Gallery

This historically significant Gibson L-1, 12-fret flat top guitar, is the earliest true Gibson flat top guitar on the market today.  As well as the one in the best, original condition. And it is a rare example, exhibiting transitional features that place it just barely after the 1926 introduction– yet still a 1926 model (Factory order number: 8406)– but leaning toward a few subsequent, very early changes that would establish Gibson on the flat top scene that Martin had carved out so well. Introduced in '26 (there was already a L-1 archtop), the original Gibson L-1 flat top had a 13-1/2" body, wide V-neck, and H-bracing. The L-1 later achieved fame due to its association with the legendary bluesman Robert Johnson. Its rounded lower bout, combined with narrow waist, is distinctive. And its thin braces, thin finish, and thin woods give it a wonderful woody yet loud, cutting, bluesy tone that no 1930’s– much less more modern– Gibson or Martin could achieve. It is the transitional nature of this particular guitar, that is intriguing. The very first L-1 flat top, had an arched back (birch, or maple), and a pretty fat V-shaped neck. Other traits of the very first L-1 flat top: single bound top; maple back and sides; no truss rod; unbound ebony fingerboard; H pattern top bracing; “The Gibson” paint logo straight across peghead; light amber top finish; Sheraton brown finish on back and sides; single bound back. But this L-1, though very early, does not have arched back, but rather a true flat top-style back. And its neck is a great-playing C shape, not overly fat, and not a V shape. Furthermore, it has “A” bracing, not the standard H bracing. Finally, this guitar has a (original) ebony fretboard with virtually no radius. It’s a true “transition” example. It is notably not a hybrid put together from old L-1 archtop parts– as were the very first L-1 “flat tops” out of the gate in 1926. These are the traits of this early Gibson L-1 flat top:

• Single bound, red spruce top, with amber stain
• Original ebony bridge; original cellulose bridge pins (unslotted)
• Maple back and sides (back is not arched), with Sheraton brown finish
• Mahogany neck, C-shaped
• Original, very thin maple bridge plate, tucked under braces, and extending all the way to the kerfing at the sides of the top, and tucked under the Kerfing
• No truss rod
• Unbound ebony fingerboard (not “ebonized”, but solid ebony)
• “The Gibson” paint logo straight across peghead
• Single bound (ivoroid) top
• Single bound (ivoroid) back
• H bracing (a slight variation of  “A” bracing; with the apex at either side of the neck block– and the braces actually tuck beneath the neck block)
• Pearl dots on 5,7, and 9 frets
• Original three-on-a-plate tuners, with plastic tuner buttons
• Original frets
• Original ebony nut
• 13 5/8 inch, lower bout
• 24 1/2 inch scale (not the 25 inch scale that was soon settled on by Gibson for the L-1, soon after the introduction)
• Nut width: just shy of 1 7/8 inch
• Width of fretboard at 12th fret: 2 ¼ inch
• String spacing at nut: a hair over 1 ½ inch
• String spacing at bridge: 2 3/8 inch
• Three well-repaired top cracks  (all, with the grain; and the amber finish on top is very forgiving, in terms of appearance, so cracks are hardly visible)
• One replaced tuner post

Every part of this guitar is original, except a new saddle, and the one replaced tuner post. Even the bridge pins are original. The neck was just set by us, perfectly. Intonation is perfect, all the way up to the high frets. Action: 3/32 over 4/32 inch (high E; low E, at 12 fret). This guitar is a rare example of the first true Gibson flat top, and is the earliest made on the market that is indeed a true Gibson flat top– not a hybrid Gibson archtop/flat top. If you acquire this guitar, you’ll have boasting rights to the first Gibson flat top still in existence. But that’s all for show. More than anything, this guitar plays beautifully. It’s hard to put down. Its tone is wonderful. It has clear, glassy trebles that only the combination of maple back and sides with the very thin build, can deliver. This is a guitar whose trebles and mids you will not find on any other instrument. It is a combination of that uncompromised, pure woody tone from the great 20’s flat tops, but with the clear, louder trebles and mids that are haunting, and fill the room, even with the lightest touch.

A great sounding 00-18, from the era when 18’s were light as a feather and have the resonance that result in singular tone– and this one from the time when Martin had just moved away from the pyramid bridge and to the belly bridge.

• Original finish (with a bit of overspray, only on the area below the soundhole (typical light overspray where there was pick wear)
• Has just had neck set, here, perfect job
• Has just been refret, with period correct Bar frets obtained from TJ Thompson
• New, exact duplicate bridge made (it had its original belly bridge, but it had a crack and we preferred to replace the bridge with a perfect reproduction ebony belly bridge. New bridge, is on exact, correct footprint of original bridge
• the top of the guitar is crack-free
• the back of the guitar is crack-free
• Repaired side cracks, on both treble and bass sides

It’s set up perfectly, actually with low action and no buzzing anywhere, and is one of the best sounding late 20’s belly bridge 18’s we’ve played.

The Larson Brothers need little introduction to the world’s top players and collectors, and they are very different instruments from the Martin and Gibson instruments that dominated the 1920’s and 30’s by their shear numbers. Larson instruments are rising in value rapidly, as they never produced the kind of volume that Martin much less Gibson produced in those decades, and they are now recognized for their magnificent workmanship and tone. The now legendary Chicago-based Larson brothers, August and Carl, did not make instruments with a “Larson” label. All of their instruments were branded and marketed for Stahl, Maurer, Prairie State, Euphonon, Dyer, Bruno, and a few more. Yet every one of their instruments has their unmistakable trademarks. And their unmistakable tone. This exquisitely beautiful, 100% original Larson Mandolin was made at the very height of the Larson legacy– when they were making their finest instruments. It has all of the Larson trademarks that set apart the best Larsons, including “built under tension” design, and Larson’s classic “ebony under the binding” on the neck. Every part of this instrument is 100% original. And its crack-free– save for two tiny dryness finish cracks near center of back, of about two inches each.

• 100% original finish, everywhere
• Scale length: 13 inches
• Nut width: 1 1/8 inches
• Serial number: 38764

This particular model, is one of the high end Larson models, a presentation grade instrument, with its Abalone trim, elaborate inlays on headstock, and fretboard, and exquisite Brazilian rosewood. Tone: think of the best Brazilian rosewood instruments, but add more sustain. It vibrates in your hands, and the tone, because of Larson’s patented “built under tension” design, is thought of by players and collectors as being both unique and delivering probably the most sustain you’ll get from any instrument. If you’ve never played a Larson brothers mandolin or guitar, be prepared to be shocked by the brilliant, shimmering tone, the sustain that goes on and on, and the harmonic overtones– that nothing but a Larson achieves. This Larson-built mandolin is identical to the one in the famous Hank Risan collection, the Museum of the Musical Instrument (www.themomi.org). The MOMI houses one of the best collections of twentieth century American instruments– and their collection of Larson brothers instruments is the best collection in the world, choosing only the best examples. The Larson/Stahl mandolin in that collection, identical to this one save a slightly different bridge, can be seen at: http://www.themomi.org/museum/roaring20s/c.1930_Stahl_Mandolin.html