Gibson

When it comes to vintage acoustic guitars, there is little more tantalizing than a Martin or a Gibson produced between 1920 and 1940 (or, perhaps as late as 1945, if we’re being totally honest).   This period of time is often referred to as a “golden era” of acoustic guitar production; but, in many respects, this period can more accurately be described as a time of discovery.  This is particularly true of the 1920s, during which time the popularity of and subsequent demand for steel string guitars gained tremendous momentum.  As evidenced by numerous and often significant changes made to their offerings during the ‘20s, companies like Gibson and Martin had yet to truly hit their stride as they explored fundamental steel string guitar design elements.  Of course these evolutionary steps are all understandable, particularly as there was no precedent to inform these companies as to how one should contend with all the added string tension, or even just what the heck a steel string guitar should sound like or feel like!  

Yet, by the late 1920s and very early 1930s a lot of early experimentation had begun to coalesce, such that some now legendary designs began to take more “permanent” shape.  True, further evolution and some major developments were still on the horizon—perhaps, most significantly the rapid shift of focus to producing 14-fret flat tops—but the rudiments of great sound and classic proportions became much more well-established.  In the case of Gibson’s L-body models, a great many changes had been made in a relatively short period of time. 

In L-0 was introduced in 1926 as a spruce-topped flattop with a slightly arched back and a brown stain.  This introduction coincided with the transformation of the L-0s sister instrument, the L-1, which was introduced in 1902 as a relatively small arched top acoustic with a 13.5” lower bout.  Though the lower bout widths of both models remained 13.5”, their flattop voicing was obviously a clear sonic departure from the arched top design of the earlier L-1s.  In 1928, the top of the L-0 changed to mahogany, which truly differentiated it from the L-0.  Then, in somewhere around 1929, the L-1 emerged with a new wider soundboard template with a 14 ¾” lower bout width, which was another fundamental change in voicing. By all indications, this change in lower bout dimension was subsequently made to the L-0 in 1930; but, as a company known for idiosyncrasies, anomalies, and poor record keeping, it’s entirely reasonable to posit that both models actually underwent this change at roughly the same time!  While both the L-0 and L-1 would remain 12-fret models for another two years, they had effectively taken on the classic shape and general proportions that we now associate with Gibson’s L-00 body.

The evolution of the L-body continued with the transition to a 14-fret neck joint in 1932, at which point the overall construction also became more sturdy (this naturally improved structural stability, but also made for a less resonant instrument).  Shortly thereafter, the L-0 was discontinued in 1933.   While the root cause of Gibson’s decision to discontinue the L-0 at this time remains unclear, but perhaps this move stemmed from concerns of too much similarity in the models.  This notion is somewhat supported by the fact that the L-1 was permanently discontinued in 1937 just as the L-0 was re-introduced, now with a spruce top, a fetching black finish, and a bound top and back.  The L-0 remained unchanged from these ’37 specs until it was finally discontinued in 1942—interestingly, this five year period represents the longest stretch of consistent specs in the L-0’s history.

Despite their similar body proportions, the 12-fret L-1s of this era are readily distinguished from the 14-fret variants that soon followed in 1932. For example the 1929-1931 L-1s still featured the turn-of-the-century smaller “The Gibson” script headstock logo; and, these transitional 12-fret models sport a hand-rubbed oil-based Cremona sunburst, which is prized for its tasteful visual warmth and subtle transitions in hue.  More importantly, 12-fret L-1s hailing from this brief period were physically lighter and more delicately constructed than the guitars Gibson would go on to produce through the pre-WWII era.  Indeed, this lightweight construction is immediately evident when one handles this particular L-1, which feels like it could either float away into the ether or simply implode at any given moment!  It is therefore easy to appreciate how so few of what was already a fairly limited number of ’29-31 12-fret L-1s have managed to survive over the years.  Thus, encountering an example as clean as FON 9920 223 here, is most certainly a rare occurrence.

