often intertwined with promotions for his , positioning him as a multifaceted figure in the local scene and solidifying his reputation as one of the city's leading entertainers during the decade.

Teaching and local influence

In the late 1920s, after returning to Seattle from pursuits in Hollywood, Paul Tutmarc established a music instruction studio in his family home, where he began teaching guitar and vocals to local students. By 1931, he had relocated to a downtown studio in the Fox 5th Avenue Theater building, expanding his offerings to include banjo and Hawaiian steel guitar lessons, which drew aspiring musicians eager to learn practical performance techniques. His reputation as a skilled instructor grew alongside his radio appearances on KJR and KOMO, attracting students interested in both traditional and emerging electrified instruments. Tutmarc's studio at 804 Pine Street in the mid-1930s became a hub for Seattle's budding community, where he mentored numerous local talents, including Bonnie Buckingham, who later achieved fame as Bonnie Guitar and became his second wife. Through individualized lessons emphasizing hands-on skills, he influenced a generation of performers, selling his early Audiovox instruments directly to students and working musicians who tested them in lessons. Beyond one-on-one teaching, Tutmarc organized and led local music ensembles, such as the Islanders in the early 1930s and the in the , providing performance opportunities that strengthened Seattle's network of , , and artists. These groups performed on radio and at venues, showcasing his students and fostering collaborations with orchestras like Vic Meyers' band, thereby embedding Tutmarc as a key figure in shaping the city's vibrant local music culture during the interwar and postwar eras.

Inventions

Early experiments with electrification

In the early 1930s, Paul Tutmarc began experimenting with the electrification of musical instruments in his basement workshop, initially collaborating with tinkerer Art J. Stimson to address the limitations of acoustic volume during live performances. Driven by his experiences as a performer on KOMO radio, where louder instrumentation was needed to compete with broadcasts without relying on , Tutmarc sought to amplify sounds electronically. Tutmarc's initial tinkering focused on basic electromagnetic pickups, constructing them from horseshoe magnets wrapped with fine copper wire—such as No. 38 or 40 —and an iron blade inspired by transducers. He applied these prototypes to various instruments, including zithers and pianos, attaching the devices to capture string or hammer vibrations and convert them into electrical signals. These early efforts, conducted around 1930-1931, marked his first forays into overcoming the acoustic constraints of traditional setups. By adapting the pickups to Spanish guitars, Tutmarc attached them to flat-top bodies, positioning pole pieces near the bridge through slotted soundboards to better transmit vibrations while minimizing feedback. He tested these modifications on round-hole acoustic models, plugging the output into converted radios to amplify the signal, which provided a clearer tone than unamplified play. This approach highlighted the potential for electric enhancement in standard guitar designs, though it remained experimental and non-commercial at the time. Challenges arose with amplification, as Tutmarc and collaborator Bob Wisner built homemade tube amplifiers by rewiring old Atwater-Kent radios, which often produced inconsistent volume and when integrated with the raw pickup signals. These rudimentary , tested in his home studio, struggled to isolate the guitar's sound from ensemble noise during radio sessions, prompting iterative refinements to both pickups and amplification circuits. Despite these hurdles, the experiments laid foundational techniques for electromagnetic sound capture that influenced later instrument designs.

Development of the electric guitar

In the early 1930s, Paul Tutmarc advanced his experiments with instrument electrification by creating a , installing a custom magnetic pickup into a flat-top Spanish-style during the winter of 1930-1931. This design captured string vibrations through , converting them into electrical signals for amplification, marking a significant step toward louder, feedback-resistant performance over traditional . Building briefly on his prior trials with electrified zithers and pianos, Tutmarc's guitar demonstrated improved sustain and volume when connected to an external , allowing clearer projection in ensemble settings. Collaborating with inventor Arthur J. Stimson starting in 1931, Tutmarc refined the pickup technology, developing a blade-style magnetic with slanted split-pole pieces to reduce hum and enhance tonal clarity. These pickups were integrated into solid-wood bodies, often or , for early prototypes around 1932, which featured a compact, non-resonant to minimize acoustic while maintaining playability. The instruments connected via to separate amplifiers, enabling sustained notes and higher volumes suitable for live performances, as Tutmarc tested them in Seattle-area demonstrations and on KOMO radio broadcasts beginning in 1934. Tutmarc pursued patent protection for these pickup innovations, filing applications in the early , though initial efforts in were rejected as non-novel due to prior telephone-related electromagnetic patents. Tutmarc collaborated with Stimson on pickup designs around this time; Stimson filed U.S. Patent 2,078,350 on , , describing a horseshoe magnet-based pickup with inclined cores positioned under the strings for precise vibration detection in stringed instruments like guitars. However, the patent was filed solely under Stimson's name, leading to later disputes over invention credit between the collaborators. Under the brand established in , Tutmarc commercialized these advancements in lap steel electric guitars, which gained acclaim for their powerful, clean output during live tests at music stores and broadcasts, outperforming acoustics in volume and sustain for Hawaiian-style and ensemble playing.

