Electric G.A.S. Gallery


1937 Paul Tutmarc

Archtop, Solidbody, Lap Steel, Amplifiers & Tidbitz

I should start off by stating if you're expecting a bunch of Les Pauls and SGs you'll be disappointed. Of course several have passed through my hands however I made the decision early on not to collect (Gibson) solidbodies. My reasoning is simple. I can walk into any music store, guitar show, internet retailer, etc. and find a huge selection of new, reissue, custom shop and of course, vintage models. Between 1952 and 1979 there were 177,636 Les Pauls shipped. From 1961 to 1979 there were 120,776 SGs. Just imagine how many have been shipped since 1979! Same thought process for  the thinline hollowbody models such as the ES-335.  Sure I wish I owned a 1950s Les Paul or early 1960s SG or ES-335 but I wanted my vintage collection to reflect instruments that you just don't see every day. 

I enjoyed owning, albeit briefly, many of the Gibson solidbody models from the 1970-80s including the Futura, Corvus, Marauder, L6S, Sonex-180, MVX, etc. (see Post G.A.S. Gallery). Of course not part of the McCarty era or "golden years" therefore not seen as collectables.......yet! Most had very short production runs of just a few years with some radical body styles, interesting pickup designs, use of composite material, etc. Gibson stepped outside their box but unfortunately was met with little success due to quality concerns and pressure from overseas manufacturers. Although they have yet to be recognized by the vintage market that could change quickly the first time a guitar hero or rock star slings one over their shoulder on stage. All of a sudden they will be the hottest guitars on the planet! Pick one up whilst you have a chance..... 

Gibson Archtop




Ya' just gotta love Gibson electric archtops! They invented the archtop itself and have dominated the market ever since. From their first commercial release, the ES-150, to the 1960s Barney Kessel Artist I tried to cover each decade with a representative example of their evolution. The ES-150, or what has become known as the "Charlie Christian" model, is still regarded as a fine guitar for the jazz purist. As Gibson's first commercially released electric guitar it was quickly adopted by the musicians of the day. They now had the ability to be heard over an entire ochestra. The guitar is most closely associated with jazz legend, Charlie Christian, due to his use and endorsement of the ES-150 and ES-250 models.

My 1939 example was on the tail end of the production run and sports a non-notched blade like the original pickup version introduced in 1936. Perhaps this pickup was a leftover? With just over 1000 shipped with the "Charlie Christian" pickup, the ES-150 was a significant part of the electric guitar revolution. Of course Leo Fender released the first solidbody electric in 1950 (Broadcaster aka Telecaster) but this was a full 14 years after Gibson introduced its ES-150. Gibson followed Fender with their first solidbody, the Les Paul, 1952.

I've played a lot of guitars over the years but every time I pick up my ES-150 I'm amazed by its tone and playability. There is something to be said about the early design of its blade pickup which still sounds great 70 years later. She's a fine example and surrounding by all of her siblings (see The G.A.S. Gallery) making her feel very at home. Perhaps it's just that I'm playing a piece of  musical instrument history but there is just something that sets this guitar apart from all of my others!
 
1939 Gibson ES-150

 


Towards the end of the 1930s Gibson developed a new oblong adjustable pole pickup that was mounted diagonally. First offered in their electric archtop model, the ES-300, a shorter version of the pickup quickly followed. Of the 194 total ES-300s shipped, 147 were produced with the shorter version which is the example that resides in my collection. The pickup also found its way into several lap steel models including the EH-150, EH-185 & top of the line, EH-275.

By the early 1940s Gibson released a metal covered adjustable pole pickup as well as a non-adjustable pole version for their lap steel, archtop and house brand models. After the war they sold off the pickup inventory which found their way into post war lap steel and archtops models by Harmony and Kay. The pickup is often referred to as the "P-13" and a predecessor of the P-90.

My ES-300 is a prized possession with its original tweed case and high end appointments. Sitting between the ES-250 and ES-350, the guitar is comparable with the upper end of L series acoustic archtops except with one of those new fangled electric pickups! Actually it sounds quite good and is a wonderful player.  Although overshadowed by the Charlie Christian pickup found on the ES-150, 250 & 350 models, the ES-300 was a big step towards the post war P-90 design. It was also Gibson's recognition that the ability to control each individual pole piece was an important feature for future pickup designs.


1942 Gibson ES-300 N



Right after WWII Gibson released their famed P-90 pickup in their ES-300, ES-350P and ES-150 models. Almost all models were soon offered with a pair of P-90s and even 3 in the case of the ES-5/Switchmaster. Generally considered the tone of the 1950s until Gibson introduced their humbucker pickup in 1956,.

