# Octaves, Zouks, Citterns, Tenors and Electrics > Tenor Guitars >  Sound advice appreciated about tenor, Chinese or decent "Vintage"

## michaeloceanmoon

Hi all, thank you in advance!

I am looking for my second tenor (currently play a Regal from the 20's), and although I'm still raising the funds, I was hoping for some advice. I have my dream list of instruments, (mostly Martins), yet am inquiring about instruments that will likely fall below $600. From my research it seems as though the Blueridge BR40t is a top contender among the Goldtone and Ibanez Artwood models. (Maybe there are differing opinions and preferences,.. I'm open to them  :Smile:  ).

However, I see a lot of Harmony H1201's, Regal/Harmony merger tenors, Cromwells and Harmony archtops, and Kays or Maybells that are on ebay or reverb and I always wonder,... "how do these vintage instruments stack up against the very available imports from China?" 

I know all of these vintage instruments can't be generalized as to quality due to age and that they are different instruments with different attributes,.. But for instance, the Harmony's seem very similar to the imports: spruce tops, laminate back and sides, 0 sized bodies, probably priced without a case  :Smile:  . In fact these vintage second tier instruments were manufactured as affordable options to the Martins and Gibsons back in the day, which is what the Chinese imports are presently manufactured to do. 

I can clearly understand the advantages of a modern truss rod and a warranty with a new instrument, yet can anyone speak to the resale value on a Chinese import versus that of a good condition Harmony, Regal, Cromwell etc.. which are growing in value?

And most importantly, until I land my Martins, can anyone speak to the sound quality with some of these good condition second tier vintage American instruments and how they compare with the modern counterparts from China? 

Thank you all for your experience and willingness to share!
Michael Aiello
artemisiamichaelart.blogspot.com

PS: I am also interested in the conversation surrounding the geopolitical, environmental and socioeconomic implications of buying low cost goods from China. It seems as though the quality is quite amazing for the price, so that isn't the main issue for me. However, I have an uneasy 'cloud of unknowing' about the affects both good and bad of this kind of purchase? How are people being treated in the factories, are the factories environmentally responsible, how can these good instruments be made and imported so inexpensively!!?. Just the tip of the iceberg of questions. I also struggle with the irony that I buy my milk and eggs locally but can only really afford to buy an instrument from China!! (or take another ebay chance on an American instrument made 50 years ago). Thanks all!

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## jazzjune18

I have the base model blue ridge tenor.  In addition I own a flat top Gibson T00(guessing from the 60s) and a harmony stellla from the 70's.  I was surprised to find that the blue ridge sounds the best, and is the easiest to play.

- - - Updated - - -

It was a big let down because I really like the look of the old Gibson.   :Wink:

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fox

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## MikeEdgerton

That doesn't surprise me. I used to buy and play the Harmony branded and Harmony/Stella's in the 60's. They were pretty rough actually. I'm shocked by all of the "mojo" they seem to have picked up over the years. Back then they were just cheap not very good guitars. The Gibson could probably be made to play better but some (not all) of them from the 60's and early 70's weren't great sounding to me anyway. I've yet to find any of the Blue Ridge models I didn't like.

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## Explorer

I have never had a regret with Eastman and Blueridge.

There was much weeping and wailing about possible factory conditions when Eastman came on the scene, with a lot of nonsense from those who were arguing against them just because of their national origins. There were also posts from an insider ahowing what things were really like, and that led to my having bought several instruments from them.

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## michaeloceanmoon

Thanks for the quick responses! This is just the kind of stuff I was hoping to hear in regards to experience with sound quality and playability. I would still like opinions on resale value on imports like the BR or an Eastman (i haven't considered those, do they make tenors?). I'm just imagining needing to finance upgrades in the future.