Creation of the electric bass guitar

In 1936, Paul Tutmarc developed the Model 736 "Bass Fiddle," recognized as the first fretted, solid-body designed for horizontal play. This instrument featured four strings tuned in standard bass configuration—E-A-D-G—and a scale length of approximately 30 inches, with 16 frets on an ebony fingerboard integrated into a . The body was crafted from solid black walnut, providing a compact, cello-sized form roughly 42 inches long, which contrasted sharply with the bulky upright . Central to the Model 736's functionality was its electromagnetic pickup, adapted from Tutmarc's earlier designs to capture the instrument's low-frequency vibrations effectively. This horseshoe-style pickup connected via a 1/4-inch jack to a matching like the Model 936, with a single volume control knob emphasizing simplicity and reliability for live performance. These elements enabled the bass to produce audible tones without the need for extensive , addressing the challenges of volume in ensemble settings. Tutmarc intended the Model 736 to offer superior playability over the traditional upright , being lighter, more portable, and easier to handle for musicians transitioning from guitar or seeking reduced physical strain. It targeted bands requiring consistent low-end support, particularly in the and eras, where portability allowed for quicker setups and transport without sacrificing tonal depth. The fretted neck ensured precise intonation, making it accessible even to players unfamiliar with the fingerboard's nuances on an unfretted upright. Production of the Model 736 remained limited, with only a small number of prototypes and units hand-built in Tutmarc's workshop, of which four are known to survive as of 2024. Sales occurred primarily from 1937 to 1940, marketed through local channels to musicians in the at prices ranging from $55 to $75 per instrument. This modest output reflected the era's conservative adoption of electric instruments among bassists, though it laid foundational groundwork for future bass designs.

Business ventures

Founding Audiovox Manufacturing

In the early , Paul Tutmarc transitioned from individual experimentation with electrified instruments to formalizing a business venture in , to produce and market his innovations. Drawing on his background as a music teacher and performer, he established Audiovox Manufacturing Company around 1933–1934, initially operating from a small integrated into his music studio and home basement. This setup allowed him to blend instruction, prototyping, and assembly in a compact space at 806 Pine Street after relocating downtown. The company was funded primarily through Tutmarc's personal savings accumulated from his musical career and fees from private Hawaiian guitar lessons, enabling a modest start without external investment. Operations focused on custom orders for students and local musicians seeking amplified instruments, reflecting Tutmarc's direct engagement with the needs of his clientele. To handle assembly, he hired family members, including his son who assisted with winding coils for pickups, along with skilled local craftsmen such as woodworker Emerald Baunsgard for instrument bodies. Early production emphasized components like amplifiers and magnetic pickups, which were essential precursors to Tutmarc's full electrified designs. The name "Audiovox" was derived from "audio," denoting sound, and "vox," Latin for voice, underscoring the company's goal of amplifying musical expression through innovative electronics. This founding marked Tutmarc's shift to , driven by the demand for his prototypes that required scalable beyond personal tinkering.

Production and commercialization

Audiovox Manufacturing, under Paul Tutmarc's direction, assembled its electric guitars, basses, and amplifiers primarily in a small-scale operation that began in Tutmarc's basement workshop around 1934 before shifting to a dedicated space at the Western Laboratories Building. was initially handled in-house but later outsourced to local cabinetmaker Emerald Baunsgard, utilizing regionally sourced materials such as black walnut for bodies and necks to keep costs manageable during the economic constraints of the era. The process emphasized handmade construction, including custom electromagnetic pickups co-designed with Arthur Stimson and amplifier cabinets covered in airplane linen by local craftsman Frank Galianese, resulting in an output of dozens of instruments annually across the lineup. Marketing efforts focused on direct promotion to working musicians, bands, and studios, with Tutmarc leveraging his own performances to demonstrate the instruments' portability and amplified tone. Instruments were advertised through printed catalogs, such as the 1935 and 1936 Audiovox sales brochures that highlighted models like the flagship 736 Bass Fiddle, and consigned to regional dealers including , Roebuck & Co. and Music for broader reach. Additional exposure came via radio broadcasts on KOMO, where Tutmarc hosted weekly shows featuring live playthroughs, and in-store demonstrations at music shops, though national trade shows were not a primary channel due to the company's regional focus. The severely hampered commercialization, with high retail prices—$65 for the 736 and $75 for its matching 936 amplifier—limiting accessibility amid widespread financial hardship and resulting in total sales of fewer than 100 units over the decade. Lack of patents and further constrained growth, as larger competitors like later dominated the market. By the late , Audiovox expanded its product lineup to include electric lap steel guitars (produced since 1934) and public address systems, alongside amplifiers, to diversify revenue streams and sustain operations into the .

