1936 Gibson-created Kalamazoo KG-14 Flattop Guitar

Another KG-14! I guess they are greater in pairs, no? This one particular is loud, punchy-as-heck, has very good snap — and a lot of ring to it. It really is mainly-original, also, but has new frets and a new nut and saddle. The pins are, amazingly, all-original and the guitar has that look — with the firestripe guard and perfect bluesy sunburst.
This was practically-carried out final Saturday, but it took all week for me to locate the time necessary to finish it off. This is simply because it necessary far more operate than I expected. In the finish it got a neck reset, bridge reglue, new bone nut and saddle, brace reglues, crack cleats and repairs to the leading, and a board plane and refret (with new jumbo stock). The finish result is a top-notch player with a straight neck, modern-feeling frets, and spot-on three/32″ EA, 1/16″ DGBE action at the 12th fret. I have it strung with 52w, 40w, 30w, 22w, 16, 12 strings in a “slightly lighter than light” set.
The usual KG-14 specs apply, too — 1 3/4″ nut width, 12″ radius fretboard, medium-sized V-shaped neck profile, 24 three/4″ scale (practically 24 7/eight” in actuality), and 14 5/eight” width on the lower bout. The ladder bracing compared to an x-braced L-00 indicates a less-creamy best and bottom end and an emphasis on lots of snap and punch in the mids. This is perfect for a fingerpicker but will also suit a flatpicker who requirements a bit of reduce and definition like an archtop.

I also added side dots. The board is freshly leveled/planed and feels like a new, boutique providing.

There are a few challenging-to-see cracks on the leading that are all repaired. Two brief hairlines are above the soundhole and cleated and there are 3 smaller sized ones under the soundhole and terminating at the bridge — also cleated. Below the bridge the center-seam was a small open and that is been glued, cleated, and sealed for future stability.
I forgot to mention that I also reglued the pickguard a bit, too.

The bridge has its original pins — although the saddle is a new, compensated, bone one.

As you can see, there’s a fair amount of saddle left for action adjustments. The slot is also deep sufficient that conservative “shimming” can get you by for fine adjustments up without having the saddle tilt forward on you.

Woods, right? The best is strong spruce and the back, sides, and neck are solid mahogany. The back on this one appears to be one piece, too.

There is an typical quantity of use-wear on the guitar but, all round, it looks excellent compared to many KG-14s which have a tendency to get a lot of play over the years.

The tuners are mainly original but I’ve employed spare components from a donor set of the identical variety (only a handful of years prior) to replace missing bits.

The “fade” of the sunburst to the back/sides is quite neat right here at the neck.

The endpin is original, too.

1934 Gibson-created Kalamazoo KG-11 Flattop Guitar

I genuinely take pleasure in KG-11s and, contemplating that there’s 7 or 8 a lot more of them to be repaired about here, that’s great news for me! A customer chosen this from the bunch on-hand, and now that repairs are completed, it just requirements to settle-in and then will be cleared for shipping.
This one particular has a factory order number of 1171 on the neckblock which states that it is a 1934 construct — though the tiny sunburst and straight-reduce headstock sort-of call it out as a Kalamazoo made in the “very first batch” of 1933-34, anyway. It shares the usual KG-11 specs — a 1 three/4″ nut, usual Gibson 24 three/four” scale length, 14 five/eight” reduce bout, and a “squashed” body with a reduced-on-the-bout bridge as compared to the far more-iconic KG-14s. These design alterations compared to the KG-14 push the nut closer to the left hand, impart an overall woodier, warmer tone, and find the physique in a super-comfortable way in the lap. The sacrifice is a tiny bit of volume and punch, but for my playing style I tend to favor KG-11s most of the time as they’re a far more forgiving guitar — something a friend of mine also concluded soon after providing it a whirl proper after I’d finished work on it.
That perform included a neck reset, fret level/dress (thankfully on an already-straight neck), replacement rosewood bridge, a couple of crack repairs/cleats (a couple to the side at the bass waist and a single on the leading under the bridge), and replacement bridge pins. It’s playing spot-on with 1/16″ DGBE and 3/32″ EA action at the 12th fret. I tend to run “11s-comparable” strings on these, but with stiffer trebles — gauges 52w, 38w, 28w, 22w, 16, 12.

