A glowing description from the 1964 Selmer catalogue :
A fantastic instrument that puts every combination of tone and effect at your fingertips. The wonderful potential of electronics is harnessed to give you greater scope than ever before - one such advantage is fabulous BI-SONIC. Bass and treble frequencies are separated so that simultaneous rich bass and sparkling treble offer the guitarist an exciting new dimension. Each pick-up has its separate control unit together with facilities for blending and experimenting with a host of new possibilities in sound. In addition there is an ingenious filter system which can be brought into operation and which gives an entirely different character. The three pick-ups are of the latest Futurama magnetodynamic type with easily adjustable pole pieces. Response and sensitivity reach a new peak. Volume is determined by a 3-stage control which enables the player to make instantaneous changes from one level to another without the problem of volume readjustment before or after soloing. Control Wheels may be pre-set, and due to the fantastic computer-like nature of the electronic system, three varying degrees of volume may be obtained, giving a new meaning to balance.
Note the reference to the "computer-like" controls - this was 1964 remember
As on all Coronado models, the smooth, fast SPEED-O-MATIC moulded fingerboard is incorporated. Tremolo to your exact need of depth and speed with the easy action vibrato unit. One look tells that this is the guitar of tomorrow with its modern appearance and touch tab controls. Beautiful lines are expertly combined with ease of playing. This is the guitar that almost thinks for itself-Coronado Automatic. Available in glowing red.
Dimensions - 13 1/2" x l8 1/2 x 1 1/8" No.5232 .. .. 69 gns.
No.5232/66. Plush-lined slimline case for above .. .. 8 gns.
I bought this guitar (or rather my Father did) from George Clay Music on Broad Street in Birmingham while I was still at school and during the time that I had a Saturday job there.
I can confirm that it had a very low action although I can't remember much about the effectiveness or otherwise of the multiplicity of tone controls - my guess is that the sound was probably pretty weak and thin.
After I bought the Gibson 335 I hung on to the guitar for a few years but eventually sold it to Bryan Calloway. He broke the head off at the nut in the infamous "bass drum skin breaking" incident. Undaunted, he glued it back on and used it for some time afterwards. The guitar's ultimate fate is not known.
Thanks to John Thomas for the loan of the 1964 selmer catalogue.