Up for sale, a 1960s Fender F-1050 vintage acoustic guitar in exceptional, crack-free condition. This very rare Fender acoustic was made in the USA by Harmony, a rebranding of their Sovereign H182 model. Available concurrently with Fender's other bolt-on neck acoustic models made in-house, the Harmony-made F-1050 is notable for being a set neck Fender-branded acoustic. This guitar has just received all the maintenance due a guitar of this vintage with a professional neck reset and carved bone saddle.
This auditorium body acoustic features a solid spruce top, solid mahogany back and sides, and a mahogany neck capped with a bound rosewood fingerboard. With its ladder-braced design and 15 lower bout width, this Fender offers plenty of projection and resonance, and the overarching sound is bold and woody, with punchy, sparkling trebles and a percussive, barking midrange. The bass register has great clarity, cut, and warmth, with good focus. Light as a feather at 3lbs 13oz, this Fender has been dialed in for easy-playing action and fresh 12-53 bronze strings.
The mahogany neck has a round C-shaped profile carve, and the guitar frets cleanly up the 25 1/4 scale with practically perfect original slender fretwire on the rosewood fretboard. The nylon nut measures a full 1 3/4 in width. The headstock features a multi-ply tortoise overlay embossed with the Fender name, and, also unique for any Fender, the 3x3 tuner layout features original Fender F tuners with white hexagonal buttons.
Vintage Fender 1969 Villager 12 String Acoustic Guitar Natural
The rosewood bridge sits flush with the top, matching the shape of Fender's acoustic bridges of the era and fitted with a new tall carved bone saddle. The neck has been reset, meeting the body at an ideal angle, and a new plastic heel cap has also been fashioned. The ambered gloss finish on the spruce top is accented by a deep red tortoise pickguard, matching the headstock overlay. Cosmetic wear includes a bit of pick scuffing extending beyond the treble-side edge of the guard and above the soundhole, with wear otherwise limited to some light finish scuffs and minor marks on the body as a whole consistent with light, careful use, and light finish checking on the treble side of the top.’s rich acoustic guitar history dates back to the early 1960s, when the company injected a much-needed dose of modernity and youthfully exuberant Southern California sun-and-fun culture into the old world of acoustic guitar design.
A acoustic guitar was not one for which you dressed formally or that you displayed as a valuable relic. It wasn’t for the hushed classical concert stage or for hanging over the fireplace. A acoustic guitar was for throwing in the car and hitting the beach. It was for coffeehouses and campfires. acoustics were good-sounding, cool-looking and solidly built instruments, as seen in the classic advertisements of the 1960s. Most of all, acoustic guitars were fun.
And back in the day, some pretty heavy hitters used them, from rock strummers to country pickers—artists such as Johnny Cash, George Jones, Buck Owens, Tex Ritter, Wanda Jackson, Charley Pride, Ray Davies, Robbie Robertson and Elvis Presley.
Vintage Fender Kingman Acoustic Guitar Natural
After the phenomenal success of electric guitars, basses and amplifiers in the late 1940s and throughout the 1950s, it seemed only natural that rapidly growing would turn its attention to the acoustic guitar world. Folk music was booming in the late 1950s and early 1960s, and acoustic guitars remained an integral part of rock, country and pop.
Several inexpensive acoustic guitar models were offered in the late 1940s by Radio-Tel, the Santa Ana, Calif., distributor run by F.C. Hall and Don Randall that was the predecessor of Randall’s future Sales organization, but it would be well more than a decade before acoustic guitars bearing the name would appear.
The acoustic chapter of history begins in earnest with the early 1962 arrival of master luthier Roger Rossmeisl, a former Rickenbacker guitar designer and builder, who quite literally showed up one day at Leo ’s office, as author Richard Smith recalls in : The Sound Heard ’Round the World:
Fender 1960s
Confident he could make a job for himself in Leo’s expanding universe, Rossmeisl had already moved to Fullerton. He told Leo, in essence, “I’m here, and I’m going to start working for you.” Leo liked Roger’s cocky self-assured manner, admired his work, and saw the opportunity to put the mark on acoustic guitars. Leo hired him on the spot.
The son of a renowned German luthier, Rossmeisl immigrated to the United States in 1953, bringing his flamboyantly innovative design sense and peerless expertise in archtop guitar construction with him. After a short stint at Gibson, Rossmeisl moved to Rickenbacker, where, from the mid-1950s through the early 1960s, he created many of the company’s most famous designs, including several acoustic/electric models, the “cresting wave” body and headstock shape, and the 4001 bass guitar model.
