MAIL
August 1996
Both George Gruhn and Fred Schrager have pointed out an omission in my summary of Gibson's development of the SJ-200 ("Stetsons and Stage Lights," May 1996). They have reminded me that the fancy mustache- or horseshoe-shaped bridge was not a standard feature on all of the earliest Super Jumbo models built before they first appeared in Gibson's catalogues. Although I pointed out that the cowboys pictured in the 1938 catalogue are holding 12-fret versions, I failed to use a strong enough pair of glasses to notice that Ray Whitley is holding an SJ with a small, rectangular bridge typical of Gibson's other flattop models of the era. Whitley owned three early, custom-ordered rosewood SJs--two 12-frets and the 14-fret that now resides in the Country Music Hall of Fame. Unfortunately, both of his 12-fret SJs were lost.
In 1994 another 12-fret rosewood Super Jumbo with the small bridge was discovered. This one has a paper label, and both the factory order number on the headblock and the serial number on the label indicate that it was built in 1937. The label also has the handwritten inscription "SP Guitar L-5." The guitar Whitley is holding in the late 1930s catalogues is nearly identical to "SP Guitar L-5" except that it has his name inlaid in the peghead. Both of these guitars have the flowerpot peghead inlay and block pearl fretboard markers of Gibson's L-5 archtop, with an archtop-style pickguard as well. This combination of features, plus the small, rectangular bridge, make these Super Jumbos unique.
We may never know with certainty if these were prototype Super Jumbos or if "SP Guitar L-5" was given that designation because of the L-5 neck, but they certainly deserve special mention in any discussion of early SJ-200 Gibsons.
Richard Johnston
Palo Alto, California
In the May 1996 Dear A.G., Ira Quinsey of Montreal asked about lutherie schools in Canada. Your response failed to mention a lutherie school not far from Montreal, in Quebec City: l'Ecole de Lutherie du Noroît. During the past decade, the school has achieved international recognition and now has students from Europe. The school can be reached at (418) 648-0419.
John Risdon
Kanata, Ontario, Canada
In the May issue [Dear A.G.], Ira Quinsey asked about learning how to build guitars. The answer provided by Rick Turner was that he needed to treat learning how to build guitars like going to college and then on to graduate school for a couple of years. There are many other ways one might go about learning how to build a guitar, rather than actually becoming a professional luthier. If Ira wishes to just get his feet wet and enjoy himself building his own guitar, it can be done a bit faster and easier than Mr. Turner suggests. Buy the great book Guitarmaking: Tradition and Technology, by William R. Cumpiano and Jonathan D. Natelson. If you are still interested in building a guitar after you read it, buy a guitar kit like those sold by C.F. Martin. If you have average woodworking skills and lots of patience, you should be able to put the kit together and come out with a playable guitar. You will have learned a lot about the mechanics involved, and if you want to go on to become a professional, [follow] Mr. Turner's suggestions. But why not test the water first?
Bob Gebeaux
Montross, Virginia
As the designer of the Martin Backpacker guitar, I enjoyed your April article on travel guitars ["Road Warriors"], particularly all the ingenious solutions designers have come up with to solve the problems of the travel guitar. I would like to respond to some of the comments on the Backpacker, from a designer's perspective. The Backpacker is designed to use extra-light strings; that is not a liability. With any of these small-body designs, there is not a large bass cavity to energize; the tension of lights or mediums is simply not required, and the reduced stress on the neck and top are an advantage. Extra-lights are also easier on your fingers (especially outdoors, below room temperature). We have found that customers are most concerned with portability, as long as the sound is acceptable. Otherwise they would bring their big dreadnought or classical. Given the Backpacker's long track record and widespread use, we are still satisfied with the design compromises we selected. I hope other designers will comment on their design processes, too.
Bob McNally
Rockaway, New Jersey
I spotted Dale Miller's article on travel guitars ("Road Warriors," April 1996) while I was in a local music store playing several different models, looking for one to take on a vacation abroad. It was great to be able to carry a guitar aboard the various planes comfortably and fearlessly, and even better to have a guitar to play far from home. The article missed only one piece of advice, though: learn the local words for "No, it's a small guitar for traveling," so that you can allay the concerns of those you will meet who wonder if you are carrying a weapon in that black nylon bag. I had to explain my sidekick a few times!
John Newell
Weston, Massachusetts
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