i have a 9’2 channin and really like this board. it’s aclassic shape with soft rails, some concave and not to much rocker. anyway i bought it for it’s shape and don’t know much about tony channin other than he used to shape with mike diffenderfer in the late 60’s. i’m just looking for more info on him. aloha, chad
I bought quite a few boards from Tony Channin back in the mid-late '70’s. His solo label was synonymous with high quality, particularly the glass work. His tints, opaques and pinline work were top shelf. I’m not sure that Channin was the actual shaper but his shop certainly put out a high end board for the period. Jim Phillips will probably have some accurate history for you on Channin. It wouldn’t surprise me if more than a few Channins were touched by Jim’s hands. Tom S. > i have a 9’2 channin and really like this board. it’s aclassic shape with > soft rails, some concave and not to much rocker. anyway i bought it for > it’s shape and don’t know much about tony channin other than he used to > shape with mike diffenderfer in the late 60’s. i’m just looking for more > info on him.>>> aloha,>>> chad
I bought quite a few boards from Tony Channin back in the mid-late ‘70’s. > His solo label was synonymous with high quality, particularly the glass > work. His tints, opaques and pinline work were top shelf. I’m not sure > that Channin was the actual shaper but his shop certainly put out a high > end board for the period. Jim Phillips will probably have some accurate > history for you on Channin. It wouldn’t surprise me if more than a few > Channins were touched by Jim’s hands.>>> Tom S. My brother used to have a beautiful 7’ pintail Channin single-fin from the late 70’s. Yellow bottom and rails; clear deck and perfect pinlines. This was my first impression of quality surfboards. The board was probably sold at a garage sale in the mid-80’s along with my first board (green kneeboard (used to be a longboard in Oahu)) and six years of Surfer and Surfing from that period. If anyone in the Va. Beach area has these boards I’m interested in getting them back. It’s painful to recall this. Rob Olliges
thanx for the info. like i said i really love this board. the quality is great and it rides so sweet. it has 100% s glass and an aerocarbon stringer. i think i may use it as a model when i try to shpe my first board in the very near future.
thanx for the info. like i said i really love this board. the quality is > great and it rides so sweet. it has 100% s glass and an aerocarbon > stringer. i think i may use it as a model when i try to shpe my first > board in the very near future. All stated is true. Channin and or Channin/Diffenderfer are /were synonomus with quality. I have the second board I ever owned. It is a Channin/Diffenderfer. It is a red tint with impecable white pin lines. Approx 6’4" round pin with two features that were really specific of the era. It has a very thin and pronounced nose and nose rocker and it has some really pronounced concave V’s (referred to as shotgun V or spiral v back then) It is in unbelievable condition. I really want to ride it again but I’m affraid to damage it. All that being said he seems to be a really great guy! JC
All stated is true. Channin and or Channin/Diffenderfer are /were > synonomus with quality. I have the second board I ever owned. It is a > Channin/Diffenderfer. It is a red tint with impecable white pin lines. > Approx 6’4" round pin with two features that were really specific of > the era. It has a very thin and pronounced nose and nose rocker and it has > some really pronounced concave V’s (referred to as shotgun V or spiral v > back then) It is in unbelievable condition. I really want to ride it again > but I’m affraid to damage it. All that being said he seems to be a really > great guy! JC When longboards died out in the late sixties, so did quality glass work. Tony Channin’s laminating at Channin/Diffenderfer in the early short board era was actually higher quality than anything that had come before it. His boards were light, strong, colorful, and cosmetically perfect. Channin understood the nuances of every type of resin, every type of cloth, and how they related to the temperature and humidity he was working in. You never saw the weave raised because the laminate was overheated when polished. You never saw catalyst streaks. C/D was the high water mark for manufacturing excellence during that period.