[1Charlie]

I recently stumbled upon a woebegone '35 L-50 flatback that had suffered a host of indignities:

1. Top stripped of its original sunburst finish, leaving the bare red spruce carved top.

2. A 2" X 1" hole in the top that had been filled with some kind of wood putty.

3. All three back braces loose.

4. Three unstable cracks in the top.

5. No bridge.


Well, that poor thing followed me home. I took it to my luthier, who took it into his care and got it sorted out. I also found a period correct replacement pickguard.

Now, despite a host of cosmetic flaws, it is playable once again. And I am, for the first time, learning how to play a carved-top acoustic archtop.

It requres a totally different approach than my electric archtop ('53 Guild X-150) or any of my flattops. More "pluck" than "strum". Heavier attack. Fewer strings struck when chording.

But it rewards the player with a fundamental note that is unique. Sharp, almost nasal when played close to the bridge, but a lot warmer when playing closer to the neck. It has qualities that are attractive to singer-songwriters, give the relatively short sustain and incredible note definition.

I wrote a song on it the first time I played it!