In 1926 Gibson introduced the L-series guitars with the L-0 at $35 and the L-1 at $50 (1928 prices). The L-series is very difficult to properly identify and date as they were inconsistent in their appointments and the catalog descriptions do not always agree with the actual instruments produced. That being said, and allowing for the large numbers of prototypes and other Gibson anomalies, the following can be used s a guide to help get close to a proper model identification and it’s year of production. The Gibson LG series of flat-top guitars were developed as the natural evolution of the earlier L-Series. World War II changed many aspects of the guitar world. Gibson had helped in the war effort and seen many employees enlist. During the war years women played a greater role in manufacturing while young men were fighting overseas.

Apr 24, 2018 - Here's a fine old Lyon and Healy style C mandolin with the characteristic. It's a long scale instrument with a low serial number (24!). Dec 30, 2009. Lyon & Healy 'American Conservatory', serial number 5016 from a thrift. I had a Lyon and Healy Washburn mandolin from the same time.

Materials and methods of production were reviewed and revised. The flood of returning soldiers with a broader world-view brought new musical tastes and new hopes for the future. Several other forces were at work for change: • Good size logs of spruce were government controlled during the war and were not easily available shortly after. The narrower guitar sizes allowed for available materials.

The LG-Series is 2” narrower than the J-Series. • Gibson had changed its neck profiles and headstock shape on the successful J-Series. The necks and heels were rounder. Gibson needed to revitalize its lineup of flat-top guitars – the LG-Series was born. Introduced 1963, these were designed as dual-purpose instruments.

They could be strung with steel or nylon strings. Introduced 1934 and modified late 1935.

Martin introduced the large body dreadnaught in 1932 – It was bigger, bolder, and louder than anything Gibson had to offer. At the time, the Nick Lucas model was the largest flat-top Gibson offered. It took Gibson 2 years to develop their response: The Jumbo of 1934. It was the heart of the depression and the instruments cost $60 without a case. They didn’t sell well but did live up to their design intent of a heavier, booming tone with good overall balance.

Dimensions: 16″ wide, 10 1/4″ long and 4 1/2″ deep. The promotional material in the Gibson catalog of 1934 said: “This greater body size produces a heavy, booming tone so popular with many players who do vocal and small combination accompaniment for both personal and radio appearances. The bass of this model will amaze you, and of course the clear brilliant treble is in perfect balance.” For once, the hyperbole may have been closer to the truth. 1934 was in the depth of the depression, and at $60 without a case, most families put food ahead of guitars.

Not many were sold and the production run was therefore limited to 2 years. Because there are few of these instruments around, little has been written about them, though some did find their way into the hands of influential artists of the day. They were popular with the Cowboy Singing Stars like Bob Baker (National Barn Dance – WLS). Wiley Morris of the Morris Brothers Hillbilly Band and Charlie Monroe (Bill Monroe’s brother) took to the instrument for it’s potential in the roots of Bluegrass music. The 1934 version had a classic Gibson sunburst: the small amber center around the bridge – about 1/4 of the top area. This was expanded in 1935 to about 1/3 of the top area. The sides and back were tinted mahogany with a sunburst red spruce top.

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There was some amber color expressed on the sides and back of the 1934 versions. The 1934 was single bound, front and back with dot markers on the rosewood fretboard and a horizontal script logo inlay on the headstock. The rosettes were simple white-black-white. The bridge were early simple rectangular with through-saddles. The tuners were individual Grover G-98’s. The bracing for the new larger models was X braced: there were 3 transverse tone bars between the braces – 1 more than the Martin – as Gibson experimented with bracing design heavy enough to support the large tops and light enough to be resonant and responsive. The Jumbos had a slight V shaped neck with the Gibson truss rod and a pointed ‘French’ heal – somewhat unusual for Gibson.