In terms of PRAISE for imports,....I actually have a Pono Tenor Ukulele which is solid Mahogany, is super affordable and an excellent instrument which was made in the Philippines. I would purchase their steel string 23" scale solid Mahohany tenor in a flash if they made them!! Pono came out with videos showing their factory and enthusiastic craftspeople, which made me feel excellent about my tenor ukulele. Based on their ukuleles, if Pono ever came out with a 23" scale steel string tenor it would probably also be solid wood and of outstanding craftsmanship at a fantastic price. But alas, that doesn't currently exist.

Again thank you all for your experience and willingness to share!
Michael  artemisiamichaelart.blogspot.com

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## fox

Blueridge have just got it right, they seem to be bullet proof in durability & sound - everybody loves them!
Well I am sure lots of folk don't love them but for the price ( not cheap in the UK, around £500) they are just fantastic!
However I know where you are coming from, maybe a BR is not the most desirable guitar to own!
I have owned a few vintage tenors & I have enjoyed owning them but they have been cheap instruments & not so much fun to play.
I am always on the lookout for a nice vintage Martin but again in the UK they are very expensive.
I own a archtop Harmony made from solid wood but the wood is Birch & a birch top guitar just doesn't sound great! 
All the same the Harmony looks incredible, it gets all the attention from visitors & I have managed to get it sounding OK.

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## michaeloceanmoon

That looks like the Harmony 1215t, am I right? Good to know that they don't sound too good,.. but you sure made her sweet to look at! Did they make a spruce topped model?

thanks! Michael

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## MikeEdgerton

> Did they make a spruce topped model?


I believe they made one in the late 60's-70's. I never saw one then but I've seen them since.

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## fox

Here is a link, there is a vid link in that thread somewhere too.... http://www.mandolincafe.com/forum/sh...y-guitar/page2

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## Explorer

> ...I always wonder,... "how do these vintage instruments stack up against the very available imports from China?" 
> 
> ...can anyone speak to the resale value on a Chinese import versus that of a good condition Harmony, Regal, Cromwell etc.. which are growing in value?





> I would still like opinions on resale value on imports like the BR or an Eastman (i haven't considered those, do they make tenors?). I'm just imagining needing to finance upgrades in the future.


The least expensive price I normally find on the Blueridge BR40T is $400 new, and I don't think I have seen *any* used ones. 

With that said... if you could buy one new with warranty for $400, how much would *you* pay for a used one?

Usually an instrument (and other purchases) drop in value by 50% immediately upon purchase. That's just the way it goes, although if something is rare or in limited supply, or even discontinued, then it will retain more resale value. That's how supply and demand work. 

If you're talking about investment value of brands like Gibson or Martin, I'd imagine they'd hold their value. There's no more of the old ones being made, *and* they are known to sound good. 

If you're talking about the monetary value of brands which derive their growing prices from factors like "hipster cred," instead of build quality and sound... I can't advise you on how much demand there is for tenor guitars from Harmony, Regal and so on. I didn't see any such instruments going for much on eBay upon a quick search, which makes me think you're probably overestimating any return on investment from such an instrument. 

I'm no expert on the value of these instruments, granted,and am just basing my reasoning, and my question to you, on what prices I see.

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## MikeEdgerton

By the way, I grew up in Portland. In the early 60's there were Harmony/Stella tenors being sold new in every pawn shop downtown. Before gentrification there were a dozen or more. That was at the end of the great folk music scare and lots of people bought tenor guitars and never played them. Even Meier & Frank had a wall of guitars for sale downtown. If you find any that were converted to 8 stringed instruments I probably did it.

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## Chip Stewart

I always wanted a Martin O-18T but could never afford one.  The Martin O-18T has a spruce top and mahogany back and sides.  I was very excited when I saw Blueridge was putting out a Martin O-18T "clone" (BR-40T).  I was even more excited when I saw Blueridge was putting out a Martin O-18T "clone" with rosewood back and sides.  I always liked the sound of rosewood better than mahogany.  I could finally get my O-18T and with rosewood back and sides to boot!

