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  1. #26

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    Quote Originally Posted by pcjazz
    Krivo. Putty mount until you are happy with the location then mount it on the pickguard if you prefer.
    I just went to their site and those look pretty wide......

    I just bought and tried out a clip-on mic p/u, and at low volume - - before the feedback starts, the reproduction isn't bad.....I would bet the mic portions of most of these floaters are pretty comparable.......That technology seems ok..

    But then come the headaches and / or irritations: - - routing the wires and how to hide them, then the mic attachment process itself - -where and how to clip, glue or fasten the p/u...Then finally the end pin connection......I am guessing you can spend 3 times the cost of the p/u on the labor to attach, connect and then professionally install the pieces. I am perfectly willing to pay my luthier to do this. But after all that, I'd still have a feeding back floater controlled at the amp.

    I mean I understand completely how we'd all like to avoid cutting a carved top guitar - -but like I said, these days, a 1952 L-7 blonde acoustic cutaway is worth no more than a similar year s/b, non-cut, laminate like an ES150 or even L-50 ......So it's not like I'd be modifying a priceless work of art and making it worthless.....

    It'll just be that now, while this L-7 is still worth the same as an ES 150 with a P-90, this L-7 will have a humbucker or similar p/u - and for half of what I'd have to pay for one of these other guitars.

    ???


    Thanks.

  2.  

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  3. #27

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    If you use a Dearmond monkey on a stick it's 2 thumbscrews to clamp it on the strings and you're done

  4. #28

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    hey dd, don't cut it...it's survived 68 years in it's original state...honor it...hopefully it'll be around for decades more to come...your are but a caretaker..take care of it

    look into kent armstrong ultra thin...and lollar^

    pickguard mount is always safe option as you can get repro guard to work with..and store/save original pickguard/fingerrest! hah

    cheers

  5. #29

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    The Krivo is not a mic; it is a very thin single coil or humbucker magnetic pickup designed to be attached to the top with removable putty or mounted on a pickguard. I use one on a 1934 L7 with excellent results. You are probably thinking of the Schertler dynamic mic or Schaller oyster, both of which are putty-mounted microphones which, in my experience, have serious feedback limitations on an acoustic archtop. The Krivos are a different kind of beast altogether.


    Quote Originally Posted by Dennis D
    I just went to their site and those look pretty wide......

    I just bought and tried out a clip-on mic p/u, and at low volume - - before the feedback starts, the reproduction isn't bad.....I would bet the mic portions of most of these floaters are pretty comparable.......That technology seems ok..

    But then come the headaches and / or irritations: - - routing the wires and how to hide them, then the mic attachment process itself - -where and how to clip, glue or fasten the p/u...Then finally the end pin connection......I am guessing you can spend 3 times the cost of the p/u on the labor to attach, connect and then professionally install the pieces. I am perfectly willing to pay my luthier to do this. But after all that, I'd still have a feeding back floater controlled at the amp.

    I mean I understand completely how we'd all like to avoid cutting a carved top guitar - -but like I said, these days, a 1952 L-7 blonde acoustic cutaway is worth no more than a similar year s/b, non-cut, laminate like an ES150 or even L-50 ......So it's not like I'd be modifying a priceless work of art and making it worthless.....

    It'll just be that now, while this L-7 is still worth the same as an ES 150 with a P-90, this L-7 will have a humbucker or similar p/u - and for half of what I'd have to pay for one of these other guitars.

    ???


    Thanks.

  6. #30

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    Quote Originally Posted by wintermoon
    If you use a Dearmond monkey on a stick it's 2 thumbscrews to clamp it on the strings and you're done
    ...Sorry, but that look for me is too much........

  7. #31

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    Quote Originally Posted by Dennis D
    ...Sorry, but that look for me is too much........
    Form follows function.

