![Trash or Treasure: 1927 Gibson L-0](https://www.premierguitar.com/media-library/this-1927-gibson-l-0-needs-some-love-but-once-its-brought-back-to-life-it-has-the-makings-of-treasure.jpg?id=25761893&width=1200&height=634)
A closeted-for-decades pre-war Gibson flattop might find new life.
Dear Mr. Fjestad,
I bought this guitar from an old country-and-western singer in Minneapolis around 1955. Sadly, I didnāt learn to play it, and it has been in my closet for decades. It had a beautiful sound when strummed! In 1989, I brought the guitar in to have it restrung, but they said they couldnāt do that unless I also had them do some repairs, and the total cost would be $150. I did not have the extra money at that time, so I declined.
Now I can afford to have the guitar restored and am considering getting that done, but Iām not sure how I should go about it. Also, Iād like to know the year, model, and value of the guitar. The only number on the guitar is 8407.
Sincerely,
Becky in Anchorage, Alaska
1927 Gibson L-0
Hi Becky,
You bring up a lot of great discussion topics here: determining the age of a vintage Gibson, figuring out the model, and deciding whether to restore a guitar or not.
Letās first talk about the age. The non-slanted āThe Gibsonā headstock logo on your guitar was only used between roughly the mid-1920s and 1934, so thatās a big help right away.
Gibsonās serialization was simply chronological at the time, and itās a relatively accurate way to date a Gibson from this era. However, the number ā8407ā would indicate a production year of 1908/1909 and Gibson flattops werenāt even introduced until the mid-1920s. Under closer inspection of the serial number inside the guitar, it appears that a fifth digit is either missing or didnāt get ink stamped very hard, and a five-digit number of 8407X puts it right in the serial number range indicative of 1927. You really have to look closely at those numbers.
the value negatively.
For years, Gibson never stamped, marked, or indicated the actual model of a guitar anywhere on it. (They still donāt today for some models.) This makes for difficult identification at times, and your guitar is no different. One of my best go-to resources is to simply leaf through Gibsonās older catalogs to see what was produced during a certain time period. Fortunately, I have a late-1920s Gibson catalog and was able to find what appears to be a nearly identical match of your guitar, which is an L-0. The L-0 model with a natural finish and maple back and sides was only offered in 1926 and 1927, so that confirms the age we determined earlier.
In excellent all-original condition, a 1927 L-0 is worth between $3,500 and $4,000 today. Unfortunately, your guitar is not in excellent condition and will need some work to even make it playable, which leads us to the topic of restoration.
Repairs are an undesirable yet necessary route for many guitarsāespecially acoustics when they are approaching the century mark. Storage conditions, playing, and weather can wreak havoc on a guitar by causing cracks, neck separations, and other blemishes. Sometimes it gets bad enough to where the guitar is no longer playableāas in your caseāand Iām afraid thatās why the guitar shop wouldnāt restring it for you in 1989.
A cautionary note: Whenever you refinish or restore a guitar, you will affect the value negatively. For instance, a bridge that is pulling up on the top needs to be properly reattached in order to make it playable again, but that part of the guitar is then no longer original. A bridge fix certainly wonāt affect the value to the degree of someone deciding to, say, change the color of a 1962 Strat from the original sunburst to shoreline gold, but collectors are looking for all-original condition, damage-free instruments. And running one through a guitar-repair/refinish shop is the equivalent to having salvage status on an automobileās title. If itās not original, itās just not worth the value of an original.
I do believe itās something that needs to be done for your L-0. Otherwise, you just have an unplayable guitar and what Iād consider a parts instrument. Make sure you bring it to a Gibson-authorized repair shop or other reputable shop. (Ask around if you donāt know of one.) And be prepared to pay more for the work because $150 wonāt get you much today.
All said, you could have a $2,000 to $2,500 guitar by getting it repaired and cleaned up properly. Do that and youāll enjoy this treasure for years to come.
The Man in Black returns with the unreleased Songwriter album. John Carter Cash tells us the story.
