Harmony 1260 Sovereign

Mid-sixties USA-made H1260 (can't see if the stamp says F-63, F-65 or F-69) in excellent shape. The serial number on the back of the guitar says H7032, which means the guitar was originally made for the Airline company. Still it has the Harmony logo, so maybe Harmony stamped too much Airline bodies. Jumbo body, all solid woods, spruce for the top and deep stained mahogany for the back and sides. One piece back, which is amazing for such a big body. Ladder bracing. Big mahogany neck with wide 25" brazilian rosewood fretboard. White neck and body bindings. Nice silkscreen logo with Sovereign shield. Open 3-in-a-row tuners with white buttons. Tortoise pickguard. Pinless rosewood bridge. I had the brittle plastic nut and bridge replaced with far better bone ones. Chipboard case.

This huge steelstring has a body somewhat between a jumbo and a dreadnbought. The guitar produces deep full basses and very clear trebles. It does't have the warmth of a x-braced Martin or Gibson, but instead it beats far more expensive steelstring in clarity and presence. It's definitely a sound of its own and, due to the fine solid vintage woods, a high class sound. I've played this guitar for a year now and it has become my favorite big steelstring. It's fine for hard strumming but also for fingerpicking with a capo. I never would change the ladder bracing into x-bracing. If you want a more sophisticated acoustic guitar, don't buy an old Harmony. If you want a great folk-blues-roots sound than do. This guitar has more character than several Martins I've owned, and I'm sure that has to do with the bracing too.

Luckily this Sovereign didn't need the neck reset you often read about. The bridge sits flat on the top, no need to reglue. Medium high action, which I love. I string my acoustics with 012-053 phosphor bronze d'Adddarios and like to work hard on a guitar to get a fine tone. Finish is in excellent condition, only a few dings on the headstock.

This 40 year old guitar is build like a Tiger-tank. The tuners are a bit stiff, but a drop of oil once in a while will do. A very fine guitar for a small acoustic setting, because of its huge volume and its presence.

The USA Harmony factory's is dead and gone since the mid-seventies. The left us some fantastic instruments you still can buy at average prices. Especially the H1260 and H1203 Sovereigns, the H74-H78 thinlines, the beautiful H19 Jaguar solid body and the semi-solid Stratotones are great vintage guitars and worth every penny.

I play guitar for more than 30 years now. Only since a few years I've discovered Harmony guitars. That's because you hardly see them in Europe. I've played all the big guitar brands and own several fine old vintage guitars. I have to say my Harmony H75 thinline and this H1260 Sovereign belong to the best guitars I've ever played and seriously compete with far more expensive vintage guitars. But be careful, there's also a lot of cheap crap with the Harmony logo on it! Stick with their top of the line instruments and you'll be suprised.

I have a 1260 USA-built Sovereign that I bought in London in 1963. Spruce top (pickguard removed) mahogony back and sides (one badly damaged and repaired more than once). A few bits of trim replaced, but otherwise original including neck and fretboard.

It has suffered from accident, neglect and poor restoration over time, but this year I repaired it myself and it's now fully functional and sounds great (even if it does look as battle worn as its owner - hey, we both survived London in the 60s).

It was never a feature-rich instrument, but I like the simplicity, and who cares when it sounds so good!

Huge, rich, bright sound, even with very light strings, but can also be played quietly and sweetly. Anyone who has ever played or listened to it comments on the sound quality.

I particularly like the big resonant sound you can get from damped bass strings, which I have never reproduced on other guitars. Can occasionally produce weird overtones with sustained chords.

Perfect for fingerstyle folk/blues/country music, but was great in the past with a flatpick in a seven piece jug band.

The guitar was excellent when new. The quality and finish of the wood was outstanding, which enabled the construction of a very lightweight instrument.

I have large hands, so the fat neck and wide fingerboard was perfect. After a few years of use and abuse the neck twisted a little, but has since corrected itself and plays as well as ever.

Does not like hard contact with brick gateposts, but other than that has been remarkably durable for such a lightweight guitar. I played live in pubs and clubs for a few years with no problems (or backup) when carried in a hard case. I also hitch-hiked through Europe with it.

I have been playing this guitar off and on for 43 years, with quite long interludes playing other instruments (Fender Strat, Hondo 12-string and classical guitar). Whenever I switch back to the Harmony, it is like meeting an old (and very loud) friend again. I can't tell you how great it sounds and how happy I feel when I play well. Irreplaceable.

This USA-made guitar was put together in the mid-1960's, though I'm not sure of the exact year. The woods on this guitar are first rate - spruce top, mahogany back (one piece!) and an absoultely amazing rosewood fretboard which is as nice as anything I've seen on a Gibson or Martin of that era. The neck is a bit fat, though nothing extreme. The body is a full jumbo, just shy an inch or two of a Gibson J-200. The tuners are original and working fine.