    Sent from my SGH-I337M using Tapatalk

  8. #32

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    Quote Originally Posted by wintermoon
    don't do it. exhaust every other avenue first.
    .........Tomorrow's the luthier call.....: )

  9. #33

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    Quote Originally Posted by Dennis D
    I mean I understand completely how we'd all like to avoid cutting a carved top guitar - -but like I said, these days, a 1952 L-7 blonde acoustic cutaway is worth no more than a similar year s/b, non-cut, laminate like an ES150 or even L-50 ......So it's not like I'd be modifying a priceless work of art and making it worthless.....

    It'll just be that now, while this L-7 is still worth the same as an ES 150 with a P-90, this L-7 will have a humbucker or similar p/u - and for half of what I'd have to pay for one of these other guitars.

    ???


    Thanks.
    Your entire concept of "worth" here is defined entirely on market dollars.
    You display no concept of value beyond that.

    Seems like you started out intent on disfiguring this old gal and now you've got it all rationalized.

    You've figured out how to turn a silk purse into a sow's ear.

    Brilliant!

  10. #34

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    Quote Originally Posted by Dennis D

    I mean I understand completely how we'd all like to avoid cutting a carved top guitar - -but like I said, these days, a 1952 L-7 blonde acoustic cutaway is worth no more than a similar year s/b, non-cut, laminate like an ES150 or even L-50 ......So it's not like I'd be modifying a priceless work of art and making it worthless.....

    It'll just be that now, while this L-7 is still worth the same as an ES 150 with a P-90, this L-7 will have a humbucker or similar p/u - and for half of what I'd have to pay for one of these other guitars.
    .
    I havent seen any $2,000 L-7s.
    Am I missing something?

  11. #35

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    Seems like you're pretty sure of what you want to do, but you might also consider.....

    Dealers will usually pay "wholesale" prices for trades or purchases so they have room to mark them up for retail.
    So the $2000 trade value offers you received from those dealers is just how they do business. They will want to double that at retail.

    So if you were to offer your nice L-7c blonde at retail for $3000-3500 in a private sale, it would actually be a price that some might like.
    I would if I didn't already have two nice L-7's.

    Joe V at archtop.com could probably get you at least that much after he takes his cut, but likely more if you put it on consignment there.
    He seems to do well selling blonde L-7c's.....

    Either way you'd have more than enough to buy a post-war ES-150 or possibly an ES-300 with the proceeds and have a bunch left over.

    But if you decide you're going to go ahead have a hole cut in the top to mount a pickup....
    ....keep in mind that the top braces will likely need to be cut or notched and whittled away at that location.

    I've seen other such L-7 P-90 conversions where that's what was done....some not so nice.
    So some thought of reinforcing the braces might something be to keep in mind for your luthier.
    Last edited by zizala; 09-14-2020 at 10:29 AM.

  12. #36

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    Just another point to address, if it has not already been. *If* you want to maintain the originality in the long run, don't cut out the original pickguard for the pickup. Have another one made to do that to. Not much $.

  13. #37

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    Quote Originally Posted by Woody Sound
    Just another point to address, if it has not already been. *If* you want to maintain the originality in the long run, don't cut out the original pickguard for the pickup. Have another one made to do that to. Not much $.
    Thx WS - this p/g is a replacement - -the original was a McCarty, which I removed.

  14. #38

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    Quote Originally Posted by DMgolf66
    I havent seen any $2,000 L-7s.
    Am I missing something?
    I just went looking for clean 150's and other laminated Gibsons with P-90''s......$2000 won't buy any of them.... There's a decent solid top L-48 f/s in town for $2400. - -except it too needs a p/u.

    As I said I was offered $2700. for a trade on this guitar. They would probably have offered it for sale for $3500. -maybe $3700. Check out Reverb sold prices - -there's lots of L-7 asking prices over $4500, and more - - -but they end up actually selling for $3000--$3500. tops.

  15. #39

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    Wait, the OP also has a WesMo?

    It always seems to me that whenever this topic arises, the owner misunderstands the purpose of an acoustic archtop.