My ES-350N is, hands down, the favored electric archtop in my collection. With its 17" natural finished body and gold hardware  she truly is a looker but then plugged into my Gibson GA-50T, the tone is simply sinful! Big, warm and fat is the only way to described it. Post war production was very limited and only 413 naturals were shipped between 1948-56. Quickly adopted by several jazz greats of the era including Barney Kessel, the ES-350 helped Gibson to maintain its market share right after the war.

I've always been puzzled by the lack of appreciation the vintage market has for archtops guitars in general. Too bad a few notable guitar slingers or rock stars didn't play them or they'd be at least on the same level as their outrageously priced "slab of wood" cousins. I won't pull the soapbox out to much here but come on, the time and level of craftsmanship required to build an archtop verses a solidbody guitar is like night and day. Don't get me wrong, I love my soldbodies too but IMHO an archtop takes the art of luthiere to the next level. A 1954 Les Paul Jr. is booked at $10,000-$15000 and its an entry level (student) slab of wood with only one P-90 to boot. They shipped 823 that first year and over 19,000 of them by 1960. Where is the justice?  

1953 Gibson ES-350 N




GRETSCH

A new addition and the Monthly G.A.S. Attack for December 2008, I wasn't very familiar with Gretsch guitars and really never paid much attention to them. As G.A.S. would have it, the economic downturn and at my wife's suggestion (?), I picked up this Chet Atkins Tennessean model to see if owning one would make me rethink that short attention span of the past. With its faux f-holes, Hi Lo Tron pickups and Bigsby tailpiece, its finding a place in my collection although the jury is still out if she will be a long term keeper. Beautiful guitar and in excellent condition, I can see from just an aesthetics viewpoint why they have maintained their popularity.



1964 Gretsch Chet Atkins Tennesseean

National Solidbody

      

1959 Town & Country                1964 National Westwood 75

I said no Gibson solidbodies.....nothing about alternative brands though! With steps outside my elitist collecting box, I discovered the wonderful guitars made by Valco during the 1950-60s. Although each make, model and variation of their lap steel guitars passed through my hands, experience with their was limited to enetry level. Looking for an alternative to the Les Paul, SG, etc. crowd, I found Valco's National labeled Town & Country model to be a fine player with a major dose of cool factor thrown in for good measure.

Just think of what a 1950s Les Paul would set you back! For a fraction of the price I have fallen hard for the Town & Country model. I started out with a blonde 1957 two (2) pickup version that became the October 2008 Monthly G.A.S. Attack . The "top dawg" 1959 followed shortly thereafter. Great necks, incredibly low action, wonderful tones from the humbucker style pickups and lots of knobs! Actually they are a tone and volume for each position of the selector switch. The 1959 added a third pickup (like the Les Paul Custom!) and master volume. 

The 1964 Westwood 75 is another great guitar. Map shaped body except wood rather than the Res-O-Glass that was used for many models during that period. Rich wine finish with the signature Valco bells & whistles. Things like butterfly tuner buttons on the Klusons or the Silversound pickup mounted in the bridge gave this model a unique voice. Oh yeah....and more knobs! Seriously, Valco should be a name on your short list if you don't have a few in the closet already.

Gibson Lap Steel


 


Besides my prewar collection of Gibson lap steels (see The G.A.S. Gallery) I maintain just a few additional rare birds. At one point my collection centered around both the pre and post war Gibson steel models and their house brands. When it came time to make tough decisions the post war models (BR series, Ultratone, Century, EH-500 Skylark, etc.) were the first to go and then the entry level and house brand prewar models (EH-100, EH-125, Kalamazoo, Recording King, Mastertone, etc.). You'll find most of them in the Post G.A.S. Gallery. 

I'm very lucky to own 2 of the 25 EH-275s that were shipped. Gibson's top of the line prewar lap steel, it utilized the ES-300 pickup along with high end appointments including a stunning curly maple body. How I ended up with two consecutive serial numbers is truly incredible! You can read all about the EH-275 since my third one, which has been sold to noted author A.R. Duchessoir, was the Monthly G.A.S. Attack for March 2008. 

I also maintain three other rare steels from the 1950-60s. The first is a Century variant with only 2 control knobs instead of the standard three. The other is the second version of the Royaltone with its mustard yellow TV finish. Only 67 were shipped making it another seldom seen steel. Finally, the Monthly G.A.S. Attack  for November 2008, a 1967 Century v.3 (version 3) which represents the end of lap steel guitar production by Gibson. With only 60 manufactured and the cavity stamped "R&D" (Research & Development), it's also a cherished piece that has seen a lot of play time.