This guitar has a very rich tone and is loud loud loud! Excellent harmonics. Absolutely perfect for rhythm playing and great for picking too. And this is a neat guitar for recording - the sound is very tight and balanced from high E to low E. This guitar, to my ears, sounds better than anything you might pick up in the $1000 price range (new or old) and can, when repaired well, sound even better some of the 1950's early 60's main brands that fetch major cash now.

This guitar was decently built. But it is the quality of the wood that really sets this guitar apart from the vintage pack. I got this 1260 jumbo on eBay for under $300. Sounds like a steal, but keep in mind you will likely need a neck reset and other work to get a Harmony Sovereign 1260 up and playing to its peak. They were made quickly and the years didn't do wonders to its structure - the neck and saddle were both pretty messed up when I got it. That said, if you are thinking about dropping around a grand on a vintage 50's or 60's acoustic guitar - if you can even get one for that these days - you might consider going this route. They pop up for between $200 and $300 and $700 can put them in GREAT playing condition. They look cool too.

I bought this guitar thinking I could get a cool vintage player for cheap. I was wrong! But... now that it has gotten a neck reset, refret and the saddle reglued, it sounds truly fantastic and it'll be around another 40 some years. All it needed was TLC.

Harmony USA is long gone. RIP.

Ask any seasoned luthier about these and they will all say the same thing - ahhh, those are really, really nice guitars. They're right. This is an overlooked part of the vintage price jacking freakout. My prediction, in 5 years these will more than double in price and still be a good bargain. If someone says, you don't want to put the money into this guitar, it's not worth it, think back to the guy 15 years ago who tried to convince you to upgrade the original pickups on a '62 Telecaster or something whack like that. That's the same guy. Do yourself a favor and slowly walk away and find someone who wants the job.

Mixture between dreadnought and jumbo body. Solid spruce top, solid mahagony back, sides and neck, rosewood fingerboard. The guitar had a neck re-set and new frets. Hardware is nothing special, but works fine. I do not know when the guitar was build, probably mid/end of 60?s. Only problem is a crack in the treble side which has been repaired and which was due to the age of the guitar (as I was told). Top is fine. There are normal scratches here and there (which is a good sign for me that the guitar has been played). Pickup installed under the bridge.

I own a Gibson Hertiage Custom as a reference, but the H 1260 blows it away. The guitar is louder, the tone richer and fuller, it has got a perfect bass/treble balance. I received the guitar end of 2003, but it sounds that already many hands played on it to get this unbelievable tone. This is valid for finger- and flatpicking as well as the pickup sound.

I have small hands, but the fat neck is not a problem. If you get used to play this guitar, you will appreciate the size of the neck to get a better tone. Fit & Finish are very good (except the crack mentioned above), as the guitar was maintained well over the years.

There is nothing I could do to improve sound or appearance of the guitar. I guess it was quiete reliable as it survived 40 years

This is a guitar you have to play on, it is not a collector?s guitar. After the neck re-set the performance is unbelievable. It does not matter if you play with your fingers or picks, you will get a full sound out of it.

I own and play an Ovation Balladeer, So this is my point of reference. The guitar's hardware seems a little bit primitive but on close inspection I cannot fault the tuners, although a little bit of lubrication may be seeded. I am used to sealed tuners. Does anyone have tips on what lubricant is best to ensure smooth and clean performance? I really like the bridge. Like the Ovation the strings go through the body of the bridge. I like the simplicity of this.

This 1260 has a nice pure clean tone, although it has loads of warmth and character. Playing this guitar reminds me of sampling a good Scottish Malt Whiskey!

This guitar is from the mid to late sixties. My neighbour gave it to me. He bought it new and had intended to learn the guitar. This instrument has hardly been used! It is in remarkably good condition. There are a few chips and blemishes. There are no cracks. The action and intonation are perfect. I am intending to use this guitar for Church use, it will take some of the strain off my Ovation. It is quite different.

This guitar is around the same age as I am. As it has not been used very much it is in very good condition. I am hoping to clean it up and improve its appearance.

I am genuinely impressed with the guitar, which I think is why my neighbour gave it to me. I would be interested to hear from others how to get the most out of the guitar and preserve it. I am intending to use it. I see it as an instrument not a museum piece.

As stated in other reviews;incredible solid mahogany back sides and neck along with solid spruce top provide the potential to get a magical vintage acoustic experience at still reasonable prices[those trees used to be there/not anymore!!].You either like or do not like the fat neck[very much like an early 50's J-45];width is just right at just under 1 3/4 inches.Count on a neck reset;bone nut and saddle and decide if you can live with the pinless bridge and soft wood bridge plate[ie how much are you going to invest to make it playable?].Truss rod works but nut needs a 1/4 inch thin walled ajustment wrench so be patient until you get one made up;the Gibson size is too large and clearance is small].

