c.1925 Regal Classical/Hawaiian Parlor Guitar Conversion
Here's the first thing: this is a beautiful, featherweight guitar, made of choice materials -- fancy, quality solid mahogany on back, sides, and neck, with flamed mahogany (veneer?) on headstock, super spruce top with lots of curl to it, and what appears to be a dyed maple or pearwood fretboard. It's entirely crack free and unmolested save for a new classical-style rosewood tie bridge, to which I've added a new bone saddle. It's also got a newish (1960s?) nut.
Here's the story: this was originally a typical high-quality Regal-made (no label but the headstock and build identifies it) lap (Hawaiian style) steel guitar, and probably had a high bone nut and bridge to raise the strings. The original frets and fretboard are free of the typical wear I'd associate with regular play.
Here's the other part of the story: at some point in time, the owner had the original bridge (would have had pins and the underside of the soundboard has pin-hole leavings) and nut removed, and a classical tie-style bridge installed along with a new nut cut for classical strings, and it's been played that way (obviously not very much) ever since. After doing a minor neck reset and some brace repairs, along with cleaning and a new bone saddle, I installed a set of Aquila nylgut strings and -- oh my -- what a delicious sound! Very jazzy, smooth, and ideal for solo performance of instrumental music. Very tasty!
It comes by this tone via its very simple transverse brace pattern with a bridge plate/brace extended across the lower bout, one diagonal mid-brace below the soundhole, and one brace above the soundhole. With a thin, responsive top, and zero crack damage, this has quality of tone and volume around the same range as a c.1890s/1900 gut-strung Washburn of the same size.
Now, I'd like to point out also that this guitar would sound just great with steels as a Hawaiian guitar or standard "Spanish" (in American lingo, steel strung) guitar. I'd suggest silk & steel or extra light sets, though. Like a lot of old Regals, this thing pumps out volume and sweet tone, but it's underbuilt for big strings.
Here's the story: this was originally a typical high-quality Regal-made (no label but the headstock and build identifies it) lap (Hawaiian style) steel guitar, and probably had a high bone nut and bridge to raise the strings. The original frets and fretboard are free of the typical wear I'd associate with regular play.
Here's the other part of the story: at some point in time, the owner had the original bridge (would have had pins and the underside of the soundboard has pin-hole leavings) and nut removed, and a classical tie-style bridge installed along with a new nut cut for classical strings, and it's been played that way (obviously not very much) ever since. After doing a minor neck reset and some brace repairs, along with cleaning and a new bone saddle, I installed a set of Aquila nylgut strings and -- oh my -- what a delicious sound! Very jazzy, smooth, and ideal for solo performance of instrumental music. Very tasty!
It comes by this tone via its very simple transverse brace pattern with a bridge plate/brace extended across the lower bout, one diagonal mid-brace below the soundhole, and one brace above the soundhole. With a thin, responsive top, and zero crack damage, this has quality of tone and volume around the same range as a c.1890s/1900 gut-strung Washburn of the same size.
Now, I'd like to point out also that this guitar would sound just great with steels as a Hawaiian guitar or standard "Spanish" (in American lingo, steel strung) guitar. I'd suggest silk & steel or extra light sets, though. Like a lot of old Regals, this thing pumps out volume and sweet tone, but it's underbuilt for big strings.
Nice flamed-mahogany headstock veneer.
Unmolested original fretboard. MOP dots.
Check out the aged-in color of that delicious top!
This is a 0-size guitar.
And it's bound top and back in celluloid with this very pretty multicolored wood purfling (and rosette).
Mhm!
Classical-style rosewood tie-bridge, c.1950s or 1960s I'd imagine.
Back.
Original bakelite-buttoned tuners.
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Absolutely beautiful mahogany used on the back and sides... and neck, for that matter!
And the finish is in great shape, save a few scratches here and there from normal use. It still glows beautifully.
Yum! The neck is a shallow D shape and feels great, especially since the finish (original) on the neck is more of the satin style you'd feel on old Martins.
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End join has no strap button hole -- another indication that this was very much originally a lap-style guitar.
Closeup of that wonderful wood and inlay! WOW!
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