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Everything posted by L5Larry

  1. Wow, in almost 50 years of farting around with guitars I've never seen a bridge like that before. Sorry, no help.
  2. Yes, this will have to be custom made. A pattern cut from an original will produce the best results. Blank stock is available from many sources.
  3. Sounds high to me, 175's are not in the $5000 bracket, you can buy an L-5 for that. My quick research show 50's P-90 175's selling for around $3000 in original condition. General rule of thumb is that major modifications or repairs to a "vintage" instrument cuts the value in half. The bridge replacement is no big deal, but the addition of the Bigsby IS a big deal as far as "vintage" or "collectors" value. Neither, or both, put it in the "half-off" catagory, but it's still, at best, a $3000 guitar in the retail market.
  4. On one of Charlie Parker's most popular live records he was playing a plastic saxophone.
  5. I'm not sure my answer/opinion is relevant to the current reissues, but my '64 was dead stock, and I wasn't thrilled with the Firebird mini-hums. The popular mod at the time was to replace the Firebird pickups with a pair of the pickups used in the Les Paul Deluxe of the era, which were actually (pre-Gibson buyout) Epiphone mini-humbuckers. I don't think any of the aftermarket makers offered Firebird replacement pickups at the time. Just a little history for you!
  6. Yes, I guess you should hear both sides of the coin. A 1964 Firebird III was my first Gibson. Bought it in the early 70's to compliment my 1960 Stratocaster, and to have a guitar similar to two "inspirations", Johnny Winter and Dave Mason. A year later I bought a tobacco sunburst Les Paul Standard (having discovered Duane Allman), and found I got along a lot better with the LP. Although one of the coolest looking guitar designs of all time, the size, imbalance, neck shape/size and pickups of the Firebird were just not for me, at least as my MAIN Gibson. I continued to use it sparingly on stage into the 80's, by which time I had also picked up a 335. In the end the Les Paul and 335 won out. My last try with the Firebird was to set it up specifically for open tuning slide work (ala Johnny Winter again). The problem then was that shortly after that I formed a band with a REAL slide player, and it quickly became apparent that I REALLY sucked at playing slide. At that point the Firebird went to the Dallas Guitar Show and got sold to a European collector. I had the guitar for 20 years, so I guess that wasn't a bad run. Edit: I almost missed the opportunity to post a photo of it!
  7. A period correct case will not add dollars to your sale price, but it will a demographic of cork sniffers to your shoppers.
  8. The title certainly implies "Les Paul", but there has been some really nice non-LP photos posted, so here's a couple more. Both built in the Nashville Custom Shop..... A James Hutchins signed "Historic" L-5CES from 1990: From the small batch of "Historic" ES-345's built in 2000:
  9. Sounds Like someone has has the winter blahs...... Late March/early April begins the riding season here, so my old HOG will have to stay warm and safe under wraps till then. 1985 Harley FXST Softail Here's a photo from when we were both 25 years younger You might notice some added "old man" features in the color photo such as the windshield, saddle bags and puffy seat. I might also add that the bike has aged better than I have.
  10. Consignment: What I do on consignment sales is a little different formula than the standard percentage fee. I set "my price", the amount the store pays me when it sells. This, of course, has to be a reasonable price with room for the retailer to add markup and make some money too. On paper, this is the same as if I'm selling the piece to the store, except no money changes hands until it sells. They set retail price and it allows them to "deal" as if the piece was store stock on a "cost pus" basis. Any discounting, or negotiating with the buyer is on them AND on their side of the balance sheet. They keep ALL the money made over "my price", and it may even allow them to make MORE revenue than a straight percentage "consignment". It also changes the psychology of the retail sale from "sell it for anything so we can get our percentage", to "sell it high and fast so we can make some good money". This gives the store a vested interest, and motivation, in making the sale. I've used this system with three different "vintage" brick and mortar shops over the years. Craig's List: I generally do use the "garage demo" method for Craig's List sales, and although this still puts your address in some strangers google maps app, I feel the fact that I'm usually selling some high dollar vintage gear automatically weeds out the "shady characters". I also have a general faith and trust in mankind, and have to believe the good guys far outnumber the bad guys. On more than a few occasions I've had people knock on the door that I either knew, or knew of, through the music industry, or had mutual acquaintances in the business. This usually leads to looking at the equipment for 5 minutes and swapping band stories for an hour. Anyway, good luck on your sale. A nice Super, priced right, should be an easy sell in any case.
  11. I recently sold a couple of big heavy Sunn heads. One I sold through consignment at a local (but nationally known) "vintage" store, and one I sold on local Craig's List. I would not have even advertised them on a national site like e-bay, because of the weight, packaging and shipping issue.
  12. No, this is not true for the "war years" and shortly there after. From 1942 to 1951 there was no letter code used. In fact, many instruments built during WWII had no SN/FON markings at all. The "A" series was was initiated in 1947, but only for the "premium" grade instruments, "student" or "economy" models (like the 125) were not included. I have no records of FON's during this post war period, but Jim R seems to, and has answered this question in the original post: http://forum.gibson.com/index.php?/topic/135266-year-guitar-made/page__pid__1830570#entry1830570 You can ask the same question as many times as you like, but there is only one correct answer, whether you like it or not!
  13. Oh boy, more yamasaki guitars with an iconic AMERICAN brand name.
  14. A Flamenco guitarist friend of mine actually gets his right hand nails professionally manicured, even his wife razzes him about it. As for me, I'm NOT mainly a fingerstyle player, but what little I do is with fingertips, not fingernails. Never could play with thumb/finger picks either. Mainly what DO is chunk funny chords in a jazz "big band", and for this I mainly use a bare thumb, with the nail trimmed very short as to NOT catch any string.
  15. L5Larry