This has a 3-piece, solid spruce best. The back, sides, and neck are solid mahogany and the fretboard is Brazilian rosewood with a 12″ radius.

The tuners are replacements, but the ferrules are originals. Note the original ebony nut.

I add side dots standard, these days. The pearl dots and smallish Gibson frets are original, though.

I love the look of these pickguard-much less early models.

The original bridge would’ve been Brazilian rosewood with a via-cut saddle slot and “ebonized” black with a nitro finish sprayed more than it. My replacement is Indian rosewood and has a drop-in saddle slot. I re-employed the original bone saddle, however, when I match this a single.
The original bridge had split along the pins and the back edge would’ve sheared-off over time (probably 6 months after tuning-up) if I’d attempted to glue it back together and leave it. I don’t like getting to waste customers’ time with such items to preserve broken originality.

The pearl-dot ebony pins aren’t “to spec,” but I didn’t want to use the oversize pins that this came with as the holes are currently so far aft (like the original bridge).

Celluloid binding is only at the top edge and soundhole.

The tuners are 1950s units I’m utilized to seeing on Harmony guitars. I tend to have a few sets on hand and use them on guitars like this one particular, when I get the opportunity, as its original tuners were extended gone and the replacements had been terrible, super-cheap, Ping units. They operate as effectively or much better than the originals and have the very same vibe as 30s, openback machines.

The original endpin is extant, but has a small chip-out on its “bottom ring.”

1970 Japan-produced Rose KF-10M 000-Size Flattop Guitar

I took this in trade yesterday and, while it’s undoubtedly not something fancy, it does have numerous exciting design and style quirks. It is clearly a Japanese guitar and sports the usual construct elements for the time, with all-ply construction in the physique and a multi-piece mahogany neck with a bound, rosewood fretboard, and Martin-aping appears. It’s also roughly 000 in size and specs with a tight waist, 24 5/eight” scale and 15 1/8″ reduced bout width.
The most significant weirdness is its tic-tac-toe bracing pattern (appears like a # sign) which is arranged in virtually exactly the identical way as one would locate on a 1920s L-1. I’m assuming this pattern was either utilized to cut expenses vs. x-bracing at the factory, but since of the sturdy tonebar-with-ladder elements of the design and style the pattern also has the advantage of maintaining the leading from deflecting like crazy (an situation with a lot of 70s laminate/ply guitars), rising sustain, and also maintaining the neck joint steady (as the elevated rigidity of the top signifies the block travels much less with tension over time — the principal reason guitars need neck resets).
In truth, the only true “dilemma” with the guitar given that it was built in 1970 is that the laminate layers were beginning to peel up from under the (fortunately bolted) bridge and it needed a great fret level/dress and setup. I also replaced a missing pickguard, lubed the tuners, and voila — it really is up and playing once more.

I did this guitar on the quick because I was curious about the sound. I adore the direct, basic, sustained, and fingerpicking-friendly tone of the old L-1s and this guitar does have a lot of the basics of that sound — such as a strange, punchy, crisp general feel to it that isn’t very vibrant or brittle, but something else. For an all-ply cheapie, it really is really pretty exciting.

The “crown” motif is lovably cheesy and the molded plastic nut speaks to the high quality-level of the factory construct. The neck is bang-straight and the truss operates perfectly, even so.

The adjustable saddle on the bridge is fascinating since it really is a 100% rip on the Gibson-style adjustable units, though the saddle is brass as opposed to ceramic (ew), rosewood (yum), or ebony (yum).

Just like on Gibson adjustable bridges, there are two “holders” for the adjuster screws which are themselves bolted into the bridge and bridge plate. This is a a lot far more secure and functional way of producing an adjustable saddle vs. the usual Japanese and Korean adjustable saddles noticed from the same time.