This past December I purchased a Blueridge BR-60T on sale for $375.  I am amazed at the sound.  It sounds better (to me) than a Martin O-18T.  I attribute this to the rosewood back and sides.  The Blueridge BR-60T is now selling for $475.  This increase in price must mean that the BR-60T is selling well.  A price of $375 for this guitar was a steal.  At $475, its a decent price but I wouldn't get excited about it.

If you're looking for a Martin "clone", the Blueridge is the tenor of choice.  You won't be disappointed by the sound, but their popularity has driven the price up a bit.  Good luck with your decision.

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## Charles E.

In your price range and the instruments you are asking about, resale value is a non issue.

Most Harmony, Kay's etc,etc, archtops are laminated and sound thin and hollow, most will need neck resets.

There are some solid wood larger bodied second tier tenors that are worth considering but again given the build quality they usually need braces glued back and neck resets. 

I would go with the Blueridge tenor guitars or other affordable tenors from Ibaneze  or Kala.

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## michaeloceanmoon

I'll be looking for a spruce top, unless I find my solid Mahogany Martin! Yet aside from "hipster cred", I've seen some Harmonys and Regal H1201s with spruce tops and wondered how those sound compared to the new Imports. I'm getting the impression, even though it's still a small poll here on this thread, that these don't really stack up too well with the Blueridges for instance. Is a spruce topped Harmony not even a close match for a Blueridge, GoldTone or Ibanez? Are there any vintage tenors of quality that are worth keeping an eye out for aside from Martins that I haven't mentioned? How about the Cromwells? Also, I just figured a vintage instrument has already depreciated so a resale is even Steven with an old timer. 

Ok staying tuned for more group wisdom!  Michael 
 PS: I liked the Kala, but my Regal is already 21" scale length, so I want a 23" next ax.

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## Jess L.

> I am also interested in the conversation surrounding the geopolitical, environmental and socioeconomic implications of buying low cost goods from China.


Hi, and welcome,  :Mandosmiley:  ok so I'm relatively new here too but they don't want us talking about political stuff. (Don't ask how I know this.) Ok it kinda makes sense now, even writing stuff that you've observed in your own life even without any 'political' context in order to answer a direct question, has the potential for causing unrest and arguments etc. Now that I understand this concept, I'm willing to go along with it and try to stay out of trouble (ain't easy) at least for purposes of this website. I have chosen to not regard it as censorship, but rather that they're trying to run an orderly website that doesn't offend *anyone*, so that people can learn about mandolin stuff without getting distracted by other considerations. Near as I can figure out, the people who run this site want us to all get along with each other  :Smile:  and sort of stay focused on the music itself.  :Mandosmiley:  Fair enough.  :Smile:  I hope this doesn't sound bossy or nagging (that's not my intent), but I just don't want you getting into trouble.  :Smile:  And yes, in school I was always straight-A but I also spent *lots* of time in the principle's office  :Disbelief:  getting paddlings (eons ago when that was still allowed in schools) because I had a bad habit of disagreeing with the teachers (sometimes I was right, sometimes not), so you can learn from my example  :Laughing:  in that not everything is worth trying to sort out in a particular venue. The world has many problems, but I guess what we're supposed to do *here* is to get away from all the problem stuff, and just relax and play/learn music. I know it's hard to do sometimes. 

Ok so enough about rules 'n' stuff, let's get back to *music*.  :Smile:  I too am trying to figure out which new tenor guitar to eventually buy. In the 1970s I played an old National resonator tenor guitar, worked really good for Celtic (didn't get drowned out by the tenor banjos and concertinas), and when played with a light touch (as I almost always do anyway) it had a mellow tone that blended well with the other instruments. Out of my price range nowadays though. 

As to new tenors though, I have no clue, the only one that's stood out in my limited research so far is this Forster Session King but their website doesn't show prices  :Confused:  so I have no idea what it costs, probably a lot? 