Rossmeisl set about work immediately, and ’s first acoustic guitars — the King, Concert, Classic and short-lived Folk — debuted in summer 1963. They were attractive flat-top instruments with electric guitar features such as bolt-on necks, Stratocaster-style headstocks and screwed-on pickguards. Apart from a couple hundred very early guitars, all four models had an unusual internal bracing system in the form of a 1”-diameter rod of aircraft aluminum that ran parallel to the strings from the front to the back of the body. This “broomstick” stabilizing mechanism absorbed the enormous pressure placed on the top of an acoustic guitar by string tension.
Vintage Bolt On Fender Acoustics?
These four acoustic guitars were produced at the already crowded factory at 500 S. Raymond Ave. in Fullerton, Calif. Within months, however, the new Acoustic Instrument plant was completed at 1560-1580 Missile Way in nearby Anaheim, and it was there that acoustic guitar production was moved in January 1964. Later that year, in December, the small-bodied Palomino acoustic was introduced.
The mid-1960s positively abounded with acoustic guitar models. The budget-priced Malibu and Newporter models were introduced in April 1965, followed that July by two 12-string models, the Shenandoah and the smaller, less expensive Villager, both of which featured ’s new “hockey stick” headstock design. In summer 1966, the Classic was discontinued and the King was renamed the Kingman.
Although there was little innovation in acoustic guitar design after CBS bought and took over in early 1965, one notable exception was the Rossmeisl-designed Wildwood series, which was introduced in summer 1966 and based on the Kingman. These guitars came in half a dozen dramatic dyed-wood colors — called Wildwood finishes — created by injecting various dyes directly into growing beech trees before harvesting. The Wildwood acoustics were distinctively attractive instruments, but they never really caught on.
Vintage 1970's Fender F 35 Acoustic Guitar W/ Shoulder Strap And Carry Bag. Good
’s final U.S.-made acoustic model of the decade, the Redondo, was introduced in summer 1968, and Japanese-made F-Series acoustic models were introduced in summer 1969.
As the 1960s waned, so did ’s interest in acoustic guitars. All flat-top acoustic models — the Concert, Kingman, Shenandoah, Malibu, Villager, Newporter, Wildwood, Palomino and Redondo — were discontinued by late 1971. Rossmeisl returned to Germany early in the 1970s and passed away there in 1979 at age 52. As chafed under CBS rule throughout the decade, only the Japanese F-Series acoustics remained, to no particular acclaim. They too were eventually discontinued, in 1979.
The story of ’s early-1980s brush with oblivion, mid-decade rescue and gradual re-emergence is well-documented. Happily, the company’s return to prominence for the remainder of the ’80s and throughout the 1990s included a vigorous emphasis on acoustic guitars that harkened back to its early-’60s sun-and-fun models and image. By 1990 the revitalized once again offered an extensive line of acoustic guitars with its California, Gemini and F-series instruments. SX and Telecoustic series acoustic guitars were introduced in 1993; DG and Spring Hill models in 1995. By 1996, offered a broad selection of DG, CG, JG, BG and GC acoustic guitars, and its first acoustic bass guitar model, the BG-29.
Fender Acoustic Gutars
Thus entered the new millennium with the widest selection of acoustic instruments in its 54-year history. This expansion continued as the decade unfolded—Grand series acoustic models debuted in 2002; the Global Design series and the unusual J5 signature acoustic (named for shredder “John 5” Lowery) appeared in 2004. The Ensenada series, Classic series and redesigned California series debuted in 2006. Limited-edition Tiki-themed art acoustics were released in 2007, and the Tim Armstrong (Rancid) and Dick Dale signature models were introduced in 2009 and 2010, respectively.
During this modern era, acoustic guitars were augmented by an array of folk and world music acoustic instruments, including mandolins, banjos, resonator guitars, ukuleles and other instruments.
Had always dabbled in mandolins (the first of which, a solid-body electric model, appeared in 1956); 1998 saw the introduction of two teardrop-shaped FM series acoustic mandolins, the A-style FM-53S and similar but electrified FM-52E. Half a dozen mandolin models were offered by 2001, including the F-style FM-63S. The line also included a specialty instrument called the FMO-66 octave mandolin — a sort of Celtic-style “bass” mandolin tuned an octave lower than standard models — from 2004 to 2008.
Fender Dg3 Guitar Acoustic China
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