Harmony Vita-guitar c 1931 | SOLD | This is both a rare and interesting guitar for a number of reasons. Aesthetically it exudes a quiet beauty (has that ever been said of a Harmony guitar before!). Second, it has the historic 'aero bridge' affixed. And, it's a rare combination of arched top, round sound hole and fixed bridge, a combination that will make a guitar nerd look twice.
Let's explore the bridge first. It's often reported in guitar circles that the airplane bridge was a marketing gambit by Harmony to cash in on the epic trans-oceanic solo flight of Charles Lindbergh in May of 1927. This historic flight caused not only a stir in the fledgling aero industry, but made a huge splash world wide that lasted decades and jump-started our modern aero industry. A recent search of the 1927 issues of Music Trade Review reveal advertising for the Roy Smeck-endorsed 'vita' line of Harmony instruments. Additionally, a search of U.S. patent records show that Theodore A. Gast filed a patent for a new design of a guitar bridge on February 1, 1928. His drawings submitted to the patent office show the airplane bridge shape, but no mention of Lindbergh is made; the word 'airplane' is not even mentioned in his filing description. The same is true when reading the MTR advertisements of the era. He states that the purpose of his bridge design is to strengthen the top between the bridge and sound hole to avoid the resultant 'sag' from string tension. So the question arises: Was Harmony somehow acutely tuned in to the May Lindbergh flight, or was the bridge design in the shape of an airplane just happenstance? In Gast's patent he mentions that "The exact shape of the bridge is immaterial .. but by giving it an ornamental appearance the attractiveness of the instrument is greatly enhanced...". It's been reported by another writer that the 'vita' line was already advertised as early as February of 1927, pre-dating Lindberg's flight. If this can be confirmed, it's clear that the airplane shape is mere happenstance.
Another unique aspect of this guitar is the pressed archtop body with a round sound hole and fixed bridge. We've wracked our brains here at VBG but can't recall seeing this combination before, but it would not be surprising if it does exist somewhere. As part of the vita series, this guitar is made from quality materials. The back and sides are a top-grade mahogany, pressed into an arch on the back, and bound in white/black celluloid binding on both top and back. The top is a quality grade of spruce and likely pressed into its dome shape. The sound hole sports several rings of b/w binding, and is also bound in white celluloid. The aero bridge is rosewood. The 12-fret neck is mahogany and carved in a typical 'V' of the period and is bound in tortoise and white celluloid. The original fingerboard was 'ebonized' wood and had many shrinkage cracks and divots so it was replaced with a new ebony board. The original inlays were re-installed. The head stock shows the typical Harmony profile across the top and is faced with Brazilian rosewood veneer. The tuners are of the fancier sort, nickel plated and retain their shine. The guitar has a mounted, black pick guard. Bracing? There are no braces, not even a bridge plate, only some black tape is seen under the top. We figure that Harmony trusted the integrity of the pressed spruce top. Consequently, this guitar is extremely light.
The body measures 14 1/2" across the lower bout. Body depth is 3 3/8" at the end pin and 3" at the heel. The fingerboard measures 1 13/16" at the nut, and string spacing at the saddle is 2 1/4". Scale length is 25 1/4".
The guitar is mostly original but for the fingerboard, bridge pins and end pin. Recent repairs include the new ebony board, neck reset, and about 4" of neck binding replaced. The end pin is missing and there are three screw holes from a prior, non-original, tail piece.
With its comfortable neck shape and low action the guitar plays easily. Tone wise, it sounds more like a flat top than an archtop guitar. The sound is full with a lot of sustain and depth especially in the mid-range. One of the nicer sounding guitars we've played recently. This, coupled with its historic connection, beauty, light weight, condition and rarity, make it of the more desirable Harmony-made guitars we've come across.
Comes with a soft case.
Let's explore the bridge first. It's often reported in guitar circles that the airplane bridge was a marketing gambit by Harmony to cash in on the epic trans-oceanic solo flight of Charles Lindbergh in May of 1927. This historic flight caused not only a stir in the fledgling aero industry, but made a huge splash world wide that lasted decades and jump-started our modern aero industry. A recent search of the 1927 issues of Music Trade Review reveal advertising for the Roy Smeck-endorsed 'vita' line of Harmony instruments. Additionally, a search of U.S. patent records show that Theodore A. Gast filed a patent for a new design of a guitar bridge on February 1, 1928. His drawings submitted to the patent office show the airplane bridge shape, but no mention of Lindbergh is made; the word 'airplane' is not even mentioned in his filing description. The same is true when reading the MTR advertisements of the era. He states that the purpose of his bridge design is to strengthen the top between the bridge and sound hole to avoid the resultant 'sag' from string tension. So the question arises: Was Harmony somehow acutely tuned in to the May Lindbergh flight, or was the bridge design in the shape of an airplane just happenstance? In Gast's patent he mentions that "The exact shape of the bridge is immaterial .. but by giving it an ornamental appearance the attractiveness of the instrument is greatly enhanced...". It's been reported by another writer that the 'vita' line was already advertised as early as February of 1927, pre-dating Lindberg's flight. If this can be confirmed, it's clear that the airplane shape is mere happenstance.
Another unique aspect of this guitar is the pressed archtop body with a round sound hole and fixed bridge. We've wracked our brains here at VBG but can't recall seeing this combination before, but it would not be surprising if it does exist somewhere. As part of the vita series, this guitar is made from quality materials. The back and sides are a top-grade mahogany, pressed into an arch on the back, and bound in white/black celluloid binding on both top and back. The top is a quality grade of spruce and likely pressed into its dome shape. The sound hole sports several rings of b/w binding, and is also bound in white celluloid. The aero bridge is rosewood. The 12-fret neck is mahogany and carved in a typical 'V' of the period and is bound in tortoise and white celluloid. The original fingerboard was 'ebonized' wood and had many shrinkage cracks and divots so it was replaced with a new ebony board. The original inlays were re-installed. The head stock shows the typical Harmony profile across the top and is faced with Brazilian rosewood veneer. The tuners are of the fancier sort, nickel plated and retain their shine. The guitar has a mounted, black pick guard. Bracing? There are no braces, not even a bridge plate, only some black tape is seen under the top. We figure that Harmony trusted the integrity of the pressed spruce top. Consequently, this guitar is extremely light.
The body measures 14 1/2" across the lower bout. Body depth is 3 3/8" at the end pin and 3" at the heel. The fingerboard measures 1 13/16" at the nut, and string spacing at the saddle is 2 1/4". Scale length is 25 1/4".
The guitar is mostly original but for the fingerboard, bridge pins and end pin. Recent repairs include the new ebony board, neck reset, and about 4" of neck binding replaced. The end pin is missing and there are three screw holes from a prior, non-original, tail piece.
With its comfortable neck shape and low action the guitar plays easily. Tone wise, it sounds more like a flat top than an archtop guitar. The sound is full with a lot of sustain and depth especially in the mid-range. One of the nicer sounding guitars we've played recently. This, coupled with its historic connection, beauty, light weight, condition and rarity, make it of the more desirable Harmony-made guitars we've come across.
Comes with a soft case.