I genuinely take pleasure in KG-11s and, contemplating that there’s 7 or 8 a lot more of them to be repaired about here, that’s great news for me! A customer chosen this from the bunch on-hand, and now that repairs are completed, it just requirements to settle-in and then will be cleared for shipping.
This one particular has a factory order number of 1171 on the neckblock which states that it is a 1934 construct — though the tiny sunburst and straight-reduce headstock sort-of call it out as a Kalamazoo made in the “very first batch” of 1933-34, anyway. It shares the usual KG-11 specs — a 1 three/4″ nut, usual Gibson 24 three/four” scale length, 14 five/eight” reduce bout, and a “squashed” body with a reduced-on-the-bout bridge as compared to the far more-iconic KG-14s. These design alterations compared to the KG-14 push the nut closer to the left hand, impart an overall woodier, warmer tone, and find the physique in a super-comfortable way in the lap. The sacrifice is a tiny bit of volume and punch, but for my playing style I tend to favor KG-11s most of the time as they’re a far more forgiving guitar — something a friend of mine also concluded soon after providing it a whirl proper after I’d finished work on it.
That perform included a neck reset, fret level/dress (thankfully on an already-straight neck), replacement rosewood bridge, a couple of crack repairs/cleats (a couple to the side at the bass waist and a single on the leading under the bridge), and replacement bridge pins. It’s playing spot-on with 1/16″ DGBE and 3/32″ EA action at the 12th fret. I tend to run “11s-comparable” strings on these, but with stiffer trebles — gauges 52w, 38w, 28w, 22w, 16, 12.
This has a 3-piece, solid spruce best. The back, sides, and neck are solid mahogany and the fretboard is Brazilian rosewood with a 12″ radius.
The tuners are replacements, but the ferrules are originals. Note the original ebony nut.
I add side dots standard, these days. The pearl dots and smallish Gibson frets are original, though.
I love the look of these pickguard-much less early models.
The original bridge would’ve been Brazilian rosewood with a via-cut saddle slot and “ebonized” black with a nitro finish sprayed more than it. My replacement is Indian rosewood and has a drop-in saddle slot. I re-employed the original bone saddle, however, when I match this a single.
The original bridge had split along the pins and the back edge would’ve sheared-off over time (probably 6 months after tuning-up) if I’d attempted to glue it back together and leave it. I don’t like getting to waste customers’ time with such items to preserve broken originality.
The pearl-dot ebony pins aren’t “to spec,” but I didn’t want to use the oversize pins that this came with as the holes are currently so far aft (like the original bridge).
Celluloid binding is only at the top edge and soundhole.
The tuners are 1950s units I’m utilized to seeing on Harmony guitars. I tend to have a few sets on hand and use them on guitars like this one particular, when I get the opportunity, as its original tuners were extended gone and the replacements had been terrible, super-cheap, Ping units. They operate as effectively or much better than the originals and have the very same vibe as 30s, openback machines.
The original endpin is extant, but has a small chip-out on its “bottom ring.”Antebellum Instruments