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Wes Montgomery L5 CES


kink56

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It's my "assumption" that ALL archtops have parallel bracing. My L-5CES has two parallel braces (basically one each under the outside strings, and a perpendicular cross-brace behind each of the two pickups. My L-7 acoustic has the two parallel braces and no cross-braces (not required for there are no pickup holes to weaken the soundboard).

 

Based on this, I would assume that a "Wes" would have the two parallel braces and (maybe) one cross-brace behind the pickup. It's also my "assumption" (I have used this word three times in this post) that X-bracing is a flat-top thing.

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Many of the original single pickup Jazz boxes had a single X brace. A friend from Italy wants to know, and depending on the bracing he will buy one. He is VERY specific and particular. So, I need to know for sure. Thank you for your input.

 

The acoustic L5s from the 30s and 40s had X bracing (for example)

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According to Adrian Ingram's book "The Gibson L5":

"By 1939, however, parallel bracing had become the standard method for supporting the instrument's carved top". One of the reasons being its better support of the new 17 inch body. The electric L5's even got bigger braces to support the electronics (and further apart).

I believe only the Gibson Johnny Smith had x-bracing after that, requested by Smith because his d'Angelico used this type of bracing.

I can recommend this book.

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I know that the various bracing makes quite a difference in tone. For example when Norlin went to double X bracing on almost all the acoustics in the 70s, it killed the tone of such classics as the Hummingbird, Dove, J45, and so on. I do not know for sure what bracing he is hoping for, I suspect it is parallel, but I did not ask him.

 

Even if you scallop the bracing, or not, will make a difference in tone. The Jumbo 55 and the Advanced Jumbo of the 40s owe a bit of their tone to the style of bracing used.

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