I've often thought about the guy who had to stand around all day making 16 individual sawcuts for each neck block. Also, the guy in the 20's who had to individually kerf each lining strip on the bandsaw.
In the late 80s I spent a year working at the sklarr-peppler furniture factory in Hanover, Ontario. It was like stepping back in time. A lot of repetitive, boring work on flail-sanders, stroke sanders and edge sanders. 8 hrs a day sanding the same table leg or mounding. I imagine the kalamazoo plant would have been quite similar. If you weren't attentive, it was pretty easy to sand your knuckles. And all of the old-timers were missing parts of fingers ...
I owned and played exactly one of these from around 1976 up to 1990 and I loved it. I sold it to a friend when I started my own business and needed the money. This guitar was very loud and extremely light weight. The action could have been just a little bit better, but no big deal at all. There must have been some highly skilled craftsmen at the Gibson production plant at the time and very well materials where used too. The radius of the soundhole was huge. I remember that also.
I have what I believe is a 1933 L00. It has been through the ringer. Thin bridge, neck was crooked at heel. Fingerboard extension is about 1/4 over body. Refinished, drenched in hardware store finish. I replaced missing pickguard, reset neck. Thin top might explain belly. To remedy this I removed mahogany back. I will never do this again! Finally went with larger bridge and bridge doctor. Plays and sounds great. Kerfed lining, btw. Thank you
I’ve always been a Martin guy but I love the L-00. I’m planning on a 36 for my next build. Definitely considering solid lining and thinner top. Thanks Mark
Awesome info and explanation as always! The interesting thing to me about the solid linings on the GS mini, which I didn’t know, is that I’ve been wanting to makeover a GS mini in ‘33 L00 aesthetic. And now I want to more than ever.
Thanks again for sharing, Mark. I always look forward to these videos and I always walk away with a much greater understanding and appreciation for these unique and special guitars. I have the highest respect for you and the unparalleled knowledge you have of these early Gibsons. Hats off!
Fascinating! I see a lot of similarities to my '33 Kalamazoo GK-11, which has the target burst and also the solid binding. It seems to have the same 'soft V' neck carve that you describe. It appears to have have been built without a pickguard at all! The only number stamped inside is 910. I'm guessing 1933 because of the burst... It is a fantastic sounding guitar, however I had it in for a neck reset a couple months ago and I am very displeased with the results. I need to speak with the repairman who did the work and hopefully he will make it right...
Love your videos ! I have a 53 j45 that my late father bought new. I have always loved knowing as much as I can about things that interest me but I have had a very hard time finding out much about the construction of my guitar. Type of x bracing, type of spruce, etc. I would love to see a video about 50s slope shoulders as I realize there were major changes through the years. Thanks for any consideration. Cheers !
Very interesting, Driftwood guitars have taken this twist on using solid lining in their guitars, now I do have more understanding of the effects of it
I’ve got one of these which I think is from 1934. The number on the neck block is very faded and hard to read but the consensus is that it’s 921. The lining strips are solid. The rosette is white/black/white. The sunburst is small. The bridge is much deeper than yours. The neck appears to be similar. I got it on an eBay auction in 2008. It was very honestly presented as “beyond repair “! It had been in an attic in Birkenhead (north west England; coastal near Liverpool) for 50 years without a case; baked in the summer, cold and damp in the winter. The sellers thought it had been brought back to England from America by a family member who was a merchant seaman. Nobody in the family was musical so it ended up in the attic. In the final 30second eBay frenzy, I got it by the skin of my teeth for £1200. When it arrived, my wife thought I’d taken leave of my senses to have spent a big chunk of money on what she described as “fire kindling “! The conditions it had been in meant that every animal glue joint had broken down so my wonderful local luthier (Martyn Booth) had a very easy disassembly to start his fantastic restoration. All original with the exception of a new nut (ebony to match the original which was very badly chipped), new saddle ( the original was gone so I bought a piece of “cow bone” from StewMac) and new “golden era bent tab restoration “ tuners again from StewMac. It needed a refret as well. Your description “killer guitar” is on the money; it’s fantastic and I feel privileged to have rescued it and to be its custodian for this part of its history. I feel I’ve rambled on a bit so I hope someone may have been interested Regards
Terrific video full of information and perspective. My favorite acoustics, period. I love the "everything that matters, nothing that doesn't" and workmanlike but not OCD ethos of those old Gibsons. At some point, guitar-making (and buying) can get too detail-obsessed for me, and the guyitar and the video both keep things normal and in proportion. Made to be played. Thanks!
Cheers- just came into an early 34’ with the solid lining. Almost a rosewood tone and sounds nothing like my Kel nor my 42’. Light, thin back, and louder with rich sustain.
Pre-War, same here with a small burst '34 with solid lining. Very similar to the '33 Mark is showing above. We may have bench-mates. I think mine is FON 921.
@@geecheer7098 -Good to hear from you. Yes....incredible little(big sounding) guitar. I’ve got # 915 ...is that a batch number or a specific serial#? It has quite a rumble to it. Sustain unlike anything Ive played or owned. I came to Gibson as it was that sound I couldn’t get out of my head. I was hired as the “metal kid” at my record store in 84’....funny because as soon as I was hired, I lost all interest in it as some “old guy” that I worked with(30 years old) started me on those early Dylan Records with his Nick Lucas/J50. Then also heard those fleeting few seconds of Robert Johnson in the movie ‘Crossroads’. I searched in vein for a wartime J and ended up with a Kel Kroydon first, then a 42’ L00, had my friend Tony Build me a Maple Nick and then found this 34’ after a many year long search after a conversation with a dealer named Greg Boyd. Kevin Kopp builds his guitars with this solid hog rim. It makes a world of difference as this doesn’t sound anything like my others with that same foot print. What pick guard does it have?....and do you have the harder v? I love this guitar!