It's probably beyond my retiree's budget, but it sure sounds sweet, and I like the way it looks too.

But I'll likely end up getting one of the Blueridge tenors that lots of other people here have recommended.

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## bruce.b

That Forster sounds great. It's going to cost in the ballpark of what other good builders charge. If you're willing to pay, there are a ton of builders that will build you a great tenor guitar. Collings makes a beautiful looking and sounding traditional tenor.

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## michaeloceanmoon

Talk about dream guitars, Nigel Forster's work seems phenomenal! The Session Kings are in the £2200 price range, and I imagine they are worth it.

Yes, certain conversations make people uneasy and that's not my intention. There are good people and instrument builders all around this world. Big businesses and corporations have been known to get messy, yet as I initially stated it's my own unknowing about the chain of connectedness and it's global impacts which is most difficult for me to feel at peace with. I don't know how to illuminate my ignorance? Maybe someone more brilliant than I will do a documentary on these dynamics as they pertain to instrument building. 

May the love of music and beauty prevail as the main motivations. May our open hearts and courageous spirits transmute the energy of whatever instruments we find ourselves playing towards the highest good. May the muse visit us wherever we dwell on Earth.

Ok, staying tuned, appreciatively,
Michael

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## MikeEdgerton

> ...Now that I understand this concept, I'm willing to go along with it and try to stay out of trouble (ain't easy) at least for purposes of this website. I have chosen to not regard it as censorship, but rather that they're trying to run an orderly website that doesn't offend anyone, so that people can learn about mandolin stuff without getting distracted by other considerations. Near as I can figure out, the people who run this site want us to all get along with each other...


We are indeed a moderated website with posting guidelines developed by the site owner to try and keep things civil. It works very well actually. We have more unique visitors on a daily basis than most of the other mandolin sites have monthly or even yearly. It's hard to argue with success.

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## Charles E.

This Regal-Harmony tenor is one of the few second tier instruments I would consider.

http://www.ebay.com/itm/Vintage-1953...item33a8320281

Solid wood, ladder braced, nice bridge placement, and a larger body. And it has had the neck reset.  Of course the price reflects that.

Ten years ago you could buy these all day long for around two hundred bucks.

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## MikeEdgerton

It looks like it might have been refinished as well. It does look good though.

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## MikeEdgerton

By the way, I'm now lusting after a Forster Session King Guitar. Incredible sound.

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## michaeloceanmoon

Charley,

I saw that Regal/Harmony tenor and have been considering it (despite the funny smiley face bridge!). Yet this thread is assuring me that a Blueridge may be a better instrument for less money. Thank you for looking out for me; I am definitely open to any instruments that are well made, sound good and interesting. (until we all get Forsters!)

Michael

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## SincereCorgi

> I'll be looking for a spruce top, unless I find my solid Mahogany Martin!


I have a all-mahogany Martin tenor and used to gig with it. It sounds nice but after a while I realized that it's just too soft to hold its own in group situations. I find that tenors in general are pretty quiet, and that you need an exceptional tenor to match the volume and tone of even an adequate six-string.

There are a lot of small builders right now who would probably build you a great, loud tenor for about $1200 (I can recommend one guy in particular). Among the modern factory tenors, I would go with the Blueridge.

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## michaeloceanmoon

I am always welcome for great builder recommendations for the future when my fortunes take an upturn. I briefly played a really sweet and full bodied Hamilton tenor, but I can't locate him to pitch a payment plan.

M

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## michaeloceanmoon

Just an update, though I'm never quite sure when folks stop replying.

Thanks to the informative replies to this thread and other helpful responses with related threads, I had a very nice turn of events. I began to feel very enthusiastic about the Blueridge tenors and contacted Saga to find a local dealer so that I could decide on a model. This prepared the way for Saga alerting me that a second hand Blueridge had just shown up at my local acoustic store. A practically mint BR-40t from I think 2007 with a stellar hard shell case was on the hooks for just a couple of hours being offered at a literal steal. I've put a downpayment on it and am only delaying my take home until next month when I'll let my daughter make the last  payment on it for my birthday. I've already restrung it to low G .013,.022,.032 and .042.. I think it could even go a bit fatter on the guages, yet she sounds great!