The back and sides are ply mahogany and in a handful of locations on the sides you can see some burn-by way of from more than-zealous sanding before the finish went on!

Right after a lube the tuners began functioning just fine, even though a set of inexpensive Kluson repros would be a excellent upgrade.

Anybody know about this brand? I am thankful for the apparent date-mark, though!

1987 Guild JF65-12E Jumbo 12-String Flattop Guitar

The JF65-12 is a latter-era Westerly Guild version of the F412 model — what I consider of as the “most well-known” massive old maple Guild 12-string. This certain guitar is up to the task and sounds, effectively, just like a 70s F412, albeit possibly a bit much more steady in service as it hasn’t had require of a neck reset as far as I know. The flamed maple on the back, sides, and neck appears excellent and the spruce top has remained crack totally free. The “E” designation, I am assuming, relates to the onboard electronics.
I worked on this for a customer and it received a bunch of consideration. It got a bridge reglue and slight modification to the bridge, a new compensated bone saddle, fret level/dress, replacement binding for a lot more than half of the headstock’s outline, a replacement pearl inlay (1st fret position — 1 of the pearl slabs was missing), and a excellent setup. The owner runs the guitar tuned down a step, too, so I boosted a few of the gauges up from a common 46w-ten “12 string light” set — but not by significantly.

The headstock has 12 individual sealed mini tuners. The wound G-string tuner has a damaged threaded ferrule but it nevertheless functions. Note the lighter cream binding — this is my replacement stuff. The job wasn’t perfect but it turned out better than I anticipated. I had to make the new binding from 3 layers to replicate the appear, much more or significantly less, of the original stuff.
The simple portion, of course, was this straight section.
The challenging portion was the “cloud” headstock top — which I didn’t nail — particularly contemplating that my produced-up layers have been different plastics that wanted to fight 1 one more a bit when gluing down. The original material seems to have been molded as one particular strip to begin with. Did I ever mention that trying to match binding drives me nuts?
It’s a workmanly job that suits the workmanly abuse the guitar has had (see the cigarette burn?).

The abalone darts subsequent to the large blocks of white pearl has often been a great appear, I consider.

The original bridge was nevertheless in excellent shape after removing it from the guitar, but the guitar’s best itself was a bit curled-up under the bridge. It took some clever clamping to get it back down and flat efficiently.

I nonetheless have to make a second, taller saddle for the guitar, even though I am waiting overnight to see what deflection the top adds. I’ve added string ramps to help back-angle on the saddle from the farther-aft bridge pin holes and replaced a hodge-podge set of pins with new, ebony ones.

The neck maple on 80s Guilds is always very first-price. It really is beautiful stuff — and the double truss rods in this neck have kept it straight, straight, straight.

1947 Gibson LG-two Flattop Guitar

Like the 1948 LG-2 I worked on a couple years ago, this guitar has fabulous tone — it really is open, airy, loud, clear, and has tons of mids. It is also been played fairly hard and has observed lots of use, as evidenced by the “washboard” beneath the pickguard and around the soundhole. From my point of view that is an outstanding factor — it signifies it is been woken-up and is ready to go.
This came in by means of a consignor and needed some brace reglues (a couple were reglued in the previous and one “finger brace” to the side of the main X is a replacement), a fret level/dress, new nut, new tuner buttons, and a excellent setup. It really is playing spot-on with 3/32″ EA and 1/16″ DGBE action at the 12th fret and has tiny over 1/16″ saddle height left to play with — about average.
From my experience, these are rugged and practical guitars and sound tremendous on record as the sound is not mushy on the bass or also zingy on the treble. They’re balanced but have that standard Gibson reduced-mids growl that makes them exciting to flatpick the heck out of.

There is no factory order quantity or serial number inside this guitar and so dating has to be accomplished by its features — the “pinned” openback Kluson tuners, the through-saddle bridge, and the overall construct. It’s more than most likely a ’47 but could be an early ’48, too.
The top is solid spruce and, fortunately, crack-totally free. The sides have one particular, quick, 1.five” hairline crack on the treble upper bout that is been repaired and the back has a couple of hairline cracks on the decrease bout that are excellent to go (more on these, later).

