The Delta Snake Review: Musical Gear Review and Music Article Archive: Vintage Review: Regal R-210 Standard Size Flat Top Spanish Guitar and Thoughts About Parlor Guitars

The mid-60s Regal R-210 Standard Size Flat Top Spanish Guitar was a student model (economy) with a three-quarter-sized fretboard. It was considered a parlor guitar but with a slightly larger-sized body.

The specs included mahogany sides and bottom and a spruce top. These days it's only a solid top if specifically stated, but back then, a lot of lower-priced guitars had quality wood that you'd find in today's mid-priced ranges. Spruce and real mahogany were much cheaper in the 60s.

I can't confirm if the top is solid, though the grain is straight and tight, because the white binding on the edge of the sound hole is in good condition (as is binding on the body), and I don't feel like taking it off just to see. I've read descriptions that say the top is solid, but it's not an issue. The guitar has the sound I like in a small-body guitar, and that's my only concern.

The neck appears to be mahogany, and the fretboard and bridge are "ebonized," which is a fancy way of saying the wood was darkened to resemble ebony.

The headstock facing is covered with a solid plastic plate with an engraved logo and is in excellent condition. The rectangular truss rod cover still covers a truss road that works. The pegs are worm-style tuners that still hold tune. I use drop tunings and lighter gauge strings, so there is less stress on the gears and neck.

...ladder and X...

It's a ladder-braced body, and thus "boxy" sounding and perfect for my style of fingerpicking. I enjoy guitars with "X" bracing also but I don't get into a which one is better trip. If I need a guitar with X bracing, then I'll get one and enjoy both.

An R-210 in mint condition can run between 700-1200 dollars, and mine was a beat-up Pawn Shop special at 220.00 (the asking price was 250.00). It took some work to get the action back down, but there was room to do that with the bridge, and now the action is fine. It's well within what I consider comfortable but being used to banjos, I admit that my tolerance is much higher.

I've owned Gibson LGs, both the spruce top and mahogany, Guild mahogany, and modern parlors made by Gretsch, Yamaha, Recording King, and others I can't recall off the top of my head, but in 2023, this Regal is the one I still have (though in truth I'd also love to have the spruce top Gibson back).

...60 years...

The main reason I like the Regal is after over 60 years, it sounds as good or better than any small-bodied acoustic I've come across and it would give a few higher-priced models a good run for the money. Martin makes a parlor that blows it away (for modern sounds, not so much for Old Blues), but it's so expensive that I'll take my Regal, which has 75% of the sound and costs a lot less.

I might have to admit that many modern parlors are better, but the vintage tacky-looking headstock that compares well to the old Epiphone style gives the Regal the edge (with me) in the sacred category of mojo.

When I play it, the music that comes out sounds like the old folk or blues record I loved as a teen. While modern manufacturers make cheaper and better-made guitars, it's hard to build vintage sound into new wood (or in the case of lower-priced models), duplicating the sound of quality spruce and mahogany with nato or other substitute woods).

... respect...

You may notice that, unlike the first two episodes, my tone has been respectful (up to now). True guitar players will understand. When discussing a beloved guitar that draws music out of the soul, we enter the sacred ground and must not anger the Gods with ingratitude.

...let's talk in the parlor...

However...let's talk a bit about modern parlor guitars. That category continues to grow, and I like the variety of models and prices.

The main appeal is the lower cost and ease of play. The main drawback is that these parlors are excellent reproductions of old cheapies with all of the virtues and flaws.

One of the coolest is the Gretsch Two-Color Sunburst or Jim Dandy. I believe the one owned was the Two Color or its 2015 equivalent. It's a fine reproduction of an old small-bodied Silvertone, which a friend owned, so I was familiar with the type.

The problem was that it sounded like a Silvertone, which I didn't like then and don't like now. That's just personal preference; I'm aware that there are lots of players who love that type of small-bodied Silvertone.

Since I've owned Gretsches, it's not a criticism of the brand. I think their solid bodies are just as good as any Gibson, and their lower-cost metal body resonators are excellent.

