Post by CTGull on Jan 16, 2022 18:01:38 GMT -5
HIS STORY: When I was a kid and first learning how to play (in the 70s), Harmony guitars were readily available and affordable, and several different models passed through our household. One in particular was a cherry ‘burst souped-up 1260-something, with a wavy pick guard, parallelogram inlays and an adjustable bridge. Very Gibson-y! (I still have yet to find that exact model searching online). I always liked the sound of those “cheapies”, and moreover loved the big beefy necks! Fast forward 20 years (to about 1995), and I got to thinking I’d like to have one again, not only for old times sake, but also as a viable gigging guitar. Some of what I do involves open tunings and playing slide, so I figured that even if I got one that needed work (a neck reset, bridge work, etc.), I could probably just play “as is”, since the higher action would lend itself to slide playing. Fortunately, I found the one I have, which was in great shape and the intonation was not too off. An added plus was that it came with an original hard case! So I bought it, and soon out-fitted it with a cool old DeArmond sound hole pickup (courtesy of the great Bob Jones - Brooklyn repairman extraordinaire). I was going for the Robert Pete Williams vibe - lol. Side note - those DeArmond pickups were made sans a pole for the problematic B string.
So I was off and running! I used that guitar for several years, as my open tuning axe for gigs, but most notably as my “Sunday Street” guitar. I actually got a stipend to play on Orchard Street in NYC, in front of the old Tenement Museum (now in a different location). Orchard was traditionally closed to traffic on Sunday, and a lot of the shops spilled out into the street. There was a community group focused on business improvement, and they decided to “hire” some musicians to play on Sunday. The deal was that you had to show up and play for a couple of hours, between the hours of 12 and 6. It was on an honor system - at the end of the Spring/Summer season, you’d tell them how many Sundays you did, and they’d pay you $25 per Sunday. That plus the tip bucket meant that I could pull down at least $50 if not $100 each time (there was a lot of tourist traffic, and they loved the Country, Blues and Folks stuff I played). I do have photos of me playing there - will try to find those and post. I must say that I remember how cool the 1260 looked in those pics! Also, back then, it was in better shape (re the neck angle), and playable in standard tuning up to the 5th fret or so, so I was able to use it for everything, and not just as a slide guitar. For those street gigs, I used a Fender Amp Can (anyone remember those?) and a folding mic stand. Plus I had a good dread-size gig bag for the Harmony, so I could easily take the subway to and from Brooklyn (where I lived for 25 years). I still have that gig bag (it’s really torn and tattered - lol), and it the pocket of it, the sign I made for my tip jar. I don’t know if I’ll busk again, but it’s good to know I’ll soon have my 1260 back in action, thanks to Dave and his fantastic skills!
MY STORY: He first contacted me 5/9/21, then again 1/7/22. We met at Sam Ash in New Haven. Looks to be in great shape, with only a few minor dings and scrapes. There is one 1-3/4" long crack in the lower bout near where the right arm rests, and a 1" long crack in the upper bout on the same side, and a 2-1/4" crack in the waist on the bottom side. Vintage DeArmond soundhole pickup installed, he warned the jack may be glued in the endblock, do not remove. There is a strap button installed in the body near the bass side of the neck, and a hole in the treble side of the heel for a previous strap button, with a crack in the heel inline with the previous strap button hole. Tuned to Open D. The nut action is good. The neck relief is good. The neck projects 3/16" below the top of the bridge. The bridge is .33" thick. The saddle sticks out .08"/.06". The neck is 1/32" off center (take off the bass side). The action is 5/32" low D, 11/64" high D (it’s higher??).
The DeArmond pickup, designed without the "B" pole, which tended to be much louder than the other poles so they eliminated it.
The original nut is in great shape and proper action. It will be left in place.
The action is a little high.
Bracing the solid wood sides.
The shorter bridge plate. Many vintage Harmony's have a plate that goes side to side. Also, I think someone shaved the corners of the top braces, you can see the farthest one is untouched.
So I was off and running! I used that guitar for several years, as my open tuning axe for gigs, but most notably as my “Sunday Street” guitar. I actually got a stipend to play on Orchard Street in NYC, in front of the old Tenement Museum (now in a different location). Orchard was traditionally closed to traffic on Sunday, and a lot of the shops spilled out into the street. There was a community group focused on business improvement, and they decided to “hire” some musicians to play on Sunday. The deal was that you had to show up and play for a couple of hours, between the hours of 12 and 6. It was on an honor system - at the end of the Spring/Summer season, you’d tell them how many Sundays you did, and they’d pay you $25 per Sunday. That plus the tip bucket meant that I could pull down at least $50 if not $100 each time (there was a lot of tourist traffic, and they loved the Country, Blues and Folks stuff I played). I do have photos of me playing there - will try to find those and post. I must say that I remember how cool the 1260 looked in those pics! Also, back then, it was in better shape (re the neck angle), and playable in standard tuning up to the 5th fret or so, so I was able to use it for everything, and not just as a slide guitar. For those street gigs, I used a Fender Amp Can (anyone remember those?) and a folding mic stand. Plus I had a good dread-size gig bag for the Harmony, so I could easily take the subway to and from Brooklyn (where I lived for 25 years). I still have that gig bag (it’s really torn and tattered - lol), and it the pocket of it, the sign I made for my tip jar. I don’t know if I’ll busk again, but it’s good to know I’ll soon have my 1260 back in action, thanks to Dave and his fantastic skills!
MY STORY: He first contacted me 5/9/21, then again 1/7/22. We met at Sam Ash in New Haven. Looks to be in great shape, with only a few minor dings and scrapes. There is one 1-3/4" long crack in the lower bout near where the right arm rests, and a 1" long crack in the upper bout on the same side, and a 2-1/4" crack in the waist on the bottom side. Vintage DeArmond soundhole pickup installed, he warned the jack may be glued in the endblock, do not remove. There is a strap button installed in the body near the bass side of the neck, and a hole in the treble side of the heel for a previous strap button, with a crack in the heel inline with the previous strap button hole. Tuned to Open D. The nut action is good. The neck relief is good. The neck projects 3/16" below the top of the bridge. The bridge is .33" thick. The saddle sticks out .08"/.06". The neck is 1/32" off center (take off the bass side). The action is 5/32" low D, 11/64" high D (it’s higher??).
The DeArmond pickup, designed without the "B" pole, which tended to be much louder than the other poles so they eliminated it.
The original nut is in great shape and proper action. It will be left in place.
The action is a little high.
Bracing the solid wood sides.
The shorter bridge plate. Many vintage Harmony's have a plate that goes side to side. Also, I think someone shaved the corners of the top braces, you can see the farthest one is untouched.
