Gibson L - Series

Macky

hello all,

I know these aren't exactly gypsy guitars per se, but I feel you all would have more insight on this than other guitar forums. So, I'm wondering what the next guitar would be in line to the Gibson L-7? Maybe the l 50? I just can't figure out the order of the L - series.

Frank Wekenmann

I agree, this can be quite confusing, as ascending or descending numbers are not related to the rank of the model. So an L-5 is a higher end model than an L-4 and L-7 alike. Lots of information about Gibson archtops and the changes Gibson made on the same models during their time of production, which makes it even more confusing, (and btw there are also "L"-flattops) can be found here.

MarkA

Speaking of the L-7, I have a nice example from 1949 I'm selling, PM if interested.

pickitjohn

@MarkA

Sent you a Message

thanks

pickitjohn

Russell Letson

The L-5 is the next model up the Gibson totem pole, though the relatively rare L-12 is also fancier than the L-7. (Not sure where the even rarer L-10 fits, except that it's not an L-5.) And "fancier" is the key term here, since in my experience there's no significant improvement in sound or playability once you get to the solid-carved/elevated-fingerboard/17-inch level of Gibsons. (Actually, I've liked more of the L-7s than L-5s that I've played. But then, what I really like is Epiphones.)

Campusfive

According to the Gibson catalogs, this was their hierarchy by pricing, at least for post-1935, 17" advanced models.
Super 400 (nicer and 18" - originally the "Super L5")
L5
L12 (which is a basically an L-7 with gold hardware, and a sunburst, not solid, back)
L10 (had several different ornamentation patterns and configurations - no gold hardware))
L7

As for the post-1935 models that remained 16"
L5 - their were still some old-style 16" L5's that left the factory after they started making 17" ones
L4 - This remained an oval-hole guitar, until sometime between '37 and '42, when it came to look like a 16" L7. Once they added a florentine cutaway, it basically was an ES-175 with a solid top.
L50 - definitely a lower grade of instrument than the L4 or L5, as in 1937 they were just then touting that it had both carved top and back.

Tele295

I have a 54 L-50. I's good for rhythm, but it doesn't have the big lead tone of a Selmac. My '48 L-7 has a Charlie Christian pickup, so its set up for electric. I might bring the Gibsons into upcoming recording projects