I have to say that Gretsch's success in making a specific type of parlor was impressive. After buying it on sight (I got a great used price), it became obvious that I had a Silvertone on my hands, and I sold it off for what I paid. That's an impressive feat for a used guitar, and my disdain for its accurate reproduction of the Silvertone sound will certainly stimulate GAS for those thirsting for that sound.

...equations...

One interesting thing about parlors and the accurate reproductions of the classic types is that it brings new sounds into the equation.

With dreadnaughts, you can sort of classify acoustics into maybe three or four categories based on brand. The most popular sound is Martin, with Gibson, Guild, and Ovation trailing well behind.

The Martin has proven to be the easiest to imitate. The use of very hard rosewood bodies gives that brand a distinctive brightness and tone, and due to the expense, it's hard to reproduce.

However, unlike the mahogany bodies of Gibsons, companies can make a decent Martin copy by using a similarly stiff and rigid material for bodies. That material is...gasp...plywood.

Yep, it may not be a real Martin, but many players will accept an inexpensive copy that sounds a lot like the real thing. Easier to gig with a Yamaha than to hire a bodyguard for your 10,000 Martin that'll possibly get stolen anyway.

You might have to buy vintage if you want the original Gibson sound. However, those are still reasonably priced (most want Martins). Most modern Gibson acoustics are made by subcontractors or small firms purchased by the company.

That's why the old economy line, Kalamazoo, is so sought after by collectors. Those were from a time when Gibson made acoustics, and even disparaged models like the J-55 and LG models sound great to unbiased ears.

...qualify...

I'll qualify my judgment by saying that modern Gibsons are still pretty good, and a matter of taste.

...the Guild and the age of ply...

One guitar, besides the Ovation, that has a distinctly different sound than the big two is Guild. They were among the first to use ply bodies and tops on premium guitars, and at the time, that caused mixed reactions.

However, ply has definite advantages. You don't have to play a solid wood guitar for decades to get the ultimate aged sound and constantly have to protect it from temperature changes and humidity. Except for neck problems in some of the early models, the Guild is quite stable, and the sound is 100% of what it will ever be at purchase. If it sounds good, then it'll sound good later.

Also, the Guild Twelve String has a legendary sound that's hard to get with any other brand, short of custom-made.

I'll talk about the Ovation in the next episode when I review the classic Glen Campbell 12 String, which I owned, and was one of my all-time favorite guitars.

Now, keep in mind that I've oversimplified the panorama of dreadnaughts and did so mainly to illustrate how guitars can sound different from brand to brand.

...factors...

It's more of a complex mix with small-bodied guitars. The sound is more affected by the type of bracing, mainly X or ladder configurations, and with less space, the sound is definitely influenced by the body shape. Also, as the type is quieter, it can be harder to pick out subtleties in sound, and those used to louder dreadnaughts can miss those entirely.

...the room...

One thing that influences sound is the room. For example, a living room with a high ceiling and lots of furniture can make an acoustic guitar sound quieter and mute overtones (which is a huge part of the tone).

You can try an experiment. Play the guitar in your living room, then in your bathroom. Sit on the edge of your bathtub (or stand in the shower) and play it. You'll find that the room is a smaller box, bringing out a lot of tones that couldn't be heard in the living room. That's not just some TikTok hack; it's standard procedure to have the guitar player facing a barrier to make it sound fuller in a recording studio.

One other factor with a Parlor; like any acoustic, a lot of the sound projects away from you. If you want to have a better idea of what it sounds like, put it on your lap so the sound hole projects the music up towards your face and play. It'll sound a lot fuller. That may not mean much in regular use, but that's why square neck guitars for slide are played facing upwards. It does sound better.

When judging parlors and similar small guitars, you'll find that due to using cheaper woods (like birch, which was common in the early days), the differences in tone and sound will be all over the map, and it's easier to think in terms of it sounding like a Silvertone, Harmony, Stella, Kay, and of course, Regal. Older players will often choose the sound of the guitar they started off on (and liked).

Younger players have a little more freedom and will choose by the sound they like and playability, the latter quality being one that Parlors excel at.

I'm personally looking to add an economical parlor or twelve to my collection, and as I explore the choices, I'll be sure to pass on any observations.

- Al HANDA

2023

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