Going camping? Bring your L-00! These guitars are iconic, coveted, and supremely cool. They make exceedingly-nice fingerpickers but also truly belt it out beneath a flatpick, which tends to make them an enjoyable “all-about” instrument. Apart from — aesthetically? — that tight-waisted, curvy appear is the business. Tone is punctuated, balanced, and snappy with just adequate bottom/reduce-mids warmth to float a voice more than. It’s also fairly loud.
This guitar was brought in by the son (a regional in town) of the original owner and it was in a bit of a state. Although the only crack on the guitar is a tiny little hairline at the bass edge of the rosette, this came in with a sharp belly about the bridge, a definite need to have for a neck reset, and a replacement, oversize bridge. My perform rectified all that — I gave it a neck reset, new bridge, some belly-correction efforts, a fret level/dress, new bridge pins, a new saddle, and a excellent setup. It is now playing completely (three/32″ EA and 1/16″ DGBE at the 12th fret) and great to go.
Please excuse the reflections on the reduce bout. These are clouds and trees.
The “small sunburst” finish on these early-30s Gibsons is usually a classy look and sets the firestripe pickguard off “just-so.” The finish itself shows a lot of weather-check, a very good quantity of pickwear on the upper bout, and very minor dings/scuffs right here and there, but is for the most element in superb shape contemplating the way most 30s Gibs appear.
This L-00 is of the most usual type, with strong mahogany back, sides, and neck and a spruce top with x-bracing. It really is a lightweight guitar but not as featherweight as a Kel Kroydon.
The nut is ebony and 1 three/four” in width. The board has a 12″ radius, the original smallish frets, and a medium V-shaped profile (even though softer/smaller than the Kalamazoo-branded Gibson products). It’s pure 30s Gibson in really feel and easily playable.
A single tuner ferrule is a replacement (even though period).
The board (with pearl dots) is Brazilian rosewood.
I’ve strung this with a set of straight-up 12s at 54w, 42w, 32w, 24w, 16, 12.
The only crack on the guitar is a tiny hairline (glued-up) that you can see to the upper-bass side of the soundhole rosette.
My replacement bridge seems to be a NOS late-50s Gibson bridge (possibly Brazilian — appears just like other ones I’ve had by means of from 57/58) and differs from the original types mainly in the two pearl dots and a drop-in saddle slot. The latter is good for a player as action can be adjusted very easily on-the-fly.
As you can see, it really is a very good, tall bone saddle. The pins are new, as well, and ebony.
When I removed the old (oversize, truly crappy) replacement bridge, the top surface around this bridge was certainly a small mucked-up. To make matters worse, it seems like epoxy was employed as the adhesive. I was fortunate adequate to get rid of the stuff throughout repairs and also fortunate sufficient to have some of the original finish remaining beneath the wings of the sloppy old replacement unit.
So, to clean up around the prime on this new bridge I just color-corrected and then sealed the area to give it the appear of an old repair. It really is turned-out a lot far better than I’d hoped-for. I didn’t want to more than-do it and refinish the area and this was a excellent answer.
In addition to the replacement bridge, I also added a (cedar, soundboard-material) bridge plate cap as element of my efforts to lessen a pretty unsightly bulge/belly about the middle of the bridge location. I like utilizing soundboard material (spruce or cedar) to do this job as it really is lightweight but strong/flexible and so doesn’t rob tone the very same way extra rosewood or maple would. Now that the bridge and prime function is carried out, the best has a “standard Gibson belly” that’s much more domed than deformed — and it’s good and steady.
Yes, we can admit it — it is a attractive guitar.
The mahogany on the back is that usual “Gibson wine” color. No, that’s not blush in the finish, right here — it really is a cloud in the sky.
The original tuners function but they are far from perfect. I have StewMac repro tuners on order that will belong to the instrument if the next owner desires to swap them out.
There is a ding/bump correct on the back close to the heel and the pressure lining in the finish at the heel would seem to suggest cracks but there are none. When I took the neck off I did not see something, either. It’s peculiar.
I did find, nonetheless, that the neck had previously been “reset” — though not particularly nicely.
The FON stamped inside seems to indicate 1933.
The original chip case comes with the guitar as nicely as an instruction book and a box for…
…Gibson Mona-Steel strings! Nice. They’re labeled for mandolin, even so.Antebellum Instruments