Get the geometry right[neck reset nut saddle relief etc]and there is a very good chance the sound will be in the big boy vintage leagues[at 10 cents or less on the dollar/thats the whole point of this guitar].

Prety good considering but you will have to finish the the job as indicated above;count on it.

reliable if you make the investments/repairs/upgrades.Tops seem crack free more so than Gibsons of the same vintage for some reason.Ladder bracing is unsophisticated but strong.

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Playing 35 years;had all the cool vintage stuff at one time or another.Now that LG-0s are going for a grand etc etc these are worth redoing.They CAN be made to sound great and play well but no matter what the ad says count on a reset and major set up.Yes I want more of these.Great acoustics are a necessity and even the big buck jobs are liabilities[they crack;need resets etc].PS the small body Sovereigns are not as consistently good sounding as the 1260 for some reason.I like small body guitars in general but some of the Harmonys can sound a little too wild with all kinds of crazy overtones;some sound fine but all the geometry/repair stuff still applies.

Late 1960's Jumbo Harmony Sovereign. I have two of these I purchased over the years. I build and repair acoustic guitars and one I purchased for 50 dollars without tuners, needing a neck reset, and refinish but without cracks for 50 dollars. The other was an identical model needing just a neck reset I bought off Ebay for 250.00 including shipping. The one I got for 50 dollars I finished with French Polish and the mahogany glows with a ribbon figure I didn't believe when I saw it.. These guitars have 2 features you will not find on a brand new Martin D-18 or any high end guitar for that matter. One is that they have a solid mahogany back 16 inches wide with no center strip. This was done as a labor saving step to avoid bookmatching the back but now days it's pretty impossible to find mahogany that wide on a mass production basis. Second is the use of Brazilian rosewood for the fretboard and bridge. This wood has been banned for import into the United States since 1993 so good luck finding a replacement bridge. I'd like to mention I braced the 50 dollar one with a Martin X-brace pattern and it sounds fantastic but surprisingly not that different than the ladder braced one I just id a neck reset on. The x braced one sounds a little nicer in tone...a little more range in the highs and lows..the ladder braced one has more midrange but really not worse sounding...just different. these are finished with shellac and glued with hide glue so they are easy to French polish over to get a nice new finish if desired similar to buffing. The hide glue is easy to remove for repair work and theoretically should be used when repairing these to remain authentic. One complaint is that the neck block that accepts the dovetail neck is made out of basswood and eck resets can be a bit mushy affairs as this wood is soft. I recommend using mahogany strips epoxied inside the dovetail when doing a neck reset to make the neckblock stiffer. Neck is thick and has an adjustable rod which is great. Tese guitars are the best buy on the vintage market nowdays and I think a greak investment in the 200 dollar range...sure to appreciate because of the mahogany back and the Brazilian Rosewood. A reproduction is being made in japan as of this year but I'm certain it won't have the same bridge material and doubt the back will be solid mahogany 16 inches wide...maybe even ply wood. New they will sell for 400 dollars I hear.

My Harmony (4721H1260) was made sometime in the early-mid 60s in Chicago Ill.. I am guessing at its age as I have only had it a couple of weeks, and whilst the neck and finish of head, fingerboard and top exactly match my 1966 1203 (which I have had since 1967), the stain finish on the sides and back look to be an older, darker brown finish.
The neck is 19 frets (14 clear). The ladder-braced body is made of solid mahogany, as is the neck, with a solid spruce top. The guitar has a standard tortoiseshell scratchplate and inlaid black and white rosette markings (Later ones had stencilled markings)Fingerboard and bridge (which is original and has not been converted to a pinbridge as many have)) are of rosewood. The guitar has a high-laquer finish. which has acquired a few 'dings & scratches' over the past 35 -40 years, but the wood is in good condition throughout. The tuners are original Harmony Sovereign 3-on-a-a-plate, which are a bit tarnished, but work surprisingly well. The neck is quite fat, but I am used to this from playing a 1203 with the same neck for the past 35 years. The guitar came with an equally ancient black fibreglass case with red-plush lining.

My music style is mainly trad and contemporary folk in the main, for which I tend to play fingerstyle, and liturgical, for which I tend to strum. This Guitar suits both admirably. It is loud, with sonorous bass notes and clear highs. Strummed, it is very powerful, to the point of being almost percussive when really hammered, and has a good carrying power. Picked, it is warm , clear and expressive, with deep basses and clear and resonant highs. The guitar has had a neck reset (which all old Harmonys need) and has a good action making slides and hammers (single and chord) relatively easy.

