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After looking closely at the two logos in the post above, I can see a number of differences aside from just the font thickness, and due to the overall difference in size I'm having trouble comparing. I don't know how much variation there might have been between the various logos. I seem to recall seeing smaller logos on older models, but I'm not sure. I'm going to spend some time looking at logs.
A note about the tuners - the other luthier was suspect because of the uniformity of the plastic and the lack of damage, given the overall condition of the guitar. I just now took a really close look at the plastic ends of the tuners. The color is not really totally uniform, and it is slightly transluscent with some flaws and little cracks. There are no sharp edges or corners - every angle is well smoothed and rounded. They feel ever so slightly chalky, and the plastic feels somehow light, hard and brittle under your fingers. If they are reproduction tuners, they are very convincing. They work well. I get some good clear closeups of them, next to some reproduction tuner I have. Edit: mine don't have any writing at all on them and do not look like any tuners in the link above, which is nice and detailed. So either they are reproductions/replacements, or from older stock at gibson. I wonder if Gibson EVER used these types of tuners. Also, they could be older replacements from any time in the last 60 years.
I've asked the guy who I bought the guitar from if he knows who did the refinish, and how he has come to believe its a '47. We shall see what he says.
Look what came today. Any recommendations on what kind of glue to use? I have used hot glue to glue on pick guards before but it doesn't seem to last very long. Or maybe not all hot glue is equal? I'm talking about borrowing my kids' hot glue gun they use or crafts.
Last edited by ChiefMegaShear; 02-20-2018 at 05:02 PM.
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02-20-2018 04:46 PM
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Here's a 1945 L-7 that's on archtop.com. Same as mine. Smaller, flat logo.
I also found another 1947 L-7 with the single ring, no line tuners which are alleged to be original.
Last edited by ChiefMegaShear; 02-21-2018 at 04:27 AM.
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I have a 1948 L7.
The headstock and tuners on mine are a little different than what you have shown.Last edited by icr; 02-20-2018 at 11:41 PM.
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Tuners on my 1948 L7 (re-finished neck):
Last edited by icr; 02-20-2018 at 11:40 PM.
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I found this picture on the internet, claimed to be a 1947 L7 with replaced tuners. See the outline of the original tuners.
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The tuners on my ‘47 are open back Klusons with keystone buttons. I have seen these same tuners on other guitars from that year. Some time atter this, they were always closed. I don’t know if earlier ones were closed or not. Maybe Wintermoon can help us with this question. Pic of my tuners attached.
Originally Posted by Gilpy
Keith
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Keith, I've seen a few types on early postwar L7's, but they were usually replacements as these tuners weren't of the highest quality.
The prewar open back metal button grover G-98 tuners seem to last longer
Some have early single ring Klusons like on this L7 posted. Some have the hole for lube some don't but all those types are very late 40s early 50s tuners. Aside from high end guitars w/Kluson Sealfasts or Grover Imperials, I'm nor aware of any early post war guitars w the cheaper factory sealed single ring Klusons, though I believe by '49 they appear on L7's early ES175s etc
Can't say for sure but I'd guess the posted guitar has some type of later replacments.
But I usually see the open backs like on your guitar on mid priced models, especially in '47 and '48.
My '47 ES 350N has open backs like yours but gold plated
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So the tuners are probably not original to the guitar, but replacements of unknown provenance, since it's impossible to tell if they are actually from that era or modern reproductions. Either way, they look good and function well so I like them. Originally Posted by icr
I think the FON might be my best hope of accurately dating the guitar, and that remains to be discovered. Assuming the neck is the one that came with the guitar, it might be that it's an early '47 when they used a neck or logo inlay made before the change in the logo was implemented. It's also possible the whole guitar was made before 1947, but the older models I have seen with similar logos to mine don't have a thistle/crown inlay, but rather a fleur de lis, and also have picture frame inlays on the fretboard. Again, assuming the neck came with the body, it might be a transition build sometime in 1947 when they were switching over from one thing to the next and didn't want to toss anything that had been made already.
I appreciate all the knowledgeable contributions. Many thanks!
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You’re right, CMS. The lettering on yours is very much like that on earlier guitars. That does make me wonder if they used up some old stock on some of these guitars. For example here is my ‘34 L7. It has the fleur de lis, but predates the window pane inlays on L7s and has the skinnier headstock of the era. The lettering, however, is very similar.
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Congrats.
Does anyone else think that nut looks too high ? Then, when someone mentioned action that's maybe too low, and then the bridge that's set high -- I think those 3 areas need attention. It'd make me wonder whether the top had settled - -still not necessarily the end of the line for that guitar, just suggests that it needs a luthier to tell you - " OK here's what you have, and here's the fix. "......
Good luck !!
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I think that the tuners are gotoh replicas.
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Wow I was wondering if anybody made "vintage" new parts like that. The next time I change strings I will pop a tuner off and see if that tells me anything. Their SD90 Relic in the aged nickle finish looks exactly like mine. Oh well, so much for tuner wealth ha ha
The top appears to have sunk on the bass side and the edges of the F-holes are way off, the inside edge being significantly lower than the outer edge. There are no cracks in the top except one very small one near the f-hole that is warped. I think what I am seeing is water damage of some kind.