    An L5CES WesMo is an ELECTRIC guitar. It's NOT an acoustic guitar with a pickup jammed in the top. It's a hollowbody, yes, but they're constructed in a way to optimize the electric sound. The top and back are more rigid or even laminate to resist feedback.

    The only similarity between an acoustic L7 and a L5CES is the appearance. Never judge a book by its cover.

    Sent from my SGH-I337M using Tapatalk

  16. #40

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    Quote Originally Posted by rabbit
    Your entire concept of "worth" here is defined entirely on market dollars.
    You display no concept of value beyond that.

    Seems like you started out intent on disfiguring this old gal and now you've got it all rationalized.

    You've figured out how to turn a silk purse into a sow's ear.

    Brilliant!
    Of course, I beg to differ.

    The market comes into play if I have to go into it and buy an electric replacement for this L-7. And then it'll also come into play if I have to sell this one or trade it in.
    I've already taken a hit on what I paid for this vs. its current market value. But if I can't get an electric one as clean as this - -which I probably can't - and it isn't worth even close to what I paid for it - -which it isn't - -then modifying this seems to be the way to go.
    But mod'ed or not, from now on, this guitar will always be lucky to bring $3500.
    So seeing as I alone have taken the loss, then it'd be my call as to what mod's if any get done..

    Now if there are any donations accepted to fund this work, then of course we can always take a vote as to how to proceed.
    Last edited by Dennis D; 09-14-2020 at 01:27 PM.

  17. #41

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    Krivo Micro Manouche sounds pretty acoustic and works with acoustic strings

  18. #42

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    Quote Originally Posted by Dennis D
    I just went to their site and those look pretty wide......

    I just bought and tried out a clip-on mic p/u, and at low volume - - before the feedback starts, the reproduction isn't bad.....I would bet the mic portions of most of these floaters are pretty comparable.......That technology seems ok..

    But then come the headaches and / or irritations: - - routing the wires and how to hide them, then the mic attachment process itself - -where and how to clip, glue or fasten the p/u...Then finally the end pin connection......I am guessing you can spend 3 times the cost of the p/u on the labor to attach, connect and then professionally install the pieces. I am perfectly willing to pay my luthier to do this. But after all that, I'd still have a feeding back floater controlled at the amp.

    I mean I understand completely how we'd all like to avoid cutting a carved top guitar - -but like I said, these days, a 1952 L-7 blonde acoustic cutaway is worth no more than a similar year s/b, non-cut, laminate like an ES150 or even L-50 ......So it's not like I'd be modifying a priceless work of art and making it worthless.....

    It'll just be that now, while this L-7 is still worth the same as an ES 150 with a P-90, this L-7 will have a humbucker or similar p/u - and for half of what I'd have to pay for one of these other guitars.

    ???


    Thanks.
    Jason will build you a pickup to a narrower specification if you want

  19. #43

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    I'm sure these have been mentioned, but here are some super low profile floating pickups.

    ac accessories

    There are also Johnny Smith style mini-hums with discrete designs. If the gold/nickel covers are what you're into, these should suit.

    Finally, if he can't find an ES-150 for a good price, he can't have been looking too hard.

    1951 Gibson ES-150

  20. #44

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    Quote Originally Posted by Kirk1701
    Wait, the OP also has a WesMo?

    It always seems to me that whenever this topic arises, the owner misunderstands the purpose of an acoustic archtop.

    An L5CES WesMo is an ELECTRIC guitar. It's NOT an acoustic guitar with a pickup jammed in the top. It's a hollowbody, yes, but they're constructed in a way to optimize the electric sound. The top and back are more rigid or even laminate to resist feedback.

    The only similarity between an acoustic L7 and a L5CES is the appearance. Never judge a book by its cover.