This came to me with tuner buttons that have been replacements, missing, or on their way out. I snipped the remains off and put these new, black buttons on as an alternative. The nut that came with it was, apparently, original — but it was split. I made a new, bone one particular to replace it with.
The truss rod works completely and the neck is nice and straight. The nut width is 1 11/16″ and it has the usual 12″ Gibson radius on the Brazilian rosewood fretboard. This has the regular 24 3/four” scale length.

The frets are the original, smallish old Gibson sort. They have plenty of height left and feel very good, although. The dots are pearl.

It really is strung with a set of 54w, 40w, 30w, 22w, 16, 12 strings.

You have got to really like that simplified Gibson aesthetic — those plain rosettes appear wonderful.

The original bridge is in very good shape, although I did have to remove a bit of gunk/buildup from it and buff it up once again. I compensated and adjusted the original saddle’s height throughout setup. The pins are old black plastic ones (that came with it) that almost certainly aren’t original but appear about correct.
Note also how the treble-side pearl dot (which hides the bolts Gibson used on their bridges) has a tiny chip-out.
The prime has a quite tiny amount of “doming” under the bridge — as opposed the curled/wave-style belly noticed behind the bridge on other tends to make. This is really normal and nothing to be concerned about. I’ve never noticed an old Gibson that does not have it.

In these images you can actually see the old climate-check/crackle effect that Gibson finishes have a tendency to obtain. The strong mahogany back looks wonderful, by the way.

Exactly where the glare stops you can see an old, longer (four-five”) hairline crack and then one on the other side of center from it. I could not for the life of me find these on the inside to cleat them (sometimes the wood is only so open) but they are glued and sealed.

The endpin is a matching black plastic 1 I had in my components-bins.

It comes with a hard, molded, TKL case.

1942 Gibson L-00 Flattop Guitar

Built nearly a decade soon after the final L-00 I worked on, this 1942 L-00 has some modernized characteristics but retains the wholesome, robust, mids-centered punchy tone that these are recognized for. Purists will catch the over-massive replacement bridge proper away (far more on that down the post) and the replaced tuner buttons, saddle, and pins — but otherwise the guitar is quite original and quite darn clean for its age.
This one was constructed in wartime (an H-suffix factory order number tells the tale) and, therefore, is a “final of its breed” guitar as style components changed a bit after the war. It has a solid spruce prime, one particular-piece strong mahogany back, solid mahogany sides and neck, and a Brazilian rosewood fretboard. The only cracks I’ve found on it are a small, repaired, hairline on the back upper bout, a tiny center-seam separation (not really, even though) at the finish of the fretboard on the prime, and an virtually-crack (not open as it really is straight over bracing) to the side of the pickguard. The finish is in very good shape and gleams beautifully with just a minor quantity of use-wear and pickwear about the soundhole.
Work incorporated replacing a funky old bridge, a new saddle, fret level/dress, new pins, new tuner buttons, and common setup. It plays excellent with 1/16″ DGBE and three/32″ EA action at the 12th fret and is strung with 12s.

…correct? It is beautiful.
The leading has a typical, minor amount of “belly” straight under the bridge. I like to contact it “doming” on Gibsons as they appear to get about 1/32″ to 1/16″ of general deflection more than time in a domed shape below the bridge rather than a “wave” or “curl” behind the bridge like on some other tends to make. No worries.

The original, ebony nut survives — amazingly.

The neck has a quite comfortable medium, C-shaped profile that is just a hair bigger than 1950s Gibson profiles and the truss functions perfectly. The Brazilian board has a 12″ radius.

Never you enjoy the multi-ply binding? It’s bound on the best and back.

The firestripe pickguard is lovely!

Here’s my replacement, rosewood, bridge. I know it’s not appropriate at all, but I did not have many choices. The best had been mucked-up finish-wise from the installation of…

…this same-size, 4-bolted, warped-out monster. My operate integrated removing that, repairing minor top damage, filling the old/second set of pin-holes, and then gluing, installing, and color-matching as ideal as I could, the new bridge.