Personal life

Marriage and family

Paul Tutmarc's first marriage to Lorraine M. Day ended in divorce in 1943. The couple had two children from this union, including son Paul H. Tutmarc Jr., known as "Bud," born in 1924, who would later pursue music and join the as an inventor. In 1944, Tutmarc married his former student Doris Marie Tucker, known professionally as Bonnie Guitar, a 21-year-old aspiring from a musical family in rural . The couple performed together professionally around the , blending Tutmarc's expertise in guitar and with Tucker's vocals and guitar skills at venues like the Lounge in . Their collaboration extended to studio recordings, such as the 1949 single "Midget Auto Blues," where both contributed musically. Tutmarc and Tucker divorced in 1955 as her recording career gained momentum with hits like "Dark Moon." Despite the split, their post-divorce relations remained amicable, fostering ongoing family ties in music production.

Later years and death

In the years following , Paul Tutmarc scaled back his manufacturing efforts with Audiovox and entered semi-retirement, devoting himself primarily to teaching and occasional performances. He continued to perform publicly until around 1966–1967 while maintaining a steady schedule of private lessons for students in the area. By the , advancing age had taken a toll on Tutmarc's health, prompting a further reduction in his public engagements and limiting him to more localized activities supported by his family. Tutmarc passed away from cancer on September 23, 1972, in Seattle, Washington, at the age of 76. He was laid to rest in a simple burial at Evergreen-Washelli Cemetery.

Legacy

Recognition as an inventor

Paul Tutmarc pursued patent protection for his electromagnetic pickup designs during , but legal advisors determined that the technology was non-patentable owing to in magnetic devices developed for applications. Despite this setback, his innovations in electrifying string instruments laid foundational groundwork for later developments in and bass . In the late 20th and early 21st centuries, music historians have increasingly recognized Tutmarc as a pioneer of the , crediting him with creating the first fretted, solid-body version in its modern form through his Audiovox Model 736 Bass Fiddle around 1936. This rediscovery is exemplified in Ian S. Port's 2019 book The Birth of Loud: , , and the Guitar-Pioneering Rivalry That Shaped Rock 'n' Roll, which details Tutmarc's role in advancing amplified bass instruments well before 's Precision Bass in 1951. Surviving prototypes of Tutmarc's instruments, such as the Audiovox Model 736 Electric Bass Guitar (c. 1935), are preserved and exhibited at the in , serving as key artifacts that affirm his inventive legacy. These displays underscore the rarity of his early electric instruments, with only a handful known to exist today; one such example sold at in 2018 for $23,850.

Influence on modern music instruments

Paul Tutmarc's innovations in the 1930s laid foundational concepts for the , particularly through his Audiovox Model 736, a fretted, designed for horizontal playing with electromagnetic pickups for . This design provided precedence for Leo 's development of the 1951 Precision Bass, which adopted similar fretted principles to create a portable, guitar-like bass that could be easily amplified without issues common in upright basses. Although popularized the instrument on a mass scale, Tutmarc's earlier prototype shared key features like a 30-inch scale length and fretted neck, enabling guitarists to transition to bass roles more readily. Tutmarc's emphasis on solid-body construction, using materials like walnut to minimize resonance and sustain while maximizing pickup efficiency, contributed to post-World War II standards in electric guitar design. His pre-war experiments with solid bodies for lap steels and basses predated the widespread adoption of this approach in instruments like the Fender Telecaster and Gibson Les Paul, helping establish solid-body guitars as the norm for amplified performance by reducing acoustic feedback in band settings. This shift allowed for louder, more versatile electric instruments that became essential in emerging genres. Debates persist over crediting Tutmarc as the inventor of the first , as his 1932 Audiovox lap steel models predated Rickenbacker's commercially produced "" lap steel by months, though Rickenbacker's 1937 and broader marketing often overshadow Tutmarc's contributions. Historians note that while Rickenbacker's instrument gained prominence through Electro String Instrument Corporation's production, Tutmarc's independent designs featured innovative non-magnetic pickups and solid , sparking ongoing discussions about priority in evolution. The evolution of the modern electric bass traces back to Tutmarc's portable, amplified design, which replaced cumbersome upright basses and enabled its integration into jazz ensembles for clearer low-end definition in the 1940s and rock bands by the 1950s. This portability facilitated the bass's role in driving rhythms in genres like and 'n' roll, influencing players from Ray Brown in to Bill Wyman in , and paving the way for diverse variations in tone and playability still used today.

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