Being fortunate to be asked by noted author, A.R. Duchossoir, to contribute photos of specific pieces of my collection for his upcoming book on Gibson lap steel guitars was a collecting highlight during 2008. It will be the most comprehensive resource of its kind and will include lots of variations within each model. I also had the opportunity to involve a few other collectors as Andre searched for examples. The planned release is 2009. Very exciting!


1940 EH-275

1950s Century Variant                  1956-57 Royaltone       

                      

1967 Gibson Century V.3



Although the Gibson house brands became "sacrificial lambs" there were two examples that I felt should be maintained for the long term. The Recording King 1271 was the first lap steel model released under the Recording King house brand name in 1937. This one is unusual since it bears no peghead logo and utilizes a wood nut with a hawaiian nut extender instead of the standard metal nut. Perhaps it was either a prototype or a demonstrator prior to the actual release of the model?

The other is a lesser known house brand, Capital, distributed by J.W. Jenkins & Sons Music Company bewteen 1936-38. They were a Kansas City mail order house which carried Gibson made flat tops, archtops and a few electric instruments however in very limited quantities. The EJ-H was their only lap steel model. It has high end appointments including a pearl script logo, Grover tuners, beautiful quilted maple body and Gibson's blade pickup which utilized the flat bar magnets.


1937 Recording King 1271                  1937 Capital EJ-H   

                   


Rickenbacher

I've always had a soft spot for Rickenbacher lap steels and their prewar horseshoe pickup is considered by many a player to be the "tone" of choice. Although not as rare as Gibson's E-150 metal bodied lap steel, the Rickenbacher Electro, or Fry Pan as it's affectionately known, is sought after by players and collectors alike. The Fry Pan sits squarely in the center of the arguement of who developed the first commercially viable electric pickup.

With the recent sale of my Fry Pan set and Electro Mandolin, I've left myself with probably my all time favorite lap steel set - a custom Model B-6 with hand carved wood plates and matching amplifier. It was custom made for the steel player in Xavier Cugat's band who unfortunately lost it in a poker game while gigging in French Lick, Indiana. It has the bakelite "moan" and in incredible condition. Even the amp and steel's case have their own matching cloth covers!   
     
'30s Model B w/Factory Carved Wood Plates & Matching Amp              

    

Lap Steel


         

If you read the About Me section you are already aware that lap steel guitars played a major role in the establishment and growth of my collection. With so many passing through my hands (see Post G.A.S. Gallery) it was extremely tough to pick just a few to maintain long term. 

Magnatone manufactured some very cool art deco lap steel models making use of lots of lucite including odd-shaped tuning buttons. They released models under numerous brand names but this Orpheum labeled steel has to be one of the most ornate I've laid eyes on. Best of all, it lights up! The steel contains several small light bulbs under the colored lucite giving it an eerie glow. A great conversation piece it reminds me of something you'd see hanging behind a bar instead of an instrument you play.

The other beauty is the October 2007 G.A.S. Attack of the Month - a 1938 National Silvo. You can check out the full review under the Monthly G.A.S. Attack page. Just an incredible instrument and in wonderful condition. 
                                                                                     

                        

             1930s Orpheum                             1938 National Silvo                                         
                                                                 
                                                 
Autoharp

So what the heck is an Airline labeled autoharp doing on this page? First of all it's electric sporting a great sounding DeArmond pickup and second, I had a June Carter Cash moment! Actually it is a blast to play and brings back memories of grade school fights over who played it first in music class. Add a multi-effects processor and an amp for some good times!

1960s Airline AutoHarp




Gibson Amplifiers



Ah......vintage Gibson amps! Overlooked for their Fender counterparts for years recent articles have extolled their wonderful tones and relative bargain prices but that to has changed. I stuck with my Gibson theme and focused on their amps although I will admit to owning a 1950s Fender Champ that I use for recording.  Of course there is the Valco made English Electronics labeled.....oh I'm talking about my Gibsons here. With a recent purge of a GA-20T Ranger and GA-30 RV, I left myself with just 8 examples all of which have their original canvas covers. Kinda like the guitar case....a complete package!

And what would the Gibson Family be without their matching amplifiers? My EH-150s and EH-185 still make the grade over 70 years later. The 1935 E-150 does not even bear the Gibson logo and uses the Edison-type fuse. Had to be one of the first off the line! The 1936 EH-150 adds the Gibson log0, increases the cabinet size slightly and a standard fuse cap. The continued evolution of the model produced the most recognizable version by late 1937.  

The immediate post war 1948 BR-1 with its cool perforated aluminum grill cover had to give a few early players back issues as it weighs a ton.  Its surprisingly loud and noise free which considering it has never been serviced is nothing less then amazing! 

