1940s Regal Carved-Top Cutaway Archtop Guitar

Update 2024: I have updated this post with measurements, a video, and an updated description.

Overview: While I've worked on a bunch of Regal pressed-top archtops, I've only worked on a handful of their carved-top models and each time I do it's exciting!

The owner thinks this is probably an early-'50s guitar, I'm thinking it's more like mid-to-late '40s. The tuner covers should date it to '41 but, but, but... the owner found out that they were used post-war on some of these instruments. He was also thinking that it's a pressed-top guitar, but I'm certain it's a carved-top. Most of the Regals with these long, '30s Gibson-esque f-holes were carved-tops and were marketed as such when they were made. The pressed-top Regals almost always use segmented f-holes.

In addition, the pressed-top Regals have a very different arch, with a flatter "foot" to their arch and a distinct molded bulge starting inboards of the binding just a little -- typical of pressed-top guitars. The arch on this gently drops-off to the edge where the binding is. The pressed-tops also have a higher, more distinct arch while the carved-tops follow the Gibson-style sculpt of a low, shallow arch.

Tone: These carved Regals sound like Gibsons. In fact, they sound like great Gibsons. I haven't yet played a bad one. It's all about chord-chopping on these because they have a mellow, warm, and chunky sound to the low-end and mids that's just thick. I'm not as big a fan of them for blistering or snappy lead work, but if what you do is chop chords all night backing a band with little fills here and there, these are perfect for the job. That's not to say this is a slouch for lead work -- it cuts, but it's not like Epiphone carved-top cut.

Feel: The neck is on the large size so folks with small hands or who like a modern neck profile -- pass on this! The frets feel a lot like '60s Gibson jumbos -- wide but lower.

Interesting features: The "checker" binding and contrasting black-painted areas against the natural finish are great little details. The big block fretboard inlay and inlay in the headstock veneer don't hurt, either. It's also very rare for a guitar from this time to have a cutaway and the fancy tailpiece is a big bonus.

Repairs included: I gave it a neck reset, fret level/dress, new tuners, cleaning, and setup back in 2020 and it's still going strong in 2024.

• Weight: 4 lbs 14 oz
• Scale length: 25 3/8"
• Nut width: 1 7/8"
• Neck shape: medium-bigger full/soft V
• Board radius: 10"
• Body width: 15 5/8"
• Body depth: 3 1/2"
• Top wood: solid sprice
• Back & sides wood: solid maple sides, ply maple back
• Bracing type: tonebar
• Bridge: rosewood adjustable
• Fretboard: rosewood
• Neck wood: maple
• Action height at 12th fret: 3/32” bass 1/16” treble (fast, spot-on)
• String gauges: 54w-12 lights
• Truss rod: non-adjustable
• Neck relief: hair of relief tuned to pitch (~1/64")
• Fret style: jumbo-lower

Condition notes: The pickguard has outgassed and crackled in a couple spots -- two cracks, but it's reinforced underneath. The tuners (but not the covers), endpin, and bridge (a vintage Harmony one) are replacements, but it's otherwise original throughout. The finish looks good but, as usual, there are nicks, dings, and scratches here and there throughout. The finish has weather-checking all over, too.

It comes with: It's got a nice hard case (not pictured).

Consignor tag: BSM