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Hofner, T6, T6S, Verithin, For Sale, Rare, Vintage, Jazz, Archtop, Guitar,

 

 

 

  #059   HOFNER T6S.
   
   
 
  Great for jazz, fusion, rock and having a good time generally!
 
  Gently flamed Maple back.  
 
  Classic Verithin cutaways  A real Verithin
 
  Increased pitch and accentuated volute on the headstock.   Like an ES but unusual for Hofner
 
  Relatively simple circuit based on S5.  Superb Flame Maple neck.
     
 

Hofner T6S

Very Rare.

 

Hofner ceased production of its Verithin range toward the end of the 70's and developed the entirely new T Series of guitars.

The T2 and T4 were a major step forward in electrics but were mainly Thinlines at 2" body thickness.

Finally, in the early 80's,  Hofner launched the T6 with a 1.25" Verithin body and a full sustain bar but without f-holes.      It was marketed as  "The return of the Verithin".     In fact, this guitar represents the ultimate  phase of  Verithin development as all subsequent Verithins have been retro models.  

 

Note the subtle change in the spelling from Verithin to Verythin!

The original Verithin was created in the Selmer period and Selmer obtained the legal right to the name.     When the T6S was launched,  Hofner initially advertised it as "The return of the Verithin" but quickly re-wrote their marketing material using the description VERY THIN.      The name stuck, and all retro verithins became Verythins.

 

 

 

Mine is the factory-fitted twin Di Marzio version (the other option available at that time had Schaller humbuckers and a piezzo under the bridge/tailpiece).   These pickups are monsters - amazingly powerful and quite a handful.    Interestingly, Hofner mastered the volume boost problem that Gibson always suffered and designed their active circuit to compensate so that you can toggle between passive and active and the volume stays the same - very clever and just what a player needs.    On passive it has a conventional tone control although it is very subtle, whilst  on active the acoustic filter (notch filter) works like an EQ but with compensated top end.    When the filter is rolled off toward Bass, the top end notes still retain their volume so that the sound doesn't become dark and muddy.    Again, very clever.    It overcomes the problem of not being able to play top end melody when the tone is heavily on Bass.    With this arrangement you can!   
 
The body is true semi-acoustic.   The sustain bar is full length with an acoustic pocket either side but the absence of f-holes means that it is hardly acoustic at all.    On the other hand, it is brilliant for negating feedback so, all round, quite a machine.

 

   
   
   

 

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