    Sent from my SGH-I337M using Tapatalk
    Yes I have a WesMo and I know it's an electric guitar...The WesMo may however be closer to a Gibson acoustic than an L-5 has ever been. This has to be mostly due to Gibson making L-5 acoustics as they do now - - - meaning 'heavy'. I compared a 2014 all acoustic L-5 with this Wesmo unplugged and there was almost no difference in volume. So it's pretty safe to bet they're overbuilding the acoustics.
    So what I'd also hope to achieve - besides electrifying this L-7 - - is to end up with a lighter (edit) * electric * archtop than a WesMo.

    MHO again FWIW

    Thanks.
    Last edited by Dennis D; 09-14-2020 at 10:34 PM.

  21. #45

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    Quote Originally Posted by Dennis D
    Yes I have a WesMo and I know it's an electric guitar...The WesMo may however be closer to a Gibson acoustic than an L-5 has ever been. This has to be mostly due to Gibson making L-5 acoustics as they do now - - - meaning 'heavy'. I compared a 2014 all acoustic L-5 with this Wesmo unplugged and there was almost no difference in volume. So it's pretty safe to bet they're overbuilding the acoustics.
    So what I'd also hope to achieve - besides electrifying this L-7 - - is to end up with a lighter archtop than a WesMo.

    MHO again FWIW

    Thanks.
    I'm not sure I understand why you want to put a pickup on it.
    Your intended use is at home right?
    Do you need to plug in?
    Why does the look matter?
    You don't like the look of the krivos, or the monkey on a stick. But they are both removable in seconds. The TK Smith also falls into that category. It is just stuck on with putty. Stick it where you want it. Peel it off when you don't want to look at it.

    You can get a Kent Armstrong or vintage vibe/Pete biltof floater attached to your Pickguard. And you can put tone or volume controls on the pick guard. This is not as quickly removable, especially if you have an input jack permanently mounted as opposed to in the strap button.

    When you cut into the guitar you may not loose any $ value, but it loses acoustic value. And to be honest it's probably not an ideal guitar to cut and put a humbucker in. You might not have much of an issue at home levels, but it would very likely feedback easily at stage levels. This is because it's built to vibrate as opposed to a laminated es150 or wesmo.


    Just some thoughts.

  22. #46

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    Quote Originally Posted by Kirk1701

    Finally, if he can't find an ES-150 for a good price, he can't have been looking too hard.

    1951 Gibson ES-150
    Non cut, s/b and all laminate, w/P-90 for $2800. ? Good for them if it brings that - but when carved, natural or s/b , cut away L-7's struggle to bring $3500. what's wrong with this picture ?

  23. #47

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    I just played one of these for a couple minutes. Guy told me it was a '56. He had the Dearmond pickup attached. That was one of the best feeling and sounding archtops I've come across yet. Not sure which p/u he had, but damn it sounded fine.

  24. #48

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    Quote Originally Posted by Dennis D
    Non cut, s/b and all laminate, w/P-90 for $2800. ? Good for them if it brings that - but when carved, natural or s/b , cut away L-7's struggle to bring $3500. what's wrong with this picture ?
    It's the guitar market. Get used to it. If you think this is bad, try violins.



    Sent from my SGH-I337M using Tapatalk

  25. #49

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    Quote Originally Posted by Kirk1701

    It's the guitar market. Get used to it. If you think this is bad, try violins.

    I am probably as familiar with the guitar market as I want to be.

    And violins, no thanks. : )

  26. #50

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    Gibson actually moved away from carved-top acoustics quicker than the other archtop builders. So you may be right that the WesMo is a much livelier guitar than a 53 L7 acoustic. No one was buying acoustic archtops by then.

    Now that we know you actually want a lighter L5CES, you could, if you were so inclined, reframe your approach. You could use that L7 as trade bait for the lighter guitar you seek.

    Or you could definitely mod the L7. Remember in the 70s when everyone replaced the PAFs in their Bursts, etc with Dimarzio Super Distortions? I bet they're all glad they did that now that PAFs can easily fetch 10k. Super bright idea.

    Sent from my SGH-I337M using Tapatalk