I really owe the turn of events to the MC community. I wish my b-day was sooner but marking the calendar with the event will be a nice memory for both me and my daughter. I'll post my review at the end of October. Hopefully, I'll be more adept at fifths then.

PS: Saga's rep. Said they think the factory conditions are 'not' bad and that someone with Saga in the US has a brother working in the China factory. I don't know details, but the folks in the US were very friendly and helpful with me. I have no idea how they knew when my olderBR-40t showed up locally. But they turned me on to a  ridiculously good opportunity.

Thanks all for playing a significant part in my acquiring of a sweet new Blueridge tenor!

Michael

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## fox

Hi Michael, I think you could do better with different strings.
You choices offer tensions of 21.5lb  32lb  24.5lb 18.3lb not very even!
You might want to try .13 .20 .30 . 45 that would give you 21.5lb .24.5lb 21.5lb 21.5lb
Perhaps just try changing the  A & G

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## michaeloceanmoon

Hey thanks mate!! I'll try that. I would like a fatter low end, but maybe your suggestion would add some ring and more balanced finger pressure too? The store didn't have 20's or 30's available in bronze, which I like from the Regal.. I was shooting for those gauges. Do you know of a set, even a guitar set or anything that would give me that spread?
How do you figure out those tensions anyways? Is it a tool or is that stuff written on the packages and I've just never realized?

And another question,.. Any advisement for dialing in the intonation? There seems like there is enough life left on the bone saddle for a well done compensated saddle. How do I find the best set up in my town, what questions should I be asking etc.?

Thank you Fox and others!
Michael

PS: (more personal note here) I may pay it off early and take it to another shop for the set up. So long as my daughter is picking it up for my b-day I might as well take the time to have the BR completely ready when the ladies gift me..

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## fox

There are on line string tension calculators although getting to grips with them is a bit like learning to play GDAE  :Smile: 
I buy all my strings as singles but I can assure  you that 13p 20w 30w 45w work very well. 
Here is one of the easier ones ....  http://www.mcdonaldstrings.com/stringxxiii.html

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## michaeloceanmoon

Fox, it's amazing to have someone to talk to about this... So I've started learning Fifths in CGDA (on my regal) , but ironically,.. I'm already gearing up for GDAE on the BR. Are there any manuals etc. that are specific to the low G tuning, or did you just adapt the C fifths charts to low G? 

Michael 
PS: this stuff is forcing me to really think like a musician

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## fox

There is this one in both tunings http://www.amazon.co.uk/dp/1906207054

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## Lord of the Badgers

OK, speaking for the UK in terms of availability: 
my Buchanan cost me just over 1K (GBP) but a lot of Luthiers will build you one. Nigel Forster's been quoted - I also tried Phil Davidson's - 2K GBP (and fantastic, rivalling Nigel's for tone & volume), but also he's behind cheaper ones made in Vietnam etc. In the UK one lot of those are in Hobgoblin (Ashbury) and I rated those over the Blueridge in personal taste. 
These though, he assured me, are better - http://www.acousticmusicbox.com/index.php?cPath=24 but I have yet to find out if that's true.

Please note, that although I know Phil, I love my Buchanan, and wish i could afford either the Forster or Davidson made ones as an upgrade. They're exceptional instruments.

Let's add a Fylde into the mix... 1400 GBP though

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## michaeloceanmoon

Ok these are all exceptional guitars, my wife will be thrilled that after I eventually acquire my Martins I will keep on with my obsession with tenor guitars!! Who needs a retirement savings, I'll support my habit by busking into old age.