Collectability and market scarcity aside, the experience of actually playing one of these 12-fret L-0s is also a rare treat.  On its own, the delicate construction yields a crisp and airy resonance, an ultra-sensitive response, and an explosive projection—quite frankly, the power of this guitar’s presence is just downright startling.  Yet, as we know of 12-fret steel string guitar behavior in general, the more central placement of the bridge naturally infuses the voice of the guitar with an extra degree of openness, warmth, and dimension.  When packaged into a mid-sized 00 body, these traits are presented with a pleasing measure of balance and clarity, especially with respect to the mid-range.  As a mahogany-topped instrument, one encounters a distinctive dryness and throaty mid-range in the voicing of this particular L-0—we often characterize this as a “woody” tone.   Without drifting too far into hyperbole, the woody tone found in this L-0 is the quintessence of inherently spunky and exciting response attributed to L-body Gibsons of the early ‘30s.  Ultimately, this dry and direct voicing translates to an attractive purity and focus in terms of note production that, in turn, makes a guitar like this L-0 ideally suited for recording applications, in addition to being just a damn fun guitar to play.   In short, this L-0 is not only a phenomenally well-preserved rarity, but also an exemplar of vintage tone with a presence and dimension that defies its compact size.

Condition

In light of this beautiful L-0’s age and its featherweight construction, it is in remarkably well-preserved condition, with no major points of structural damage nor any truly significant cosmetic detractors to note.  That said, the original finish of this guitar has developed a lovely worn-in patina. The relative smoothness of this guitar’s finish does suggest that the finish may have been lightly wet-sanded/leveled at some point, but we have also observed this visual and tactile quality following time spent on a buffing wheel.  And, as one would expect of an instrument that is approximately a century old, one will readily observe various minor dents, dings, and scuffs, consistent with age and use upon close inspection.  Still, this L-0 is perhaps the cleanest example we’ve ever encountered! 

While we have no concerns about the guitar’s function (apart from the fact that it is fundamentally delicate!), there are a few structural notes that bear mentioning. Most significantly, the top of the guitar does exhibit some bellying as a result of the interplay of an extremely light top and years of string tension.   According to its previous owner, the guitar was formerly represented as not having had a neck reset.  While, we cannot verify this claim with absolute authority, we are inclined to agree, particularly in light of the present minimal saddle clearance/exposure. Yet, as the guitar is quite playable, we would also be inclined to leave well enough alone for now (if it ain’t broke, don’t fix it!).  The frets appear to be original with fair mass remaining—of course, they were not too tall to begin with!  Internally, we do not see any bracing issues, but we do note that a couple of braces have been re-glued at some point.  Most interestingly, we note the top has evidence of an abandoned rosette carve, where there are the beginnings of some cuts corresponding to the general placement of a rosette.  We suspect that someone zigged when they should have zagged while starting the rosette cut, realized their error, and then simply flipped the top over (perhaps before the foreman took notice).  Regardless, this abbreviated cut poses no structural threat; and, in many ways, we think it’s a pretty cool oddity that not only distinguishes this particular guitar but also illustrates the practical (and somewhat penurious) building practices of Gibson during this era.   The original Waverly 3-on-a-plate tuners are in good shape and still fully functional. 

NOTE: As this guitar is quite delicate, it is not recommended to use anything but an extra-light string (e.g., .010” - .047”), unless one is keeping the guitar in a lower tuning, such as Eb or D standard, where a step up in gauge could probably be tolerated.  EXCELLENT+ Condition

• 12 Fret L-00 Body Style
• Mahogany Top
• X- Bracing
• Mahogany Back and Sides
• Natural Lacquer Finish
• Multi-Ply Single-Ring Rosette
• Single-Ply Crème Top and Back Binding
• Mahogany Neck
• Rosewood Fingerboard
• Dot Inlays (to the 15^th Fret)
• Small Script "The Gibson" Peghead Logo
• 3-on-a-Plate Waverly Tuners With Black Buttons
• Straight Rosewood Bridge
• 1 11/16^th” Nut Width
• 24 ¾” Scale Length
• 14 ¾” Lower Bout Width
• Bone Nut
• Long Contoured Bone Saddle
• Non-Original Arched Top Hard Case