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L-200 Emmylou Harris


cin

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I have a 2002 L-200 in the antique sunburst finish and it is a very comfortable guitar to play; I replaced a '59 LG-0 and '94 J-100 Xtra with it. Intially it sounded good but not as full as the J-100 or my Martin JC-40. Fortunately there is greatness lurking in the L-200 as far as tone and it didn't take too much work to get it to sound big. I removed the factory installed under saddle pickup and replaced the saddle with a Colossi compensated bone saddle and bone bridge pins. Additionally I lightly sanded all of the bracing with a 150 grit sandpaper. I sanded just enough to break the sharp edges and removed the roughness so the bracing looks and feels smooth. Now my L-200 is loud and full with a very good balance between bass and treble and cuts above a room full of Martin dreadnoughts with ease. There are times I need to play plugged in so I installed an active Baggs iBeam which mounts on the bridge plate and it sounds very true to the guitars acoustic voice. I have played it alongside a '96 J-200 and it holds it's own. Many seasoned pickers have commented that it is one of the best things that Gibson has done since leaving Kalamazoo. Incidentally I live about 50 miles from Kalamazoo and frequently see older Gibson's and my L-200 is no less of a work of art in aesthetics and sound. If I could only own one acoustic guitar I would choose it over my Martin JC-40 and Gibson SWD 12 string. It is worth mentioning that around 2006 Gibson changed the shape to more closely resemble a SJ-200 by pinching the waist in; originally it was more of a L-00 shape. IMHO the original design sounds a bit fuller because of the wider waist; a pinched waist reduces bass response.

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I have a 2002 L-200 ......

... It is worth mentioning that around 2006 Gibson changed the shape to more closely resemble a SJ-200 by pinching the waist in; originally it was more of a L-00 shape. IMHO the original design sounds a bit fuller because of the wider waist; a pinched waist reduces bass response.

 

I would second that. I've always liked the "old style" L-200 model because of its consistently good sound. The newer one shares the body of the J-165, and I just haven't liked the tone of those as much as the 'early L-200'.

 

So much so that when we got a small body guitar for my wife, we purposely specified the "Old L-200" body:

IMGP3939.jpg

 

Fred

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Detail : Walked by an Emmylou Harris street poster the day before yesterday - She was not 'wearing' a Gibson, , , but some other rather cool looking jumboish square-headed 6-string.

(just thought you should know)

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  • 4 weeks later...

I'm really confuse with the "scale length" information of L-200 Emmylou Harris.

From Gibson website and most of guitar's website indicated that it is 25.5, but mine L-200 (year 2011) comes with 24.75 (measure from nut to saddle between 3 and 4 string).

 

I understand that model of L-200 in recently years change some detail of guitar e.g., body shape which based on J-165 and re-position of bridge.

 

Does anyone gives more information about L-200 especialy scale length? I'm curious to know. Thank you.

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I'm really confuse with the "scale length" information of L-200 Emmylou Harris.

From Gibson website and most of guitar's website indicated that it is 25.5, but mine L-200 (year 2011) comes with 24.75 (measure from nut to saddle between 3 and 4 string).

 

I understand that model of L-200 in recently years change some detail of guitar e.g., body shape which based on J-165 and re-position of bridge.

 

Does anyone gives more information about L-200 especialy scale length? I'm curious to know. Thank you.

Short scale...J-165 body...Nut is bone and saddle is Tusq because of the pickup. Gold Gotoh tuners.. Of course they could change anything at any time. It is,after all,Gibson

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Short scale...J-165 body...Nut is bone and saddle is Tusq because of the pickup. Gold Gotoh tuners.. Of course they could change anything at any time. It is,after all,Gibson

 

 

That is clear and thank you very much. It is "GIBSON" really.

The scale length 24.75 for me quite easy to play and new L-200 seems like modern classic sound.

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... Additionally I lightly sanded all of the bracing with a 150 grit sandpaper. I sanded just enough to break the sharp edges and removed the roughness so the bracing looks and feels smooth. Now my L-200 is loud and full with a very good balance between bass and treble and cuts above a room full of Martin dreadnoughts with ease. ...

 

This is very interesting! As you may know, John Greven has made public his belief -- based on experiments in building his L-00v model -- that duplicating the very rough braces on '30s Gibsons is essential to capturing vintage Gibson tone. Ren Ferguson told us at the Homecoming last week that he also believes this, and went beyond John by offering a somewhat plausible explanation of why this is so (due to a friend of his who studies physical acoustics in his spare time).

 

Your experience suggests that there might be a trade-off involved, that '30s-like tone (which someone playing an L-200 might or might not be interested in) comes at the cost of some acoustic efficiency. John and Ren both think the opposite, that rough bracing makes the guitar louder and cut better. Do you by any chance have before and after recordings? I'd love to hear the difference your sanding made.

 

-- Bob

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In my opinion, the roughness of Gibson's bracing is really charming. I used to have J-45 rosewood version and the brace is incredibly rough.

Imagine that when you smear on x-brace and it could easily stings your fingers .

I'm not brave enough to sand it. Just let it be and believe that "THIS IS GIBSON" because "ONLY A GIBSON IS GOOD ENOUGH". Wow.....

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