This makes relying entirely on the physical features of a guitar potentially misleading. Many older instruments may have reproduction or other non-original parts, including a non-original finish. I guess that’s what the original owner used to play.Aside from the logos, each era of manufacturing included certain identifying traits such as the hardware (tuners, knobs, plates, etc.), the pickups, the type of finish, and the electronics inside that can give clues as to when an instrument was made. It’s a beast for anything old-timey: blues, rags, fiddle back-up or string band music, cowboy songs, etc. Put on those fingerpicks and it will wail the blues. Yes, it sounds like the music is coming from your grandpa’s tube radio, or a scratchy 78rpm record! It can handle heavy strings (it has 13/56 right now) and likes a vigorous attack.
The bass is subdued and tight, which emphasizes the midrange power and treble cut. It could be the smaller size and round body shape, the carved Adirondack spruce top and round soundhole, the big rigid neck or a combination of all those features. And it’s a true hardcase, not a chipboard cheapie.Ī couple words about the tone of it. It’s in great condition, all latches and hinges work perfectly, the leather handle is sound. The original hardcase is certainly the icing on the cake.
GIBSON GUITAR SERIAL NUMBERS GENUINE SERIAL NUMBER
The serial number is also featured on the perfectly intact paper label inside the soundhole. That’s really hard to see, but it’s there, penciled and slightly faded. It even carries the guitar serial number and model on its feet. However the original Brazilian Rosewood bridge is all there and intact. It’s an old replica, built a bit lighter (for a stronger louder tone). The bridge on the guitar is not the original one. Again, a cosmetic addition that makes the L-3 stand a couple steps above the L-1, L-2 and L-Jr. Simple cream bindings adorn the front and the back. The back is hand carved and sports an elegant dark brown / red stain. The back and sides are made out of Honduran Mahogany. They work perfectly, turn smoothly and hold tune for months. The original bone nut has turned yellowish.Īnd on the back side, the tuners are top-of-the line engraved Waverly. The flower pot is a work of art all by itself. The Gibson logo is pearl engraved, and so is the flower pot below it.ĭude, I don’t play a Gibson, I play “The Gibson”! How cool is that! The 元 was a high end guitar in the Gibson line. A cool and unique feature is the 13th fret neck to body joint. It is also arrow straight with 13/56 strings. It’s a large neck for sure, but still easy on the left hand. The profile is wide (1.7/8″ at the nut) and chunky, moderately V shaped on the back. The neck is a hefty chunk of Honduran Mahogany, topped by a Brazilian Rosewood bound fingerboard. On a cosmetic note, the rosette is made out of beautifully inlaid pieces. The original ebony and pearl dotted endpin is still in there. This one was also patented a looooong time ago.
Simple and effective, and much less wacky than the pinned tailpiece of the 1910′. This type of pickguard attachment was patented a loooooong time ago. The pickguard, amazingly, is still all there (most of those celluloid parts just disintegrate with the passing of time), as well as it’s weird attachment bracket. The hardware on this one is all original, and intact. And it has a round soundhole, which is a nice change from the F holes usually seen on archtop guitars. In fact, it does check, but more like tiny spider webs that are really hard to see. It’s a very thin and smooth finish, and it does not check like lacquer. Gibson was not using sprayed lacquer back then, but french polish (the switch happened around 1925).
It sports the classic hand applied Cremona sunburst. Basically, it’s the same body shape as the famous Robert Johnson guitar (his was a flattop L-1 though). This body design is unique and was last seen in 1930, when Gibson switched to the wider (14.75″) “L-00” body shape. It has a very rounded body profile, with lots of curves and a shallow waist. And it plays and sounds gorgeous too!īeing from 1922, it’s a ‘Loar era” Gibson.
It’s in phenomenal condition, all original, crack-free and untouched. This one is a L-3, the most adorned variant of the small body line (13.5″ wide at the lower bout). The 1910′ and 1920′ Gibson archtops are among the most beautiful and stylishly designed guitars of the era.