The end outcome is at least vintage-ish and has a drop-in, compensated saddle for easy adjustment. The pins are ebony. The new bridge is a small taller by 1/16″or so than a comparable original Gibson bridge, so its slightly-more than 1/16″ height on the saddle belies the reality that there is lots of airspace under the strings and more than the body.

The back is very pretty, a single-piece, solid mahogany.

The original tuners got new tuner buttons as all of the originals have been missing. Right after a lube, they are operating just fine.

The complete aesthetic is painfully classy.

Here’s that stable, repaired hairline on the back. It runs from below the neckblock and terminates at the 1st back brace.

The endpin is black plastic.

A rigid, foam, “hardshell” flight-style case comes with it.

1968 Gibson Everly Brothers Jumbo Flattop Guitar

Gibson only produced so a lot of Everly Brothers guitars and this one is an odd duck with its mahogany back and sides (most are maple or walnut). Its serial dates it to 1968 and it is essentially an alternate vision of Gibson’s highly-collectible J-185 model with its 24 3/4″ quick scale, 16″ jumbo physique (compared to the 17″ of a J-200), and flashy trim. The neck on this is rock-and-roll swift and slim (C-shaped) with a 1 1/2″ nut width. Barred chords and cowboy shapes are straightforward-peasy, right here, and you could certainly think about this as a heavy-handed strummer’s dreamboat — or a great choice for an old-fashioned lady country singer 
I worked on this for a buyer who’s preparing on consigning it (now), and it was a tough job due to the presence of a botched neck reset completed in the past (1973 to be exact, per an interior stamp on the backstrip). The rest of the old repairs (some hairline cracks, a replacement bridge, and a headstock crack repair) have been accomplished really nicely and have passed the test of time. My work integrated resetting the neck once more (which involved shoring-up a “pinched” neck joint), a fret level/dress, bridge pinhole fill/redrill, modification of the saddle slot, a new saddle, regluing the treble-side broken pickguard, and common setup.

Following work it plays on-the-dot at 3/32″ EA and 1/16″ DGBE at the 12th fret, has a healthily-tall saddle, and is structurally stable. It also, of course, looks grand!

This guitar has a strong spruce prime, strong mahogany back, sides, and neck and an ebony bridge and fretboard. It really is got binding on the top, back, and board edges and herringbone inlay at the leading edge.

You can see the old headstock crack repair right under the E-string tuners. The job was properly-done and it remains steady.

It appears like the fretboard might have had a leveling in the past as the best of the most significant star has its point “nipped” out due to a shallow board. The nut, after once more, is 1 1/two” and the neck has a rapidly, slim, C-shaped profile. The frets are possibly replacements and are jumbo-sized with lots of meat left after my level/dress job. The neck is straight and the truss works well.

There are a lot of small cracks in the fretboard binding.

When I reset the neck, I knocked the angle back a bunch and had to wedge the board up a bit at the extension. This location is not the most beautiful aesthetically simply because of mucky repair-function accomplished in the past, but it really is “all great.”
The “pinched” neck block region is due either to damage sustained when the guitar originally was dropped (I’m guessing) or to a person not completely-regluing the neck block to the top. It really is stabilized, now, and very good to go.

It really is nice to have these original guards!
The trim is pretty good on this guitar, too, particularly with the herringbone purfling.

The owner thinks this is a non-original bridge. That’s completely feasible but the original style of bridge largely utilized on these was a giant “reverse belly” bridge with an adjustable saddle. If that had been the case on this guitar I’d anticipate to see the footprint and I never consider the guitar’s had a refinish at all (judging by the crud under the pickguards).
So, either the original bridge was a smaller kind, a normal Martin-style “belly” bridge, or it was this a single althought this has clearly been shaved down. The original bridge plate (which is extremely thin 1/32″ or so rosewood) was also capped with a really thin 1/32″ or so maple plate in the previous.
When I did my perform I filled the “swooped” pin holes (in an arc) and then drilled a new set of holes on a line to get a lot more of a 45-degree back-angle on the saddle. I also enlarged and deepened the saddle slot so I could place a good, tall, drop-in saddle in place and have it remain nice and snug. It’s worked-out swell.