Cannot comment, as the guitar wa at least 35 year old when I bought it. Its current condition suggests it was well built, with a peek inside revealing a common Harmony trait of never skimping on the glue!

This old guitar has been through a number of hands between leaving the factory in the 1960s and reaching me in 2002, so I cannot comment on the factory finish other than to say it has survived intact with no sign of repair, (other than the recent neck reset, which has given a good action) for 35-40 years. It sounds good and plays wellOne of the tuner knobs (the D)is a little bent and a cog has been replaced on the G tuner (funnily enough, this same cog stripped on my 1203 and had to be replaced in 32 years ago!)
Only a bottom Strap button is provided and is as original. It has a good, dependable feel, and seems reliable enough to be used without a backup.

The finish has survived reasonably well. The top has 'bellied' somewhat, which is not unusual for these guitars, since early owners used 'medium-heavy strings to make the most of the volume potential of the body, ignoring the limitations of the ladder-braced construction. Replacement with light strings has reduced this somewhat, and it does not have much noticeable impact in playing (the neck reset has also compensated to a degree). The only bit missing is the plastic trussrod cover. The one on my other Harmony broke up about 25 years ago!

Never dealt with the company, which went bust in 1074

I have been playing for 35 years, almost all of which has been on the Harmony Sovereign 1203 (auditorium OOO version of the same guitar)which I still own and won't part with. I also have a Simon&Patrick cedar 12-string, bought more recently, which is a seriously good guitar.
Buying this 1260 was in some respects a nostalgia-trip for me. I have not had it long, but long enough to know that I wish I had bought it in 1967! s'fabulous, with good size body and neck, solid wood construction, and over 35 years of use contributing to it's tone and sweetness. I am now planning on tracking down a '1266' (the 'deluxe' version of the same guitar, but with a pin bridge!)

My guitar was made in 1966. It is a dreadnaught size, actually a little larger than a Martin D, with 14 frets clear. IT HAS A SOLID SPRUCE TOP AND MAHOGANY SIDES AND BODY, rosewood fingerboard and through the bridge sting attachment like a classical. It has been refitted with Grover Rotomatic tuners. The only problem is a fat neck.

This guitar has a rich, full sound, a good trebble/bass balance, and more volume than 90% of the Martin dreadnaughts I have heard. It has a reasonably good action, but the neck is fat.

The actiuon is reasonably good, materialsand workman ship are excellent. Original tuners would not hold. The general concensus of those who have seen and played this guitar is that it is the finest Harmony they have ever seen and among the best sounding reguardless of make.

This is a very reliable guitar. Since I replaced the machine heads I have no problems with it, and I have owned this instrument since 1967.

I have never had a reason to deal with the company.

Since 1967. I would buy an identical one if I could find it, even if mine weren't gone. I love the sound, hate the neck. I got it because it was the best instrument I could afford. It was selected for me by Jim Conner, banjo player extraordinair.

This is a review of a 1958, USA built, Harmony Sovereign, model 1260. The Sovereign series was Harmony's top of the line, acoustic flat-top guitar. The 1260 has a "jumbo" body style, constructed of all solid woods; spruce top, mahogany back and sides, and a big fat mahogany neck. Harmony used "ladder" type bracing instead of the more typical "cross" bracing, probably for cost saving reasons. Due to this lighter type of bracing, it's very hard to come across one of these that doesn't need a neck re-set because of the top "bellying". This guitar has had a neck re-set and it's just plain incredible! It really has it all in terms of sound; plenty of volume, good highs, huge bass response, clear midrange and great sustain. I'd put this up against almost anything. I also own a Taylor 510 and as much as I hate to admit it this Harmony has a slightly fuller sweeter sound. Now, if we were going to talk about worksmanship and ease of play - that would be another story, but basically I love this Sovereign and haven't been able to put it down since I got it off ebay six months ago. By the way I paid top dollar ($400) for mine and I still feel like I stole it!

Solid woods, jumbo body-size, beefy neck, and 42 years of playing have resulted in a guitar that is as good or better sounding as any other similar guitar, new or vintage that I've played. If you are looking for a really loud guitar with great sound across the whole spectrum that will leave others going "Wait a minute, that can't be coming from a Harmony?", then a Sovereign 1260 is definately for you!

Hey, it's a forty two year old guitar, but it was maintained professionally over it's life time (I got it from the original owner). However, other than the fact that Harmony always seemed to use excessive amounts of glue and never bothered to wipe any excess off, this is a well constructed guitar made with beautiful grained woods that plays well, intonates well, rings like a bell, and has held up pretty well for all these years. So, I guess I'll give it good marks here as well.

Good solid guitar. Very dependable. Be prepared to care for it the same as you would any quality solid wood instrument.

No longer in business - doors closed in 1974!