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