The treble-side pickguard was off when this came in and was broken in a handful of pieces. I reglued it back on and suggested to the owner that even even though the celluloid has some “outgassing” (crumbling) issues, that it would be cooler to re-use the original. I think you can not beat the look of the actual issue even with some flaws.

The original tuners have been long gone and it looks like an individual added “steps” for these 70s Rotos to be installed. It appears excellent, even though.

Please don’t blame me for some of the mucky edges about the neck region — it was a bit murky in spots when it got here.

I forgot to mention that there’s an old 70s Barcus Berry installed! It is the extended “bar” kind and I reglued it under the saddle location. The output is excellent and it sounds like a much less-articulate K&ampK. These are some of my favored old transducers and they are far much better than an old undersaddle pup.

“1973 – Restored by Valdez – West Hollywood.”

An original Gibson tough case comes with it — in excellent shape!

Let’s speak condition issues. I pointed out that the neck had a prior reset before mine — and it also has a previous reglue of a split in the reduce portion of the heel. No worries — it’s great.

There are also a couple of small hairlines (glued-up in the previous) on the side, here.

You saw the headstock break from the front before — here it is from the back.

There are also some clumsily-reglued modest hairlines on the back of the guitar. Here’s a single.

Here’s one more. I’ve added tiny cleats to each of these exactly where I could get them in spots not cluttered with glue beading on the inside…

This 1 is good and I can’t even spot it on the inside.

The ugliest is this two 1/2″ one particular that wasn’t glued-up “flat.” It’s been glued-up and is steady but shows a tiny “edge.” It is way in the reduce bout so I couldn’t truly reach that far in to scrape off the excess glue and cleat it. No worries, although — it doesn’t move and has been this way, presumably, considering that ’73.

1970 Harmony “Buck Owens” Flattop Guitar

I had no concept that these old Buck Owens red-white-and-blue Harmony 000s were so useful! It is even far more humorous to me, also, since the back and sides are birch rather than the mahogany of the H1203 — which is the closest comparable model. It’s, of course, very cool and very “nation” — so I get the popularity. Who wouldn’t want to make an impression whilst toting 1 of these yellowing old gals?
This has languished in my repair racks for practically a year, now, and at some point the sawdust grew thick adequate to clean it off and do the job. This got a neck reset, fret level/dress, giant new ebony saddle to replace the missing adjustable unit, a set of old parts-bin bridge pins, some lube/cleaning of the original tuners, and the installation of a new headstock veneer (much more on that in a bit). It now plays as it should and has a excellent, midsy, folky, thumpy sort-of tone.

I am nearly certain that this never ever wore a pickguard. There’s not considerably to recommend anything was ever on it.

So, the headstock veneer — grr! This was a new item when it came in — a fresh repro in blinding white and blue. I installed it nicely and drilled the tuner holes and decided to shoot it with a coat of “amber” nitro… only to uncover that the blue was sprayed-on rather than printed or molded and the paint proceeded to crackle and funkify. Ugh!
My program was to hit it with the amber coat and then rub it out a bit to lower the yellowing effect and match the discoloration on the back of the headstock. This occurred alternatively — oh nicely! We win some, we lose some. Since it was “antiqued” already, I re-used the original (broken) truss-rod cover, as well, by mounting it on some sticky-backed pickguard material. Neat-o.
In real life, the yellow isn’t an virtually sickly-green-yellow like in the photo, though — so I consider on the whole this might’ve been a bit of a draw as opposed to a loss. It nevertheless beats 46 years of glue residue on the headstock.

There’s lots of height on that saddle. I utilised ebony rather than bone since the slot was incredibly oversized to suit an old (missing) adjustable saddle gizmo. This is less complicated on the eyes than a mammoth hunk of bone and, as a side-advantage, calms down the zingy highs that birch back/sides can bring out.