Thanks for the low G info Fox,. And one more shout out for string guage assistance. I've got the high four strings of a  Martin set on my Regal (21" scale) 13, 17, 26, 35. I love the sound for DGBE and I've even tuned it up to CGDA, but the two high strings are a bit stiff. Knowing I'm liking heavier guage strings to swing back down to guitar tuning, what would you recommend as a more balanced 'heavier' set?

Taks amica
Michael

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## fox

21" scale CGDA .10p .15p .26w .34w in theory you can use a .11 for the A but I prefer a .10
GDAE .14p .20w .32w .48w  - .50 can be ok on some guitars but I don't like the feel so much.
That is what I have found to work best for me but of course those sizes are not set in stone.

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## michaeloceanmoon

Ok so quite a difference between the Chicago and CGDA set, thanks a million!
I may still try to fudge shifting tunings, but now I know the ideal. Great, Michael

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## mrjop1975

Michael, this was a question I pondered when I decided to get into playing tenor guitar earlier in the year.  I started on standard 6 string back when I was 16, and wanted to learn something different when I turned 40.

I bought at first my Ibanez mini-dreadnaught tenor, as at the time, Blueridge was backordered on several sites.  My rational of thinking was that I know Joni Mitchell used the George Benson model Ibanez electrics live in the late 1970's early 1980's and if Ibanez was good for her, that it would be good for me.  It did not really matter to me that they are off-shore made.  My only complaint, if any, was that it did not have a case so had to get a case separately.

About a week after that, I was on eBay and stumbled upon the Harmony tenor I got.  I found someone that buys older acoustic guitars, then refurbishes them and sells them.  It did come priced with a case, which was good.  Yes, it was a bit more then the Ibanez, but it had a case, and was refurbished, and frankly, the action is really great on it.

Sound wise, it's like comparing apples to oranges.  Both have distinct voices, at least I think so, but a friend I'd played over the phone to could not tell which was the Ibanez and which was the Harmony.

In conclusion, yes, if you get a good refurbished instrument, there you go, but there is not shame in the game with an offshore made instrument, unless you decide to splurge on a handmade one.

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## michaeloceanmoon

Gonna bug you one last time Fox. Did you post your optimal suggestions for CGDA tuning with the 23" scale? It'll be a while til I find a plectrum so I won't hopefully be hassling you soon about guages  :Smile: 

Thank you Mr Jop for your consideration in replying to the off shore question. I'm purchasing my Blueridge second hand yet will always hope that the folks who built it were well compensated for their work. Saga was friendly and helpful and the instrument is lovely for the price. I still would like to learn more about the larger impact, so it's an open question for me. Yet, I'm buying a Blueridge so I'm trusting in things which are beyond my understanding and control. I guess a lot of life is like that.

Be well all, Michael

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## fox

Well that is a more difficult one in my experience, the standard recommended .10 string for the A is under almost 24lb of pull weight and is prone to breaking! However .9 does not quite sound right on some instruments..
I am not a great fan of CGDA on my longer scale tenors but on the blueridge I found .9 .14 .20 .32 was pretty good although .10 .15 .22 .34 is what I would call a heavy set that some folk might prefer 
I have seen quite a few people saying they like 10 14 24 30 but I did not!
PS - I sent you a pm....

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## Explorer

Just as a handy rule of thumb regarding breaking points:

At 25.5" scale lengths, the breaking point of a string is at or just past G#4. If the string is thinner, it takes less tension to get to that pitch, but it's not as strong. If the string is thicker, it's stronger, but needs more tension to get to pitch. The strength/tension converge at that pitch as the breaking point.

So, if i want to easily know the breaking pitch of the highest string string at other scale lengths, I can easily look up a fret placement calculator like the one at stew mac, using a scale length of 25.5 inches, and then subtract enough frets to get to the scale length I'm looking for, while also raising the pitch by a half step for each fret I've subtracted.