The GA-50 T along with my ES-350N are hands down my favorite Gibson guitar amp combination. The GA-50 is another model which utilized the 12" and 8" speaker combination. An incredibly it has plenty of volume and the sweetest tube tone you could hope for. They have become a highly regarded model running better than  $1500 for clean examples.

And who doesn't enjoy a good vintage tweed amp? Considered Gibson's "top dog" and one of Aspen Pittman's (Groove Tubes) favorite amps, the stereo king GA-79 RVT with its 2-10" Jensens can give any Fender a run for its money! Besides, did Fender ever even attempt to produce a stereo amp? To expensive for the general market when the original GA-79 T was released in  1960, it became the "rich musician's amp". Tweed covering was only available for the first few years of production and of course, is the most desirable version of the model. Gibson also released the amp under the Bell brand name. Mine came from a Nashville studio and even has its own custom road case. You just have to hear one but be ready to part with $2500 or better for one that hasn't been a road warrior!


Prewar Amplifiers
 

1935 Gibson E-150

         


                      1936 & 1938 Gibson EH-150                            

         

                     

1940 Gibson EH-185

         



Post War Amplifiers



 1945-49 Gibson BR-1

          
         
                                                                                                                       

1948-55 Gibson GA-50 T

    
                    
                                                                                                                       
1961 Gibson GA-79 RVT

           

Vintage Amplifiers
 Over the years an incredible amount of small low wattage tube amps have passed through my hands. You'll find numerous examples under the Post G.A.S. Gallery for your viewing pleasure. Valco and Danelectro were common since they manufactured for various brand names including Silvertone, Wards, Oahu, Supro, etc. Lap steel guitars were typically offered with a small matching tube amp which have now become the sought after vintage tone. Even the Fender Champ was paired with a lap steel by the same name except that student amp now sells for $1000 in clean condition. Many had hawaiian grill motiffs, gorgeous deco wood cabinets and wonderful field coil speakers. Basically you could fill up a room with them!

So just how many amps does one need? I guess in reality one would do but that would be like owning one guitar and we already know that's not in my reality. Variety is the spice of life, right? Never static and ever changing, I've not been one to mantain too many vintage amps, outside of my Gibsons, for any extended period of time. I use my Contemporary G.A.S. for most of my amplification needs however keep a few around for tube tremolo, etc.

As of this writing I have a few nice vintage amps that probably look familiar. The Danelectro Special is a great example of Neptune, NJ's contribution to the rock 'n roll revolution that started in the 1950s. Nice 12" combo with 6V6 output tubes and a decent tremolo circuit.

 

The Silvertone 1482 with its TV style cabinet is one of the more memorable amplifiers made by Danelectro for Sears. It has a great tremolo and looks like it just came out of its box. Very light in weight, it is also a 12" combo with 6V6 output tubes.
 


The VOX Student was manufactured by the Hammond Organ Co. under a licensing agreement. It does sport an 8" VOX speaker and has a "mini tube" lineup similar to many of the entry level catalog amps like the Harmony H400 but this one just sounds better. Maybe it's the British made speaker!
 


The Magnatone 472 was purchased for its lush tremolo circuit. Manufactured by another organ company, Estey, Magnatone amps have gained a loyal following for good reason, they sound really good. I've owned many of their lap steel amps covered in MOT but only a few of there combos. Another combo with a 12" speaker and 6V6 output tubes. 



The Ampeg M15 was reviewed in the December 2008 issue of Vintage Guitar and received high marks. With its massive 15" speaker and Ampeg's clean tone, it would make any jazzman proud. It weighs a ton and very "old school" in many ways. If you're looking for crunch pass on Ampeg but it does clean just about better than anyone. Great bass amps too!



Finally a "lunch box" Symphony PortoSound. Just too cool, I had to have it! It doesn't get used much but always gets the comment, "what's that" by vistors.   

    
     
Lap Steel Amp-in-Case
 
Another weakness was lap steel guitar amp-in-case models. Before Silvertone (Dan Electro) manufactured guitar amp-in-case models for Sears in the early 1960s these portable pals had already been making music for almost 30 years! I had a small collection of them going but ultimately kept just two parting with a Supro 60, Harmony Consolette, Oahu, Silvertone and a U.K. made Ridgmount (see Post G.A.S. Gallery).

I kept a Ball, manufactured by Dickerson, which is completely covered in MOT (mother of toliet aka pearloid) and immediately set it apart from the others not to mention the connection to Ernie Ball's father. I've only seen one other which is on display at a local Guitar Center no less. Great piece of american musical instrument history!
 
1930s Ball Lap Steel Amp-in-Case