I have an appointment with a luthier next wednesday. Lets hope i can get it playing!
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the 16" L-7's and L-5's have thinner script font than mid-late 30's guitars. Originally Posted by ThatRhythmMan
You’re right, CMS. The lettering on yours is very much like that on earlier guitars. That does make me wonder if they used up some old stock on some of these guitars. For example here is my ‘34 L7. It has the fleur de lis, but predates the window pane inlays on L7s and has the skinnier headstock of the era. The lettering, however, is very similar.
go back and compare this photo to the op's photos
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It’s not the same, but it looks more similar to the OP’s guitar than the slanted logo. Just for comparison, here is a mid 30s L-10 and a 1941 L-5. Originally Posted by wintermoon
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I dunno, I think the thicker straight font looks closer to the slanted but ymmv
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Here she is at work tonight. Everybody was bowled over, and we had an audience (enthusiastic) at a rehearsal. Rare. They came down for a smoke and just stayed.
Damn this guitar sounds amazing. I just played around the dead note and holy smokes....
It is LOUD. It's funny but you can't really hear it from where your ears are while playing. My ears must be behind the f-hole projection pattern because it doesn't sound loud to my ears, and I can hear my own singing way better than with the Martin I usually play. I have a D-28 that is my standard, play every day do everything guitar that I have been playing almost exclusively for about three years. Compared to that guitar...well its totally different. But from a room filling perspective (no electricity on tonight) it totally does the job. If I am playing at all, no one can have a conversation. It's like playing a banjo.
About an hour in, I noticed I was having a hard time hearing the guitar and as a result I was overplaying big time, just to try to hear the notes! But everybody says wow the thing is loud. I notice the volume when there is no bass, like when I am noodling between songs. But the overall band sound is off. After a bit the bass player says "you can't hear this, can you?" and picks it up and plays some cowboy chords.
Yikes. When you sit in front of this guitar, your ears almost hurt. This is with strings and wood and fingers - no pick! No electricity. I am in even more in love than I was before, if that is possible. When he handed the guitar back to me, I got a big ole' warm fuzzy in my stomach. This is why vintage Gibson guitars are awesome. They sound like magic.
This guitar has built in reverb. Seriously. Somebody said it sounds plugged in, and it's true that the guitar just booms like it's it in cave or a stairwell. This with a stand up bass ('52 Kay), a banjo and a mandolin. All loud instruments. I kept up just fine.
Granted we are seasoned to each other at least and know how to lay back. But we play a lot of purely acoustic bluegrass with a smattering of fast gypsy jazz and I need the presence of the Martin to keep up/be heard. No issues there tonight. this old beat up L-7 does the job and then some.
It is definitely not the Martin. To my ear (tuned by countless hours of Zeppelin and the Grateful Dead) there is a cool or blue or even grey tonal quality that at first blush makes your ears sort of want for the "guitar' sound. But after a second or two my ear instantly picks up something different and good, and when you strum ANY chord, you hear the balance and ring in it. That's the guitar sound.
Trying not to gush too much. I just love it.
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It sounds like you've got a great instrument in your hands. Congrats!
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It's an archtop. That's how archtops work. They're designed to be heard in a big band. But they project outward, and the sound the player hears is not the sound people out front hear. You'll get used to it.
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Here’s how Freddy Green heard himself.
http://i99.photobucket.com/albums/l3...oxJunky/FG.jpg
Julian Lage said he sometimes faces a corner when practicing on a laptop.
I decided to put Guild’s reproduction Dearmond 1100 in my ‘37 L-7. It added one small screw hole to the side of the neck, a small notch in the pick guard, and an endpin jack. Since my guitar is a non-original color, I’m not worried about those minor mods affecting its value. I like to set volume to hear about 1/2 amplified and 1/2 unamplified.
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I took the guitar to Eric Gleason at Kokotele Guitar Works here in Albany. He built up the bridge feet and properly fitted them to the top, and did a little fretwork, and voila! The notes all ring clear. He looked at the top bracing and said that they looked pretty good, but the top has sunk a little. All the cracks have been cleated except the tiny one on the top.
Now that I've played it for a month, I have to sell it. I'm moving abroad and can only justify keeping one guitar. I wish I could keep this one as my only one, but for the style of music I play it's not the right sound. This guitar is 1000X cooler than my plain ole' D-28, but the versatility and sound of the Martin make it the right choice. Moreover, I think it will hold up better to the rigors of travel.
I'm listing it on Reverb for what I paid - $1500. I'll do a thread here in the for sale section too, if anyone is interested.
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Looks like a really nice guitar at a fair price. These old L7's can be ridiculously great guitars, and at the price the buyer can spring for some TLC from a decent luthier. I snagged a '44 for not much more, and it's the best buy I've ever made on a guitar. It sounds as good or better than many L5's and other gibsons from that era. Just saying.
Here's mine (I love this guitar and so does anyone who's ever played or listened to it):
GLWTS
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The tuners on my 1947 L7 are open back Klusons. Originally Posted by icr
Keith
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