The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 37 of 37
  1. #26

    User Info Menu

    The difference between L-12 and L-7 is L-5.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    Quote Originally Posted by Zina
    The difference between L-12 and L-7 is L-5.
    Well-played!

    Quote Originally Posted by DMgolf66
    What are the differences between the L-12 and the L-7. I kinda dig the aesthetic of the smaller L-7 with the funky inlays. But thats just my eye talking.
    When Gibson introduced the L-5 in '23, it was a 16" guitar with f-holes. They subsequently introduced the L-12 ('32), L-10 ('32) and L-7 ('34) as 16" guitars
    with f-holes. These were similar to the L-5 model in most ways, with less ornate inlay and simpler finishes.

    By mid-1935, Gibson introduced the "Advanced" archtop style. The L-5, L-12, L-10 and L-7 became 17" f-hole archtops, with 24 3/4" scale and x-braced bodies. There were cosmetic changes as well. The cool windowpane banjo inlay package from the 16" L-12 was moved to the 17" L-7. Gibson occasionally mismatched inlay packages on other models - it was the Depression and they just wanted to sell some guitars.

    The 17" L-12 got new inlays, with a double parallelogram pattern on the board and the unique cross inlay on the headstock (never used on any other standard Gibson model before or since).

    Advanced L-7 and L-12 guitars are essentially the same instruments, built the same way, the same size, with different inlays/binding, finishes, tailpieces, and metal plating (nickel vs gold). They sound and feel the same.

    Last edited by Hammertone; 02-14-2020 at 07:00 PM.

  4. #28

    User Info Menu

    Quote Originally Posted by Zina
    The difference between L-12 and L-7 is L-5.
    Yes you got that exactly correct. And just to make it clear anyone looking for a carved top guitar and wanting to find the "animal" that simply works and will always be in demand just get an L5. It does not matter what year or even if it is a 16 or 17 inch, finding an L5 that you like and plays well is basically the end of story. Sure you can get a custom made puppy, or go all out on a vintage D'a, in the end the Gibson L5 will be THE guitar and always have a market for selling. Pony up the extra cash and you won't be sorry.

  5. #29

    User Info Menu

    Quote Originally Posted by oldane
    On Gibson archtops, the bridge is normally placed at the middle of the F-holes. On this one, it's placed higher up, almost like on a Birdland / 1950s ES350T. Is the bridge just misplaced here, or is the scale length shorter than normal?
    Quote Originally Posted by gitman
    The F-holes on this particular guitar are of a somewhat unique shape (compared to the later Gibson shape) and therefor the bridge-placement looks like it's "wrong" - I'm sure the owner has it placed correctly and the guitar plays in tune .But still, is this the original finish ? If not, maybe the repair-person who did the re-fin also worked on the f-holes and widened them a bit in the center, for reasons unknown.....
    The guitar was refinished many, many years ago. Whatever work was done to it happened prior to the refin. There are no repaired cracks - my guess is that it was played a lot and the owner decide to have it refinished. 83 years old and going strong. I checked bridge placement/intonation, adjusted it, and grabbed a quick shot, replacing the one above (one can see how much it was moved). Standard @24 3/4" scale. My own experience with bridge placement on old f-hole archtop guitars is that it tends to be close but not exact with relation to f-hole points. Gibson has never been too fussed about it, to which anyone with a Byrdland or L-5Rit can attest.
    Last edited by Hammertone; 02-13-2020 at 06:07 PM.

  6. #30

    User Info Menu

    Yeah, if you're just playing stuff at home Hammertone's L-12 would be a killer choice in that range.
    Plus, the 24.75" scale is easier to work with for chord melody stuff, and you don't need 25.5" for added projection (like I typically do).

  7. #31

    User Info Menu

    Quote Originally Posted by campusfive
    Yeah, if you're just playing stuff at home Hammertone's L-12 would be a killer choice in that range.
    Plus, the 24.75" scale is easier to work with for chord melody stuff, and you don't need 25.5" for added projection (like I typically do).
    Also good for acoustic guitar duo work with two really nice complementary tonalities:

  8. #32

    User Info Menu

    I just bought a Triumph from 1947. I had the option of the Triumph or a ‘41 L7. I chose the Triumph for the better balance and the volume. With the punch I can play easy and light and still get out there, it allows for better dynamics. I’m sure there are L7s out there that will do the same but that particular one didn’t. Here is a short clip of some chordal stuff. It’s recorded with an iPhone so it’s not the best but with headphones or good speakers you can hear the tone and punch of the guitar. I’m just getting going on chord melodies and I’m a little spastic on this one so there is that....


  9. #33

    User Info Menu

    Has anyone else had any experience with 50's Epiphone Zeniths? There is one for sale locally at a good price and was trying to gather info.
    Thanks for any help!

  10. #34

    User Info Menu

    Quote Originally Posted by Hammertone
    Also good for acoustic guitar duo work with two really nice complementary tonalities:
    Hammertone,

    Your L-12 looks great. If I didn't own a '44 L-7, I'd be seriously tempted. But I'm curious about what epi and gibson models these two are? I agree about the complimentary sounds of the vintage Epiphones and Gibson's, having been around the combination quite a bit.

    Also, someone who was quite experienced with repairing old Gibson's and Epiphones once told me that there was a period during the last decade of Epiphone, which includes the early '50s, that they were working down through their existing wood inventory into the highest quality materials, and therefore vintage Epiphones from that period could have some very nice wood!
    I own a 1936 Epiphone Masterbuilt Emperor, and it is a true work of art and sonic canon. The wood is nothing short of incredible.
    Steve

  11. #35

    User Info Menu

    Quote Originally Posted by skykomishone
    Hammertone, ... I'm curious about what epi and gibson models these two are? I agree about the complimentary sounds of the vintage Epiphones and Gibson's, having been around the combination quite a bit.
    1938 Epiphone Triumph, 1938 Gibson L-12 (with a temporary tailpiece).
    Last edited by Hammertone; 05-24-2020 at 05:57 PM.

  12. #36

    User Info Menu

    Quote Originally Posted by DMgolf66
    Has anyone else had any experience with 50's Epiphone Zeniths? There is one for sale locally at a good price and was trying to gather info.
    Thanks for any help!
    I sold my 1951 Zenith, but I wish I had kept it. This video I did whan I was selling it gives you an idea of what it looks and sounds like.

    If the current owner is still out there and wants to sell it back, give me a PM!


  13. #37

    User Info Menu

    Top