Post by CTGull on Jul 27, 2023 18:31:07 GMT -5
His Story: Overwhelmed by Dave’s craftsmanship on my previous Yamaha FG150, I asked him to help me with a particularly personal guitar. Today we embark on a nostalgic journey back in time to uncover an old Kay archtop guitar that once belonged to my grandfather, Patrick Capitano. This guitar holds within its weathered body the echoes of heartfelt strums that resonated across Connecticut’s mighty Lake Waramaug and captivated the hearts of many.
Though Patrick knew only a handful of chords, his mastery over those few was incomparable. He wielded this old archtop with the grace of a seasoned troubadour, and with each strum, he seemed to cast a spell on anyone within earshot. His gentle melodies floated on the summer breeze, reaching the ears of both listeners and the spirits of the woods.
But it wasn't just the songs that made Patrick's music magical. It was the way he played for his beloved wife, Lowie, whom he adored for more than 50 years. Whenever they sat by the fireside, Patrick and the other uncles would serenade “the girls” (all sisters) making them “swoon.”
The lake gathering sing-alongs became legendary, thanks to the enchantment of this old Kay and Patrick's heartfelt charm.
As the years passed, the guitar and Patrick's love story flourished side by side. And the guitar acquired a weathered patina, but its sound remained as pure as ever.
Years later, after Patrick’s passing, the guitar was entrusted to me. My hope is that once restored rich, warm tones will resonate with a depth that can only be achieved through the passage of time and the skilled craftsmanship of a bygone era. Its beautiful Tobacco Burst finish on the spruce top and the maple back and sides will once again exude a sense of sophistication that captivates the eye and promises a harmonious auditory experience. The Kay guitar has a distinct character, one that stands the test of time and remains relevant even in the modern age of digitized sound. Its allure lies in its simplicity, an instrument unencumbered by excessive ornamentation but filled with soulful resonance. Hold on tight as Dave dives into the depths of vintage tone and timeless elegance. Let us remember that music transcends time, and the spirit of a guitarist lives on through the strings of their instrument. Here’s to you, Pat!
Observations: I haven’t been able to positively identify the model or year. There is a lot number marked inside, and a smaller unreadable stamp. No model number or date code. It looks to be a K32 or K6833. The headstock badge is said to have been used 1961 to 1965, but the 61, 62 & 65 Kay catalogs don’t show it on either of those models.
The neck is loose with a .17” heel gap. The nut action is very high. The neck relief is .014”/.012”. The action (The low E is an octave down, the rest are about 5 steps down) is an astounding 31/64” (.48”) low E & 15/32” (.47”) high E. With the saddle adjusted all the way down, the strings are 15/16” (.94”) from the top. The straight edge hits on the 1st & 16th frets and projects 29/32“ (.91”) below the top of the saddle.
There are some cracks in the sides around the heel area. They look fairly fresh, there is very little dust in them, maybe in the last few years. There’s glue in the gap for the lower binding, I’ll probably have to pull the binding and scrape the glue out before regluing. It doesn’t look like the neck is glued to the top, there seems to be a slight gap and glue residue. And glue residue at the dovetail, which would never hold because it is so loose. The floating bridge is backwards, the compensation ramps are reversed.
It's in really nice shape!
You can see some damage to the lacquer on the lower bout from a vinyl strap.
A little bit of a heel gap!
And part of the binding has separated and someone filled the gap with glue.
It looks like the top has separated from the neck block.
The bridge in backwards!
The action is a LITTLE HIGH!!
More lacquer damage from a strap.
Some distortion to the top at the lower F hole.
Though Patrick knew only a handful of chords, his mastery over those few was incomparable. He wielded this old archtop with the grace of a seasoned troubadour, and with each strum, he seemed to cast a spell on anyone within earshot. His gentle melodies floated on the summer breeze, reaching the ears of both listeners and the spirits of the woods.
But it wasn't just the songs that made Patrick's music magical. It was the way he played for his beloved wife, Lowie, whom he adored for more than 50 years. Whenever they sat by the fireside, Patrick and the other uncles would serenade “the girls” (all sisters) making them “swoon.”
The lake gathering sing-alongs became legendary, thanks to the enchantment of this old Kay and Patrick's heartfelt charm.
As the years passed, the guitar and Patrick's love story flourished side by side. And the guitar acquired a weathered patina, but its sound remained as pure as ever.
Years later, after Patrick’s passing, the guitar was entrusted to me. My hope is that once restored rich, warm tones will resonate with a depth that can only be achieved through the passage of time and the skilled craftsmanship of a bygone era. Its beautiful Tobacco Burst finish on the spruce top and the maple back and sides will once again exude a sense of sophistication that captivates the eye and promises a harmonious auditory experience. The Kay guitar has a distinct character, one that stands the test of time and remains relevant even in the modern age of digitized sound. Its allure lies in its simplicity, an instrument unencumbered by excessive ornamentation but filled with soulful resonance. Hold on tight as Dave dives into the depths of vintage tone and timeless elegance. Let us remember that music transcends time, and the spirit of a guitarist lives on through the strings of their instrument. Here’s to you, Pat!
Observations: I haven’t been able to positively identify the model or year. There is a lot number marked inside, and a smaller unreadable stamp. No model number or date code. It looks to be a K32 or K6833. The headstock badge is said to have been used 1961 to 1965, but the 61, 62 & 65 Kay catalogs don’t show it on either of those models.
The neck is loose with a .17” heel gap. The nut action is very high. The neck relief is .014”/.012”. The action (The low E is an octave down, the rest are about 5 steps down) is an astounding 31/64” (.48”) low E & 15/32” (.47”) high E. With the saddle adjusted all the way down, the strings are 15/16” (.94”) from the top. The straight edge hits on the 1st & 16th frets and projects 29/32“ (.91”) below the top of the saddle.
There are some cracks in the sides around the heel area. They look fairly fresh, there is very little dust in them, maybe in the last few years. There’s glue in the gap for the lower binding, I’ll probably have to pull the binding and scrape the glue out before regluing. It doesn’t look like the neck is glued to the top, there seems to be a slight gap and glue residue. And glue residue at the dovetail, which would never hold because it is so loose. The floating bridge is backwards, the compensation ramps are reversed.
It's in really nice shape!
You can see some damage to the lacquer on the lower bout from a vinyl strap.
A little bit of a heel gap!
And part of the binding has separated and someone filled the gap with glue.
It looks like the top has separated from the neck block.
The bridge in backwards!
The action is a LITTLE HIGH!!
More lacquer damage from a strap.
Some distortion to the top at the lower F hole.