āThe Man Comes Aroundā is a much-played song from the final album Johnny Cash recorded before his death in 2003, American IV: The Man Comes Around. Now, the Man in Black himself has come around again, as the voice and soul of an album he initially cut in 1993, titled Songwriter. It hits the street on June 28.
For fans who know Cash only through his much-loved American Recordings series, this is a very different artistāhealthy, vital, his signature baritone booming, his acoustic playing lively, percussive, and focused. This is the muscular Johnny Cash heard on his career-defining recordings, from his early Sun Records sides like āCry! Cry! Cry!ā and āFolsom Prison Bluesā to āRing of Fireā and āSunday Morninā Cominā Downā to later, less familiar hits like āThe Baronā and āThat Old Wheel.ā In short, classic Cashāthe performer who became an international icon and remains one even 21 years after his death.
I recently visited the Cash Cabin recording studioāa log cabin on the Cash family property in Hendersonville, Tennessee, that was originally built as a sanctuary where Johnny wrote songs and poetryāwith PGās video team of Chris Kies and Perry Bean to talk about Songwriter with John Carter Cash, the son of Johnny and June Carter Cash.
In addition to getting the lowdown on Songwriter from John Carter Cash, he showed us some of the iconic guitarsāincluding original Johnny Cash lead guitarist Luther Perkinās 1953 Fender Esquire and a Martin that was favored by the Man himselfāthat dwell at the busy private studio. Check out this visit.
Available in 4-string and 5-string versions with unique finish options. Each purchase includes a certificate of authenticity signed by Wimbish.
Wimbish collaborated with Spector's USA Custom Shop to create the DW-4 and DW-5 models, echoing the iconic instruments that have been favored heavily throughout his recording and performing career.
These signature basses faithfully replicate Wimbish's originals, down to the smallest details like neck contours and nut widths. Customized EMG pickups, developed in collaboration with Wimbish, capture the distinctive sound that has shaped his monumental musical impact. These models invite players to explore the feel and response that have defined Wimbishās signature style over the years.
Available in 4-string and 5-string versions, each model boasts unique features & finish options. The DW-4 comes in Amber Stain Gloss and Black Stain Gloss options, while the DW-5 offers Dark Blue Stain Gloss and Faded Natural Gloss. Every purchase includes a certificate of authenticity signed by Doug Wimbish.
Wimbish comments, āSpector took the time to get every little nuance right, and that to me is dedication and being thoughtful enough to know āI want to nail it,ā and they did. Iām able to pick these instruments up for the first time and play them like Iāve already had them for years.ā
For more information, please visit spectorbass.com.
Spector: The Doug Wimbish USA Signature Series
Spector Euro 4 LX Doug Wimbish Signature Bass Guitar - Amber Stain Gloss
Euro 4 LX Doug Wimbish, Amber Stn GlsAn uncommon approach to shaping vintage fuzz sounds results in unexpected surprises.
Unique fuzz sounds with mid-ā60s spirit and unconventional tweakability. Beautiful and well-built.
Many players will find basic ā60s fuzz sounds elusive.
$249
Fish Circuits Lunatique
fishcircuits.com
Some things you can take at face value. Consider the Fish Circuits Lunatique fuzz. Fishās choice of āLunatiqueā as a name for this beguiling gated, ring-modulating, octave fuzz is not an empty promise. Many of the savage, spitty, crispy, crumbly sounds that emit from this unit sound like a little berserker wrestling bats in the belfry amid a swarm of bees.
But if tone madness is among Lunatiqueās first orders of business, there are also many tones here that sound merely nuts rather than rabidly bonkers. The four simple controls interact in ways that produce unexpected, unique results, and its voices vary wildly depending on the pickups and guitars you pair it with and where you set your guitarās tone and volume controls. For any player, producer, or recordist interested in fuzzās potential beyond the same old beer-commercial hook or solo, the super-stylish Lunatique is a fun, intriguing alternative that has roots in mid-ā60s tonalities and branches that spread much further.
