Klira Samba 14“, 1969

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Instrument: In the sixties, small jazz guitars, such as Framus Studio, Rodebald Hoyer Alva or... more
Klira Samba 14“, 1969

In the sixties, small jazz guitars, such as Framus Studio, Rodebald Hoyer Alva or Klira Samba were marketed as "ladies' guitars for delicate women's hands", according to an original Framus text. They are 100% the same construction as the larger models and often have a surprisingly good sound, like this Samba. The model was available with and without cutaway, it was built from 1967 until the mid-seventies, our Samba is from 1969.

The body is made entirely of maple, as is the one-piece neck. The fingerboard is rosewood and has pearloid dot inlays in six frets. Like all early Sambas, this one has a beautiful creamy white marbled pickguard. There are thick, creamy white bindings around the front and back of the body.

Instruments history:
Unknown. We took over the Klira from a private middleman. However, the condition suggests that it was played diligently and was also on the road a lot.

Restoration work:
We completely cleaned the guitar and blew out the body. We retouched a quirk in the upper side and then extensively bale-polished all the lacquer surfaces. The various lacquer cracks in the neck and headstock were closed and sealed, then polished as well. The fingerboard was sanded and oiled, the frets polished. We replaced an unsuitable DIY bridge with a matching original part, and the tailpiece was polished. The open tuners we disassembled, cleaned, polished and re-oiled. A set of new 11" gauge Pyramid strings were strung and a setup was done.

Current condition:
The small Samba convinces with a surprisingly good jazz guitar sound. You can hear that it has been played for countless hours, the sound is warm and woody, balanced and harmonious. No trace of the tinny clatter of bad archtops. The as-new fingerboard is easy to play thanks to the modern neck profile and low string action, and you immediately feel at home on the Samba. Visually, it is almost perfect at first glance, of course, closer inspection shows signs of play, the quirk on the side of the upper bout and the closed lacquer cracks in the neck, but they are absolutely not disturbing when playing. Of course, the guitar is otherwise flawless, there is no serious damage, it is stable and usable without restrictions. Whether it still belongs in "delicate ladies hands" today, we leave to the gentle reader. But it is certainly a great travel guitar that does not take up much space. And it also cuts a fine figure in the living room at home - an uncomplicated fun guitar for little money and with much more character than any new replica.

Overall length 40.2”/102 cm; body length 18.9”/48 cm; lower bout width 14”/35,5 cm; waist width 9”/23 cm; upper bout width 10.4”/26,5 cm; body depth 2.8”/7 cm; scale length 24.8”/63 cm (zero fret to saddle); fingerboard width 1.7”/4,2 cm at zero fret, 2”/5,1 cm at 12th fret; overall weight 1.570 g; string action on 12th fret 0.08”/2 mm.

Purchase and payment:
Just send us an email to info@german-vintage-guitar.com and you will receive your invoice immediately. Or simply order here through the shop.

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