pawlowski6132

Has anyone ever heard of a LG1 Tenor? I'm looking at a local ad for one. It looks like it could be an LG1 Tenor but, research on the interweb finds nothing. Thoughts? Pic1 Pic2

Thanks. Good ideas. And you're half right. If I had to pick one, I might take three Jumbo. But, in the rotation, it's tricky.

Thanks for chiming in. Sounds like most acoustics from Gibson made in the last 50 years should all be similar in both neck, bridge string spacing. That's good to know. I don't have to fret about this (see what I did there? 😃) When shopping online.

Thanks for contributing to this thread. I appreciate it. I'm just pulling into the parking lot of Elderly Instruments in Lansing Michigan. It's a fantastic store. They have an awesome reputation for all things acoustic instruments. Let's see what they have.

No, actually I have hands that are probably on the smaller side. I I do think that general opinions here are correct, and if I was talking to somebody that was starting out I would give them that advice to learn to adapt. I'm 54. At this point in my life I am looking for the path of least resistance. I don't need any additional challenges. I want everything to be as easy as they can be so I can just learn songs and enjoy playing them. Anybody want to buy a 1934 Gibson jumbo?

Plus, I think those instruments are fundamentally different. For example I'm not going to pick up a base and expect it to be like my acoustic guitar. But when I'm switching between two Gibson acoustic guitars, I expect enough consistency such that it doesn't distract

Well, I guess you don't have to know what the measurements are. I don't care what they are either I just know one is bigger than the other and it makes it difficult to play them both the same way for me.

It's a deal breaker for me. I think unless you've experienced a 1934 jumbo with a super fat v-neck and the extra wide string spacing and then try jumping to a guitar with a smaller c profile and more traditional string spacing, we don't really have a shared experience. Maybe you more seasoned pros can adapt but, as a bedroom banger, I work hard to nail my cords and I can't switch between guitars without things getting hosed up. It's just not worth the frustration.

Well Buc, yes and no. I can probably play any string spacing on any Gibson acoustic. But, let me gtive some context. I bought a "1934 Jumbo" form the Custom Shop Historic series. I also bought a "1942 Banner Southern Jumbo" from the same series. '34 Jumbo Nut Width 44.5cm String Spacing at Bridge 61cm '42 SJ Nud Width 45.0cm Stringt Spacing at Bridge 56cm So, while the SJ has wider nut, the Jumbo has string spacing that is almost 10% larger! As a relatively newer guitar player. I work hard to nail my chords clearly and expect that b string to be right there under my ring finger on one guitar. Then I switch and I can't hit those chords cleanly 100% of the time. Plus, my L7 has same string spacing as the SJ so, I'd like to replace the Jumbo with something that has similar string spacing so I can jump between guitars easily without having to "re-learn". thanx Am I really the only one that has issues with this????

Does anyone one of the "1960 Fixed Bridge Hummingbirds" from the Custom Shop Historic series? If so, would you mind measuring and telling me what the string spacing is at the bridge? thanx much.

So, Gibson doesn't seem to provide this information on their website for their acoustic guitars, at leat not for their Custom Shop Historic series models (I haven't checked others). I'm surprised because this plays a HUGE impact on playability right?? Does anyone know a source or, do I have to call Gibson? Should I assume that they have this information. Very shocked.

OK, I guess rest of the files are too big. HERE's a link to an album I put them in on Google Phots.

Here's some pix.

So, I've recently purchased an ETG-150. The owner claimed it was a 1954 model. I was skeptical but bought it anyways because I'm 80% player, 20% collector and I wanted it. The purponderance of the evidence suggests it is a 1970 or 1971 model. There are, however, a few other facts that I can't reconcile. I hope someone can weigh in. Supporting 1970/71 Serial number! 107550. According to THIS site, it's either '70 or '71 (last year of production). It's in IMMACULATE condition. Or, consistent with something of this era in regards to amount of checking (maybe 20% of surface). No FON in body. Only ETG150 stamp. I've seen some pictures of '40s/'50s and they had an FON stamp in the body. Supporting 1954 The above website used to date by serial number assumes the "Made in USA" also stamped on the headstock. This instrument does NOT have that. Claims to have had an ex-Gibson employee setup and date it (pots?). This guitar apparently spent it's life in Kalamazoo which is where I picked it up. Comes with a case consistent with that era (obviously, it could have been put in a Martin branded case but, that wouldn't mean it's possibly a Martin) I have read, in multiple instances, where tenor guitars didn't follow the same serial numbering convention as 6 string guitars and thus, trying to date using serial number decoders used for 6 string guitars wasn't reliable. Anywho, my gut tells me it's from the 1970/71 era. Does anyone have any other reliable way (parts, tuners, etc.) to date something like this? thanx

Is the BJB a single coil pickup? I assume so but, just thought I ask to confirm.

Does anyone know if the L7C, like the L7, has carved solid top? I would imagine so but, just thought I'd ask. Also, I'm shopping for solid top archtop to use with floating pickup. In my mind this would sound perfect for me. Are any advantages (perceived or otherwise) to the other combinations: Floating PUP / Pressed Top (and sides) Fixed PUP / Pressed Top (and sides) Fixed PUP / Solid Top Thanx much

Reverb.com. Look at all the ones for sale and their descriptions. Also. Google.com

Don't forget the TKL cases. I believe these are Gibson's OEM for cases. https://www.tkl.com/products?categories=guitar

Yuck. No offense.

Guitar Center??? Ugghh.

Thanx everyone for good insight and your time. If anyone is interested, i'll be running through the listening tests over the next couple of weeks and listening to strings on my 175 and L7; some combination of strings and guitar, not sure which yet, i need a plan. I'm happy to share my non-scientific results here if you'd like. Strings on Tap to Listen to: Thomastik-Infeld: George Benson 12 (Round) Thomastik-Infeld: Jazz Swing 12 (Flat) D'Addorio: Chrome 11 and 12 (Flat) Rotosound: Top Tap Monel 12 (Flat) Newtone: Archtop 11 (Round) Newtone: Heritage 11 (Round) Newtone: Master Class Double Wound 11 (Round-ish) Newtone: Becky Langan Master Class Signature 12 (Round)

Thanx for your reply, any chance you have some insight to my first question? Since this will be played without any pickup/amplification (i.e., always only in "acoustic-mode"), should I, as a rule, stay away from strings normally found on electric (archtop, semi-hollow or solid body) guitars such as nickel, steel, etc.? Should I mainly be looking for strings made from material similar to acoustic flattop guitars (bronze, PB, etc.?) Thanx for taking the time to reply.

So, I'm going to be doing some experimenting with different strings on my '47 L7. I have a few questions I hope some of y'all can help with: Since this will be played without any pickup/amplification (i.e., always only in "acoustic-mode"), should I, as a rule, stay away from strings normally found on electric (archtop, semi-hollow or solid body) guitars such as nickel, steel, etc.? Should I mainly be looking for strings made from material similar to acoustic flattop guitars (bronze, PB, etc.?) If I'm looking at flat top acoustic strings, do I need to be concerned with tension? In other words, should I consider my guitar top, bracing, wooden bridge, etc. too fragile for some string types due to tension? I really like flatwound strings. I really like a mellow tone. On my 175 and 330 I've enjoyed D'Addario Chromes and Thomstik Jazz Swings. I have some Newtone (Archtop, Master Class Double Wound, Heritage) and Rotosound (top tape) on their way. Any other suggestions? Thanx in advance, as always Joe P

that's why pros use expensive gear.

Guitars are hard to photographs and the better the camera, the easier the job. The right tool makes all the difference.