This version of the Verithin was introduced in 1960 to the UK market as Hofner’s answer to the then extremely popular Gibson ES335, or more correctly, the ES330. The Verithin does not have the solid spruce block fitted down the centre of the body cavity which is the case with the 335. As a result it is extremely light at 4.5 lbs, and a lively guitar to play when plugged in.
The original Selmer distributed Verithin was VERY thin – only one 1 ¼” as compared to the Gibson 330/335 body thickness of 1 ¾”, and Hofner’s own thinline President model standard of 2.0”.
The body timbers used are of the old tradition, with a laminated spruce top and bookmatched flamed maple veneers on the back. Unusually for a mid-range Hofner, no sign of any flame is evident on the maple veneer sides of the body – being so thin it was not really worth bothering.
With the Verithin, Hofner broke with previous convention and finished the guitar in a glorious cherry red which was very popular on Gibson 335s at the time. The body edges are bound with multiple white/black plastic strips, and even the sound holes receive single white binding – one up on the 335.
The neck joint really did break with Hofner tradition however, with a fully inset join into the heel and top of the body, rather than just into the heel with a cantilevered piece of the neck being suspended over the top as with all other Hofner archtops up to that time.
The neck is three piece maple/beech/maple, with a rosewood fingerboard. The headstock is pure Hofner, with its standard mother of pearl inlayed flower motif and bold Hofner maker’s logo. Machine heads are Hofner’s good quality, open geared units.
Bold strip fingerboard markers of mock tortoiseshell and mother of pearl are fitted on the rosewood fingerboard. These were no doubt chosen in order to update the perceived old fashioned Hofner image at the time. After all, this was intended to be a radical guitar, well suited for the exciting new 60s decade.
All four rotary controls interact with each other to such an extent that to define whether a particular knob controls a particular pickup is somewhat challenging. But all the sounds are there – certainly lots of tone options from this lovely early hollow body. The diamond logo pickups appear to be original and sound great.
Overall condition is very good. Frets have lots of life left, truss rod works fine, tuners are good, and while there are a few marks from honest player wear, there are no cosmetic or structural impediments to detract from the inherent vintage cool of this very appealing guitar from a bygone era.
Comes in its natural state – ie no case.