New York GuitarI made this guitar in the United States at Frank Finocchios workshop in Easton,PA. The back and sides are made from Black Walnut with an Ebony fret board. The soundboard is made from Adirondack Spruce, a wonderfully light yet stiff wood that make it ideal for making soundboards.
It has a great ´jazzy´ tone and is very pleasing to play. This guitar is not for sale. Replica of 1929 Gibson L1 in RosewoodI made this replica of my 1929 Gibson L1 but used different woods to the original (Rosewood instead of Mahogany for the back and sides). This is the same model that Blues Legend Robert Johnson chose to showcase his virtuoso guitar playing talents. I think he knew what he was doing when he selected it.
It has a very unusual short scale length - 24 1/4" that reduces the string tension facilitating bending notes. The scale length if often misquoted as 24 3/4" but it is definitely 24 1/4". The bracing pattern is exactly based on the original which is in the shape of a capital letter A and predated the X bracing. It is a very lightly built instrument made from very thin tone woods and braces. It is precisely this that gives this guitar its characteristic tone. This one was made from Indian Rosewood that dated from 1986. Older sets have had plenty of time to stabilise and dry out. In my opinion this adds to the quality of tone.
** This guitar has now been SOLD **.
1929 Gibson L1 Replica in CypressThis is an accurate replica of a 1929 Gibson L1. The back and sides are made of Spanish Cypress the fingerboard is Ebony. The bindings are made of Indian Rosewood and the top is made of European Spruce. Cypress is the wood favoured by Flamenco Guitar makers. It delivers a very ´punchy´ percussive sound. It is a very lightly built instrument. The bracing pattern is one ´A´style pattern as per the original that I based it on and is minimal. This makes it a very responsive instrument to play. When you touch the strings they ring out loud despite the fact that it is a small-bodied guitar. There is a high degree of ´sympathetic vibration´. When you pluck strings the notes an octave, fifth or third interval away ring too. This makes it a joy and inspiration to play. It measures 13 1/2 inches across the lower bout. The scale length is 24 1/4 inches that is quite a bit smaller than the usual 25 1/2 inches. This means that the frets are closer together which means it is easier to make stretches across frets and the string tension is lower which means it is easier to bend strings. It is a lovely guitar for strumming or finger style playing. It´s L1 roots means that it gives a tone particular desired by blues players. The Cypress delivers a really punchy tone that really suits acoustic blues playing. ** This guitar has now been SOLD. ** ** Read buyer´s comments below & listen ** ** to the samples on "Music Samples" page ** "My Cypress and Spruce “Evans” version of the 1929 Gibson L-1, is very small, very light, but has a loud punchy tone that reflects the sounds of the guitars played by some of the most significant blues men of the pre-war era”. Andrew R. Perry Replica of 1929 Gibson L1 in MahoganyReplica of 1929 Gibson L1 in the original tonewoods - Adirondack tops and Mahogany back and sides.
I added some Indian Rosewood binding , real wood binding looks so much better than plastic.
This model has a very unusual short scale length - 24 1/4" that reduces the string tension facilitating bending notes. The bracing pattern used is X bracing as was used on some of the later examples. X-bracing was a new innovation at the time.
It is a very lightly built instrument made from very thin tone woods and braces. It is precisely this that gives this guitar its characteristic tone. These are beautiful sounding instruments which you will not want to put down.
The neck is very slim, exactly the same as the original, and has a width of 44mm at the nut and 60mm where the neck meets the body. The string spacing is 2 3/8" from 1st to 6th string at the saddle. This is again exactly as the original was which is slightly wider than modern (post 1930s) guitars. This is very pleasant for fingerstylists - it gives you that bit of extra space although it strums fine too.
The nut is hand-cut from bone and the spacing allows for string width (i.e. is fractionally wider at the bass end than the treble end). I use a special gauge for this it is a small but important detail which improved playability.
The fretboard has a compound radius. Almost all factory made guitars have the same raduis curve all the way down the fretboard. This would be fine if the strings were the same distance apart at the nut as they are at the saddle. Trouble is they aren´t! A compound radius on the fretboard compensates for this increase in separation by a decrease in the curve nearer to the saddle. I use around 14" radius at the nut gradually decreasing to 20" radius at the soundhole end of the fretboard. This means the action can be set lower without any noticeable discrepancies between the strings at the same fret position. Another small detail which dramatically improves a guitar´s feel and it´s playability.
SOLD
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