1930 Gibson L2
Gibson’s Gold Sparkle L2 is the stuff of legend in the vintage acoustic guitar world, and we’re thankful whenever we’re fortunate enough to have one here at the shop.
The flat-top L2 appears to have been introduced in 1929, around the time Gibson enlarged its L-shaped guitars to the familiar size and introduced the Kel Kroydon. The first few L2’s featured unique features and finishes, but by the start of 1930 Gibson landed on the Gold Sparkle / Argentine Grey version that is pictured here. The guitar features a lightly constructed body of mahogany and spruce, a 12 fret neck joint, bound rosewood fingerboard, and ‘Jester’ headstock inlay. It lasted in production with these specs for no more than a year and a half before it was modified, like the Nick Lucas Special, to a 13 fret model with rosewood back and sides and arch-top style bridge and tailpiece.
This particular L2 wins the award for the single most lightly constructed example I’ve yet seen. It’s built with the smallest braces and bridgeplate Gibson ever used (the plate measures .040” vs the more standard .090”), and the top and back measure on the thin end of the spectrum. Tipping the scales a hair below 3lbs, the result is a guitar that’s dark and cavernous in tone and incredibly responsive to a lighter touch. The bass frequencies shudder, flower and bloom, adding their warm touch to the mids and trebles everywhere on the neck. There are rich overtones and all kinds of harmonic niceties to be heard and played with, making this L2 among the more ‘expressive’ guitars you’re bound to play. Like with a fine classical guitar, the attack and decay of individual notes is entirely beguiling.
Set-up here at Folkway, the guitar’s action is set at 5-6 64ths with a fairly straight neck and original frets that have just been properly dressed. We have the guitar strung with D’Addario Gypsy Jazz 11-46, which lets all the warmth and darkness out without tightening up the feel. The neck has a 1-3/4” nut and 24.75” scale. The neck carve is round and quite contemporary in feel. 2-3/8” string spread at the bridge.
A completely original guitar apart from a new aged bone saddle that was made here. There are no internal repairs and no braces have ever been loose or reglued – something that is pretty much unheard of when it comes to these gossamer early L’s. The top shows a good amount of deflection due to the long term effect of string tension on such a lightly built instrument. This isn’t terribly concerning to us simply because the braces are in such perfect shape. It’s quite surprising to find a top with deflection that doesn’t have loose or cracked braces, and this bodes well for the long-term health of the instrument. The guitar’s only flaw is a small and repaired crack at the endpin.
Original finish throughout, original tuners, nut, frets, bridge, pins, and neck set. Original hardshell case.
The flat-top L2 appears to have been introduced in 1929, around the time Gibson enlarged its L-shaped guitars to the familiar size and introduced the Kel Kroydon. The first few L2’s featured unique features and finishes, but by the start of 1930 Gibson landed on the Gold Sparkle / Argentine Grey version that is pictured here. The guitar features a lightly constructed body of mahogany and spruce, a 12 fret neck joint, bound rosewood fingerboard, and ‘Jester’ headstock inlay. It lasted in production with these specs for no more than a year and a half before it was modified, like the Nick Lucas Special, to a 13 fret model with rosewood back and sides and arch-top style bridge and tailpiece.
This particular L2 wins the award for the single most lightly constructed example I’ve yet seen. It’s built with the smallest braces and bridgeplate Gibson ever used (the plate measures .040” vs the more standard .090”), and the top and back measure on the thin end of the spectrum. Tipping the scales a hair below 3lbs, the result is a guitar that’s dark and cavernous in tone and incredibly responsive to a lighter touch. The bass frequencies shudder, flower and bloom, adding their warm touch to the mids and trebles everywhere on the neck. There are rich overtones and all kinds of harmonic niceties to be heard and played with, making this L2 among the more ‘expressive’ guitars you’re bound to play. Like with a fine classical guitar, the attack and decay of individual notes is entirely beguiling.
Set-up here at Folkway, the guitar’s action is set at 5-6 64ths with a fairly straight neck and original frets that have just been properly dressed. We have the guitar strung with D’Addario Gypsy Jazz 11-46, which lets all the warmth and darkness out without tightening up the feel. The neck has a 1-3/4” nut and 24.75” scale. The neck carve is round and quite contemporary in feel. 2-3/8” string spread at the bridge.
A completely original guitar apart from a new aged bone saddle that was made here. There are no internal repairs and no braces have ever been loose or reglued – something that is pretty much unheard of when it comes to these gossamer early L’s. The top shows a good amount of deflection due to the long term effect of string tension on such a lightly built instrument. This isn’t terribly concerning to us simply because the braces are in such perfect shape. It’s quite surprising to find a top with deflection that doesn’t have loose or cracked braces, and this bodes well for the long-term health of the instrument. The guitar’s only flaw is a small and repaired crack at the endpin.
Original finish throughout, original tuners, nut, frets, bridge, pins, and neck set. Original hardshell case.