The strap button was on it when it came in.

The date stamp pins this to 1970.

1930s Regal-made Jumbo Flattop 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 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.

1970 Guild F-30 NT Flattop Guitar

What a distinction a year makes! Compared to a 1969 F-30, this 1970 model is fairly similar in specs, save that the scale length is an inch longer at 25 5/eight” vs. the old 24 5/eight” scale. As a lot of folks know when deciding in between a 000-18 and an OM (Orchestra Model) variation on the 000-18, that longer scale makes a enormous distinction in tone and really feel. There is far more “forward” projection and crispness in the bass register rather than a chunkier, warmer tone — and the further scale puts far more tension on the strings for a slightly “stiffer” feel.
Frankly, though, that final bit is secondary on a Guild neck from this time as the super-quick (effectively, contemporary) C-shaped neck profile and 1 11/16″ nut width signifies that it “feels” about the exact same to my fingers — comfy and quick even with standard 54w-12 strings (like the ones on this).
Soon following this was made, the body shape of the F-30 borrowed the “mini-jumbo” shape from the Guild F-112 models and the sound changed from the sort of punchy, focused “nearly dreadnought” OM-like sound of this model to a a lot more shimmery, balanced, Taylor-esque sound. Each are excellent but very various.

Physique specs on this are 15 1/four” at the lower bout with four 3/four” depth to the sides (that’s pretty deep for a 000 body). I feel that extra depth is what offers this its “dreadier” tone. The top is solid spruce (not matched, although — verify out the cool “bearclaw” figure on the treble side) and the back, sides, and neck are strong mahogany.
My repairs included a fret level/dress, saddle compensation and adjustment, and basic setup. I also cleated and sealed a small hairline crack proper beneath the high E string on the top coming from under the pickguard and terminating at the bridge. The only other crack is a repaired tiny hairline on the back.
I also replaced the replacement Schaller tuners that were on it (kinda heavy and out of location) with some Kluson-style repro tuners that lighten the headstock and give it more of a vintage look. They function well and I’ve stashed the old Schallers in the guitar’s case in the occasion someone would want to reinstall them (someone who likes neck dive, possibly).
It plays on-the-dot at 3/32″ EA and 1/16″ DGBE action height at the 12th fret. The truss performs nicely, the frets have plenty of life left (although this was their 2nd level/dress), and it’s ready to go.

Aside from the tuners, the rest of the guitar appears “stock.”

The board and bridge are each rosewood and the board has a flattish profile (maybe 16″ radius?) which contributes to a sort-of “contemporary” really feel. Practically every person makes use of 14″ these days unless you happen to be a 12″ Gibson fan.

Whilst the saddle is on the decrease side, there is nevertheless some adjustment area — and let’s be sincere — every old Guild’s saddle seems on the reduce side. They appear to have been created with not a lot tolerance at the factory. I’ve adjusted the worn string-ramping behind the bridge to maintain the break-angle good and tidy, even though.
I forgot to mention that I also put a extremely little, lightweight (cedar soundboard material) “bridge plate cap” only under the line of the pin-holes. Guild had a habit of drilling their holes so close to the saddle (like Martin) that the winding overlap on modern strings has a tendency to slip up correct behind or more than the saddle. I cannot stand that, so I created the tiny cap to maintain them snug. It adds almost no weight and keeps the ball-ends tidy, too.
The original, wide-ish, maple bridge plate is all intact and in excellent order, even though.

Guild’s borrowing of Martin style 18 trim is fairly obvious.

The strong mahogany back and sides look excellent. The finish is in general good shape, although there’s the usual scuffing, minor nicks, and whatnot throughout.

An individual added a strap button to the heel some time back.

This is the hairline crack that was cleated/repaired in the instrument’s past (a very good job).

The serial quantity locations this at 1971 per the Guild site, even though making use of my inspection mirror I found a date-stamp of August 7, 1970 just forward of the x-brace.

The guitar comes with its (original?) Ess &amp Ess hard case (in decent shape) and the set of old replacement Schaller tuners.

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