    Model Number

    DP = Double (or duel) pickup
  16. The defect in that pickup cover would be completely unacceptable to me. I can't tell from the photos whether it's a mfg defect or shipping damage, but either way ... Explain to the supplier the situation, and suggest that they "express" freight a replacement to you. PS: Before you go through all this again, make sure the cover(s) do indeed fit your pickups, specifically pole piece spacing. There may be discrepancies between "factory" pickups and "aftermarket" covers.
  17. Photos would help, but I don't know how that works as a "guest". You also give very little information on how many digits you have, or how many you think there should be. Anyway, even the faintest of impressions will show up under certain light/shadow circumstances, or "rubbing". First, get a small flashlight and shine it across the SN area at a very shallow, low, almost straight angle. The light, at the correct angle, will create shadow areas IN depressions, and BEHIND any raised sections. This may render the info you seek, if not..... read on. Second, get a sheet of thin paper and a pencil with a long section of graphite showing. Hold the paper down very tight over the SN area and rub the side of the pencil lead across the area. You might remember this procedure from grade school art period. This will show any minute details of imperfections in the wood and may render you the info you seek. If not.... last try below! Inspect the area in a dark room under a "blacklight". You'd be surprised what blacklight can reveal about a guitar.
  18. Never contemplated this before, but now I'm curious. I checked my remaining four Gibson guitars, and the tally of first fret side dot markers is..... L5 - 1st L7 - 1st Les Paul Standard - 1st ES345 - 3rd Interestingly enough, an old Silvertone archtop I rebuilt had no side markers, so I added them. To me, the side markers are actually used for playing, and the fingerboard inlays are just for bling. Again, without contemplation, I guess I installed them where I figured I needed them. It seems I skipped frets 1 & 3 and started the side markers at the 5th fret and ended with a double-dot at 12. In retrospect, it's looks like I just mimicked the fingerboard markers which were at 5,7,9,12. On a side note: Most classical guitars have no markers at all (side or fingerboard), and I've seen high-end archtops with only a fingerboard marker at the 12th fret. I also recently learned from working on a Fender fretless bass neck that the side markers on a fretless are at the actual location of the non-existent fret, not the center between the frets as on a fretted instrument. On another other-side note: Who decided, and why, are the middle fingerboard markings at 7 & 9 (B & C#), instead of 8 & 10 (C & D), since the "western scale" is based around the note "C".
  19. L5Larry

    1959 ES 330T

    Indeed correct, "R" is the letter code for 1960, and therefore not 1 of 349 produced in '59 (although my records show 780 ES-330's in '59), but one of over 2400 from 1960. Economy model Gibson's of the era did not have paper labels, only the ink stamped numbers as described.
  20. L5Larry

    R7 or R6?

    Deciding between P-90's and Humbuckers has nothing to do with the "lefty" thing, or even hands-on playing for that matter. You can internet research the difference between the two types of pickups, they are very distinct. You could even go to a store that might have any Gibson's with both p/u configurations in similar models, and ask the salesperson to demo the righties for you. Being able to critique to sound of the two types of pickups might even be easier and more "objective" if you're only listening, and not having to play it at the same time.
  21. I'm not sure what other marketing tool (pun intended) Craftsman has, AND I don't know any reason why the Goliath that is Stanley would even spend the money to buy the name, except to keep someone else from having it.
  22. L5Larry

    R7 or R6?

    It really comes down to pickups, do you want the P-90 sound or the Humbucker sound?
  23. It's my understanding that the "A" serial numbers (in this case A07047) are only used on the "Historic" series guitars, and that "standard production models" would have the standard (eight-digit) serial number (stamped on the back of the headstock). The fact that the SN is ONLY on the paper label, and not on the back of the headstock, also leads me to this conclusion. An "A" number 345 without any headstock stamping would be historically correct for a '59. Have we seen photos of the ACTUAL guitar in question?
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