I’ve by no means handled a period Regal flattop this large prior to. I’ve grown accustomed to the “wide 000″ flattops they produced in the late 30s/early 40s, but this early/mid-30s bruiser is a full 16 1/4″ on the lower bout and four 1/two” deep at the endpin. It is also a 12-fret design and style, ladder-braced, and has a longer 25 three/eight” scale length. That tends to make it a lot like the considerably-later Harmony H1260┬áin terms of size and general design and style-style, but with the 30s featherweight construct and 12-fret joint in its favor, this guitar sounds several occasions a lot more “lush,” specially fingerpicked.
This is a customer’s guitar and has been awaiting repair for a lengthy time. It came in rather nasty but got “the functions” — a neck reset, new bridge (and much repair to a broken prime under the old bridge), a fresh refret with medium stock frets, new bone nut and saddle, side dots, and a lot of brace reglue jobs. It had a quantity of old repairs — such as some very sloppy crack repairs and finish muck on the back — but now that it really is tidied-up this point is a joy. It really is a excellent fingerpicker and a competent flatpicker, although it took me a handful of minutes to figure out how to coax the flatpick to get the tone I wanted out of it.

The best is solid spruce and the back and sides are strong birch. The neck is poplar and has a stained-maple fretboard and originally it had a stained-maple bridge. All the purfling and detail perform is standard of Regal for the time.

It even has these funny Regal “mini-button” tuners. The nut is 1 three/4″ and the neck has a huge V-shaped profile. I’ve strung this with 50w-11 strings and, though the neck is dead-straight, my major concern longevity-smart is the prime.

The guitar had been played so ferociously over its life that giant divots have been worn into the board and the original frets were so pitted I had to refret. It is not usually that I do have to refret when necks don’t have warp issues, so that is saying one thing about the life it is led.

The style reads like an outsized version of the “prototypical 30s Regal parlor guitar.”

The new bridge is a rosewood one, although I chose the most grey-looking one I could discover to match the appear/aged-in funk of the original stained-maple bridge. It was a chore to get this one particular on since the prime was quite ripped/broken beneath the original bridge’s footprint.
I actually added a bridge plate “cap” of new soundboard cedar more than the original strapping brace/bridge plate (produced from soundboard spruce in a wide/thin patch) to make confident it was structurally reinforced.

When this came in the back was wavy like the ocean on a stormy day. Finagling with clamps and external boards and whatnot saved possessing to take the back off and got all of the back braces down pat (save 1 — the lowest — which appears to have sprung itself a little out of shape over time — it really is not 100% but “very good sufficient for government perform”) and the back fairly flat.

A bit of lube and the tuners were prepared to go…

Interestingly, there was never an endpin on it.