L5Larry

This information is only partially correct. The 100,000 serial numbers were also used in '73, '74, and early '75. In mid 1975 Gibson changed their entire serial number format to an eight digit number with a two digit prefix for the year code. "99" was 1975, "00" was 1976. "06" was for 1977. Open up the control plate and look at the pot codes. The fourth and fifth digits are the last two numbers of the year they were manufactured, and the last two digits are the week of that year. With the mess that was six digit Gibson serial numbers, that made be your best, and only way, to accurately date this guitar.

Sorry, I don't know anything about Illinois State, but I do know that Southern Illinois University-Edwardsville, and Northern Illinois have VERY serious music programs. You'll need to minor in SOMETHING.

The first and foremost Japanese company that copied Gibson guitars back in the seventies was Ibanez, and they were very well built guitars. In fact, some people say that Ibanez built better Gibsons during that period than Gibson did. They were very good copies, down the the smallest detail, especially the "vintage" instruments. They also proudly said Ibanez on the headstock and were never passed off by the company as Gibsons, although some tried that after they got to the states. Gibson eventually had to file and international patent lawsuit and indeed did stop them from making them. It's very possible your guitar is one of these "Lawsuit" Ibanez copies with the headstock logo removed.

What you have there is a L-3 from 1919. The peghead logo and decoration, side dots on the neck, binding on the back, herringbone soundhole inlay and bridge as shown are all features of the 1915-1921 L-3. The serial number as I read it (49,XXX) is from 1919. That guitar sold for about $100 at the time. As for repairing it, it looks pretty far gone. It is repairable, but not for the novice. The crack in the soundboard looks to be the worst problem (and only real "damage"), and many guitars with cracked tops get repaired. This guitar originally would have a raised fingerrest, other than that it looks like all the original pieces are there (don't know about the tuners). Although old and neat, there really is no vintage or collectors market for this guitar. I do not think you would increase your profit, or even recoup your costs, by having it repaired prior to sale. Your best bet is probably to sell or trade it "As-Is".

NOBODY. Gibson does not make, or sell, pickup rings with a contoured bottom. Even on their most expensive archtops they just bend the rings across the arch. It's a very slow and tedious process to custom contour the bottom of the surrounds, but not hard to do. Any good guitar tech in your area should be able to do this for you. I have refitted both my L-5 and my ES-345 in this manner.

Try this: http://www.tubesandmore.com/

To the best of my knowlege they came stock with a trapeze, but I also am not familiar with "H" on the end of the model number. Maybe that has something to do with it. Here's a 1975 sales brochure showing the ES-150DC model:

Contrary to the post immediately above, what you are looking for is a hex "socket" wrench, not a hex "allen" wrench. If this is a Gibson Montana guitar you may also disregard any metric sizes. As stated above, it should be 5/16" SAE hex nut on the end of the truss rod. Any quality made name brand socket wrench or "nut driver" will work. I prefer Sears Craftsman hand tools, and use a Craftsman "nut driver" on truss rod adjustments, this is the screwdriver looking tool with a socket on the end instead of a screwdriver blade. I would avoid using a ratchet wrench as it is too easy to apply too much torque, and possibly break the rod or strip out the nut. The nut driver tool makes it feel just hard enough to turn so to avoid over turning. Gibson does not invent or manufacture tools to work on their guitars, most everything you'll ever need to do yourself can be done with standard tools. Anything you should need is available at your local hardware store for a fraction of the price of a specialty store.

I have a factory mono 345, I wonder how it's wired. I've never had a reason to look, now I do. I know there's a buttload of crap in there for the Varitone, I'll see what I can figure out. It does act like a stereo guitar in the fact that in the both pickup mode, killing one pot does not kill the whole signal (like a Les Paul), it just mutes that individual pickup. Give me a couple of days to get out my telescopic mini-mirror and do an exploratory, I'll get back to you. OR, maybe there are schematics available somewhere. A mono version of the 345 has always been a factory option.

Cross-referencing my books comes up with 1974 for that serial number. The pot codes will tell the tale.

The visually identifiable differences between the ABR-1 and the Nashville are thus: The ABR-1 is narrower (front to back), and has a retaining wire running across the top of the saddle screws holding them in place. The Nashville is wider (front to back) without the retaining wire. The saddle screws are kind of "crimped" in place.

Looks like a '52 L-7C to me, with the addition of a D'Armond Guitar Mic. The tailpiece and tuners are correct and most likely original. I don't know about the pickguard as I'm not as familiar with the cutaway model. The label says what it should for '52, maybe they hadn't started using the "N" designation yet for natural finishes. I would assume the finish is original from the "ducktail" on the back of the neck at the headstock. Although the sunburst ones had the back of the headstock painted black with the ducktail, it was not very prominent due to the brown staining of the neck. For the neck to have been sanded down around this, or been repainted black is not likely. A closeup pic of the front of the headstock might add further details, and I would also request a closeup of the back of the headstock, bridge, and neck to body joint just for your own inspection and piece of mind. Beautiful guitar, at the right price I'm sure you'd not be diappointed.

Gibson added the option of a natural finish on the L-7 in 1939. Although the model continued to evolve until around 1942, I would assume that it remained available in sunburst and natural. Usually Gibson added an "N" to the model number to denote a factory natural finish (L-7CN), which would be written on the paper label under the bass side f-hole along with the serial number. A '52 natural L-7 would have a label that should read something like: L-7CN, with a serial number somewhere around A-10000. Post any further info you get and I'll see what else I can tell you. I've got a 1947 L-7 sunburst (pictured on the far left of my avatar), and it is by far my favorite archtop I've ever owned.

I'm showing it, based solely on the serial number, as a '61

Anyone that has any interest in learning more about the Monkees, check out the article I wrote for another guitarists website: www.stringdancer.net Here's the link to the article: http://www.stringdancer.net/cgi-bin/index.cgi?action=viewnews&id=159