The first fret is 1.4" from the nut, so I"ll round up (25.5 - 1.5 = 24) to determine that a string will break at (G#4 plus one half step =) A4 at 24.

The second fret is 2.782" from that 25.5 nut, so at 22.7", the breaking point is A#.

And so on.

I normally calculate my target string tensions based on what known string tensions I've already liked, while also going for progressive tensions (higher tensions the lower you go).

Anyway, my point is, at 23" scale length for A, all strings will be just a half step short of the breaking point, regardless of the gauge.

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## michaeloceanmoon

Hey btw. I just played a Stella Tenor and a Silvertone tenor today and while they each had compelling characteristics, I was very grateful that I decided on my Blueridge after the experience. Both of those instruments seemed relatively quiet. Perhaps with a better set up they may have felt more tonally balanced. The Silvertone's neck had a nice feel but possibly needed a fret job because the first three to five frets seemed pretty off with their intonation. I could see really wanting to set up those instruments as best as possible yet still at the end of the day wanting more of a tiger in the tank. Both were cool as a part of a conceptual arsenal, yet limited acoustically. But I know it's very hit or miss, maybe some of those older models are more impressive than others.
Michael

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## michaeloceanmoon

Fox, just to have all your string guage wisdom at the ready..
What are your DGBE recommendations for guages on both the 21" and the 23"?

Thank you again and again!
I'm shifting tunings between my instruments and wanting to have all the proper guages at the ready when I experiment.

Mivhael

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## fox

Well that is not a tuning I use so I have not tested out any string combinations however - for a 23" scale I would try 13 17 20 30 for a 21" try 14 18p (or 18w if you can get one)32.

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## michaeloceanmoon

May others help you as much as you have helped me!
Michael

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## Chip Stewart

> Fox, just to have all your string guage wisdom at the ready..
> What are your DGBE recommendations for guages on both the 21" and the 23"?
> 
> Thank you again and again!
> I'm shifting tunings between my instruments and wanting to have all the proper guages at the ready when I experiment.
> 
> Mivhael


I use DR Sunbeam RCA-12 strings (0.012, 0.016, 0.024, and 0.032) on my BR-60T.  I considered moving up to a set of RCA-13 strings, but my BR-60T is already extremely loud with the RCA-12 strings so I didn't see the need.

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## fox

Hi Chip, just in case you are interested those gauges give you aprox 19 19 27 24 lbs.

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## Chip Stewart

> Hi Chip, just in case you are interested those gauges give you aprox 19 19 27 24 lbs.


Thanks Fox.  What string tension do you usually use on a 23 inch scale?

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## fox

I think different folk prefer different tensions, but I like to finger pick so I find an even tentsion of around 20lb per string works for me. It seems all my tenors sound at there best with similar tentsion of all four strings but that is not to say others might like something  different!
So 19 - 22 lb is what I aim for.

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## michaeloceanmoon

Not to beat a dead string Fox, would you clarify? Are you also recommending a .020 for your G on DGBE with a 21" scale? You only listed 14, 18, and 32? Or is it 14,18,18wound, 32? So sorry, may this be my last guage question.

Obliged
Michael

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## fox

I don't know how it would sound but you could also try .18 wound for the B .....

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## TenorMan

I own a Blueridge BR40-T, and a 1934 Gibson Kalamazoo KTG-11. I love them both. However, the Kal is currently at the luthiers' shop, getting age related things repaired...neck reset, nut, saddle, refret, and a belly that they can't fix because of the ladder bracing. Just about any antique guitar you come across will have to have one or more of these things done to them, simply because they are so old. The Blueridge was pretty darned Martin sounding right out of the box. The Chinese have done remarkably well with workmanship over the last twenty years. You couldn't find an American made guitar like that unless you paid thousands. The Blueridge sounds fantastic. My old Kalamazoo, which is entirely solid wood, will sound fantastic too...after sinking about $1200.00 into it.

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