The 1954 Harmony Stratotone was built as a compact, affordable alternative to the major companies' solidbodies, with a simple control set of volume and tone dials and a bypass slider for a single-coil pickup.
This morning I was reading about the great American architect and designer Frank Lloyd Wright. His achievements in housing design were truly remarkable and breathtaking, but in the early 1900s he became interested in applying his mastery to building economical housing for working people. There's even a block of his tiny homes in Milwaukee, Wisconsin, along Burnham Street, and they feature some of Wright's most famous design cues, such as flat roofs and central hearths. It got me thinking about guitars and how the idea of economical brands has existed almost since the dawn of the dime store. In the U.S., I always think of Harmony, Kay, and Danelectro as the builders who made good quality guitars in the low-to-middle price range, and this resonated with Wright's ideas of homes for the working class. By the 1950s, we would need guitars for the working class, too!
In 1954, Harmony broke away from its typical big-bodied, hollow, archtop designs and introduced the solidbody H44 Stratotone. The new model was billed as an "easy-to-handle" Spanish electric that was lightweight and thin-bodied. At just three-feet long and 10 5/8" wide (with a scale length of 25 1/4"), the Stratotone bridged the gap between the popular Hawaiian lap-steel guitars and full auditorium-sized archtops. There seems to be a natural evolution between lap-steel guitars and some of the original solidbody electrics of the early 1950s, because guitars like the Stratotone were just so darn tiny! But they were also affordable for blossoming baby boomers at the beginning of rock 'n' roll.
The Stratotone bridged the gap between the popular Hawaiian lap-steel guitars and full auditorium-sized archtops.
The price of a Harmony Stratotone in 1954 was $64.50 and a case was eight bucks extra. At that same time, a Fender Stratocaster was selling for around $250 and a Telecaster for $190. In the Gibson universe, a Les Paul Custom was $360, a standard was $235, a Special was $170, and a Junior was $110. So, if you were a working Joe with a youngster craving a solidbody electric … well, the decision was easy, and soon Harmony was on its way to becoming one of the largest guitar makers in the world. It also didn't hurt sales when famous musicians such as Ritchie Valens strapped up an H44.
By the mid 1950s, there was a dual-pickup Stratotone called the H88 Doublet, and a little later there was even a Stratotone H42 Newport, which featured a metal body trim dubbed Harmometal. These Newports are totally drive-in diner guitars. But alas, all these cool solidbodies were gone from the Harmony catalogs by the late '50s and can be hard to find these days on the used market. Depending on the model, the early Stratotones can easily cost over a grand, which is a far cry from the humble heyday of these working-class guitars. Then again, I don't think working-class people currently occupy those Wright homes on Burnham Street, either. So it goes.
This 1954 Harmony Stratotone's headstock is a charming reminder of its atomic-age arrival.
The electronics in the Stratotone are a simple affair, with just one pickup paired with volume and tone controls. There is also a slide switch attached to a capacitor that allowed for more bass or treble sounds. The gold finish was reminiscent of some upscale Gibson guitars, and the atomic-age logo on the headstock was straight out of a Jetsons episode. You were going to go nuclear with this little guy! The wide, full neck with open-back tuners is just a pleasure, and the pickup is a total little screamer that reads in the mid 3k range. The simple bridge and tailpiece don't allow for much fine-tuning and since these had set necks, the guitars were a bit limited. But they do make for excellent slide guitars or a good stand-in for a lap steel.
1955 Harmony H44 Stratotone Guitar Demo
Cat in the hat Mike Dugan demos a 1955 Harmony Stratotone, with a little help from a fuzzbox and a quick trip to Duanesville with a slide—highlighting the guitar's connection to earlier lap-slide electrics.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
