Harmony H74

This product is Vintage or Discontinued

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Page last updated Apr 05, 2026

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Average Price: $1,299

High-end/Boutique

$500

$1201+

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In the Semi-Hollowbody Electric Guitars category, Harmony H74 is priced in the High-end/Boutique range. This premium gear is built to very high standards and offers premium features.

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Description

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Step into a realm where vintage charm meets modern playability with the Harmony H74, a semi-hollowbody electric guitar that's as unique in appearance as it is rich in sound. Unlike its more recognized siblings, the H74 boasts a distinctive body shape with a partial cutaway on the treble side and a full cutaway on the bass bout, offering unparalleled access to higher frets and a visual aesthetic that sets it apart on any stage. Perfect for the musician who values the blend of classic design with the freedom to explore every note, the Harmony H74 invites you to redefine your musical boundaries.

Key Features:

Unique body shape with a partial cutaway on the treble side and a full cutaway on the bass bout
Rich, warm semi-hollowbody tone ideal for a variety of musical genres
Vintage-inspired design with modern playability
Years of production: 1958 - 1966

Videos

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Normans Rare Guitars

Norman's Rare Guitars - Guitar of the Day: 1963 Harmony H74 Meteor

Normans Rare Guitars

1964 Harmony H74

LarrysMusicCenter

1965 Harmony Meteor H74 Demo

Galaxy Guitars

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Artist usage

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Jack White

Singer, Guitarist

The White Stripes

Verified via Photo

"Jack White has been photographed playing a red and white Harmony H74 guitar during performances with The White Stripes, as seen in user-uploaded photos."

Thomas Brenneck

Guitarist, Music Producer

The Budos Band

Verified via EMusician

Used on Charles Bradley's No Time for Dreaming (as mentioned by Brenneck in this March 15, 2011 Electronic Musician interview) and with The Budos Band, as is visible in this Dec 13, 2011 documentary by Daptone Records. A photo of Brenneck with the guitar can also be seen in this Reverb.com feature about Daptone's House of Soul at 3:00.

“Some of these tracks have the crunchiest organ and Rhodes sounds,” Brenneck explains, “because they were getting bounced with the guitar [a ’66 Harmony H74 through a ’68 Ampeg Gemini amp], and of course every time you bounce, you get another generation of tape compression. You don’t really need outboard gear when you do that, and you can end up with some really tough-sounding shit. Then you’ve got Bradley and the horn players just pinning the needles with tape distortion; there’s no way I’m gonna record it again if what they just did is magic. It’s all about commitment and hard work beforehand, and I think the sound just comes naturally as a result of that.”