The solid lining could have been a cost-cutting measure, as the trimmings from sides might have been used and these would otherwise be not usable. If this method allowed for an additional 1/4 inch in peripheral internal soundboard, then the overall increase soundboard area would be significant, around 12 square inches (a wooden 12 inch rule).
Thank you Mark . I just sent you email regarding. My Gibson 33/34 with pics including partial fon . I was hoping it was enough for you to ID year and model. I’m not sure if it is a L 00 or L 01. I just found your channel and definitely subscribed.
Hi Mark, interesting as always! Can you please give also information of the neck depth? At the 1st (min./max.) and 9th (min./max.) fret? Especially for 1933 L-00/L-1 🙄 All the best, RLB
Hi mark, great video and very informative. Question: I play a Martin OO-18 and love it. What is your opinion on slotting the bridge to give a slight difference in tone. Is it worth doing or leave it alone. Is your L-OO slotted or normal bridge? You have great knowledge and very interesting to listen to. Thank you
Hi Rob - While filling and slotting the bridge on your 00-18 might offer you an incrementally different tone, the results may or may not be worth the costs. Consider the resale value of the guitar as well prior to converting the saddle.
Hi Mark, Did you say “Hacklinger gauge”? I have been looking around for YEARS - Saw an archival picture of an older man at Martin Guitars using something that looked like your Hacklinger gauge. I thought I remembered my Grandfather using one. Now that I know what it’s actual name is, maybe I’ll be able to find one. Have you any idea where I can purchase one? Thanks again for the great video! JJZ...(°¿.°`)
Yes. Hacklinger gauge. They’re really hard to find right now. Not sure what’s going on. Stewmac sells a digital thickness gauge that I’ve never tried. It’s significantly more expensive than the last Hacklinger I bought.
Thanks for a really interesting dissection of the 1933 L-00. In my case even more interesting because I own a 1933 L-1 (FON 532), which leads to my question. Are many of the features you discuss also present in an L-1 (thinner top, for example)? My rosette is white-black-white. What were the differences between the L-00 and the L-1? One difference I note is that my L-1 has a partially cantilevered fingerboard. Two-thirds of the fingerboard extension into the body is not attached to the body. I assume this would enhance the sound a bit. Mine doesn't have the sold lining strip, however.
Hi Daniel - Thanks for the info on your guitar. I'll add it to our files. Your L-1 is the same guitar as an L-00 but for the top finish, tuner style, back binding, and possibly the bridge pin color. The elevated fingerboard was something Gibson was doing in the early days of 14 fret necks on flat-tops. I've never seen an elevated board version that also had solid linings.
@@TheFolkwayMusic Thanks very much for your reply. What would be the difference in the top finish? The pattern of the sunburst on my L-1 looks identical to the L-00 in the video. BTW, I've enjoyed several of your recent video posts, particularly learning about the fine details of construction and repair processes.
I have one of these I believe but my local expert I believe missed the mark. I would love it if you reached out to me and we could discuss it. It is in all original excellent condition. It was a bus guitar for a group of traveling musicians. To be named later. Gimme a shout.
So interesting! I have a 32 (I think) L-00, small burst, elevated fingerboard, 14 fret, firestripe guard, FON 351 (v faded) but going by what you've said I now have no idea what year it haha! Gibson eh?!
Tom - We'd love to see a photo of that guitar! Elevated and Firestripe pickguard. Interesting. If you can, please send a few photos to info@folkwaymusic.com. Thanks!
My question since you were re-setting the neck would be why didn'y you put a higher bridge on it to avoid the low string issues (not the least of which would be volume and tone) and re-set the neck to the higher bridge? Is that not purest? Can't you find a higher bridge off of a lost-cause Gibson of a similar vintage? It just seems that, as you suggest, just putting it back together as is is going to lead to future issues and more expensive repairs. What is your criteria for making such decisions?
If a bridge is shaved too low it's generally preferable to replace it with ta full height bridge. If it's shaved a little bit, we'd always rather leave it in place. Removing a perfectly good bridge is like doing elective heart surgery. ie - not a good idea. Repairwork should be as minimally invasive as is logical.
what are your thoughts of using Titebond instead of the traditional hide glue ,I think it would hold better, alot of Luthiers will use hide glue because that was what was used back then ?
Titebond and other PVA glues hold well, but will not rejuvenate with the addition of fresh glue the way hide glue does, and therefor is not a good choice for any joint that might need servicing again down the road. There are many benfits modern glues offer, but serviceability isn't one of them. It's best to stick with hide glue, so to speak! Beyond that, the stuff is magic. So easy to use and to clean up, and such incredible swelling/holding capabilities.
Isn't there more risk of the top or back glue joint failing with less surface area with solid linings? ---Unless the non-kerf adds back at least some gluing surface?
No, Reworking an original finish on a vintage guitar is something to avoid at all costs. The guitar will be in perfect working order when done, and look like the 88 year old instrument that it is.
For my vintage guitars (40-60 yo), I use wood products which just clean the original varnish / soften it a bit without altering the sound. And, when lightly build, I try to tune them down : usually flattens tops, ease braces and repositions bridges in a better way.