Ground Control to Sonic Station
The Lunatique looks and feels awesome. The bright blue enclosure evokes the candy-store appeal of old Colorsound pedals, and I love the screen-printed metal control panel. The Lunatique has the comforting heft of vintage electronics, too. But while it might look like a space hog, the Lunatique is only about a 1/4" wider than a Boss pedal and about 30-percent longer. The control array looks simple, and for the most part it is. But unless you are unabashedly spontaneous and cool with mayhem and unknown outcomes, the chaos control demands a bit of study. Itās the key to the pedalās multiple personalities.
Essentially, it enables you to dial in how much octave and ring modulation interacts with the fuzz circuit. As you add more octave, your guitar signal hits the fuzz circuit less hard, which also has the effect of activating the gate a little sooner. That control dynamic and the pedalās response will find many mistaking the chaos control for a bias knob. The chaos pot also controls a low-pass filter, situated after the fuzz circuit, that cuts high frequencies as you turn it clockwise. In a basic sense, the left side of noon has little octave-up content, a heap of treble, and the fuzz is less likely to gate. On the right side of noon, you hear a lot of octave and ring modulation, the treble is less spiky, and the fuzz will gate a bit more. In the many overlapping layers of these effects, there are scores of fuzz colors to explore.
"In the Lunatique, neither gain mode is especially ānice.ā"
A Balm for Option Fatigue
One of my favorite idiosyncrasies in the Lunatiqueās design are the 2-position Fuzz and Body switches which take the place of the variable knobs most builders would use for gain and tone. According to Mike Poisson (the big fish, if you will, behind the Lunatique), this was partly the product of aesthetic concernsāa preference for switches where possible rather than a clutter of knobs. But in the case of the gain switch, the two positions represent specific gain levels that felt and sounded right to Poisson. He found that a rotary knob offered little additional nuance. And personally, I wasnāt left wanting for additional levels other than the two provided here. Itās an interesting, effective solution.
Those familiar with Fish Circuitās Model One overdrive will find parallels with that pedalās āniceā and ānastyā modes. Though in the Lunatique, neither gain mode is especially nice. Both bristle with attitude and a punky, feral mid-ā60s personality. In the lower-gain setting and in the thinner body mode, the fuzz tends to sound ferocious without feeling dominating. Itāll slot easily into a distinctive place in most mixes and offers cool contrast for tasks like doubling bass riffs. Garage-psych nuts that quest for the gnarliest lo-fi fuzz tones from the deepest recesses of the Pebbles compilation LPs will be in heaven too.
In the full-body mode, the pedal is arguably at its most conventional. Single-note lines sound fat and complex, if spitty. Fleet-fingered solos that donāt leave space for the splintered decay artifacts you hear in more spacious contexts, benefit from the sharp, defined attack and less corpulent, overtone-rich sustain, which lends clarity to otherwise filthy melodic leads. Punky power chords also benefit from the tighter decay and can sound powerful, extremely focused, and very much in their own lane in a mix. I would love to record a really nasty garage-hardcore record with this sound.
At most settings, pitch irregularitiesāeven those from finger vibratoāwill cause the signal to fracture and crumble sooner. On the other hand, minimizing vibrato lends many tones an almost synth-like linearity that sounds pretty cool in contexts apart from traditional rock guitar, particularly when you add volume swells. Such sounds can be spooky and alien stuff, particularly with modulation effects. Oh, and it bears keeping in mind that the Lunatique will get loud. Thereās no shortage of volume ceiling here.
The Verdict
As I said at the top, āLunatiqueā is a fair representation of what this fuzz is and does. By no means will it be every playerās bag, and the reader should take my relatively enthused scores with a grain of salt (I like chaos). But players that like the attitude of a Jordan Boss Tone, Maestro FZ-1, or Mosrite Fuzzrite yet are weary of canonical sounds, and who prefer more tunability, more surprises, and more distinctive tones will savor the way the interactive controls for this unique circuit can mutate and recast the mid-ā60s fuzz template. That itās a truly beautiful little pedal, too, only enhances its wild appeal.
PG contributor Tom Butwin highlights 7 preamp options for your acoustic guitar. Wherever youāre looking to plug in your acoustic, these stomps have you covered with a wide range of functionality, sounds, and applications.