Gibson Arlo Guthrie LG-2 3/4

Vintage sunburst finish,'parlor size' mahogany body, sitka spruce top,pin-style rosewood bridge with two m.o.p. dots like fingerboard markers, short '3/4' scale neck with 'soft v' profile, dot inlays, three-ply binding, old-style three-on-a-side kluson type machine heads.

I've played electric guitar in my band for more than thirty-five years, but recently started writing a lot of songs for solo acoustic performance-'folk singing' if you will, and found that the usual cutaway dreadnought was not what I wanted. I was looking for something less loud than a dreadnought, because big guitars tend to drown out my voice. I own a B-25N deluxe with a Fishman Matrix transducer that works quite well for me, but I was interested in something even smaller if I could get it. Then I saw the Gibson online literature and picture of this LG-2 3/4 reissue, which is a replica of the guitar Arlo Guthrie got from his father in the fifties. I always had a soft spot for 3/4 scale necks, having owned a 3/4 Fender Duosonic, a 3/4 Melody Maker and an extremely rare Gibson ES-140N all of which I let go of long ago. When I saw that this Arlo Guthrie model had a v-profile neck, I was sold. If you can get used to the relatively cramped quarters of a 3/4 scale neck,there are some rewards, believe it or not, and the short scale combined with a v-profile makes a guitar that I find very hard to put back in the case. I am a newcomer to solo acoustic performance,and this guitar has suited me very well in my recent gigs in this format. At the moment I am using a removable pickup but I will probably switch to a Fishman Matrix transducer pickup like the one on my other Gibson acoustic for reasons of sound and practicality. When I ordered this guitar, I was afraid that it would sound muddy and muffled as some short-scale guitars do, but to my surprise, it was quite bright and loud; perfect for finger picking in fact. I put away the optional included pickguard, because no flat pick will ever touch this guitar if I can help it. I strum on a few songs, but I can do that with my hands, as this guitar goes through the P.A. when I play out with it. I can only say that I was shocked at how loud and resonant this little thing is, with lots of sweet spots on the fretboard. Also, with a short scale and its resulting lower string tension, I find it possible bend notes on the wound G string, which can't be easily done on full-scale acoustics. I haven't needed that advantage much, though as long note bends are something I only do in my electric band.

This was the third time in my life (I'm 55) that I received a guitar straight from the Gibson factory, and I was still struck by that smell when it comes out of the box: a melange of buffing compound, lacquer and woodshop. I wish they made a perfume like that. The finish was as glossy and flawless on this Montana Gibson as I remember it on the Kalamazoo ones I got in the sixties. The spruce top is matched so well that you have to look really hard to see that it isn't a single piece of wood. The bridge is fine, and features two dot inlays on the ends just like the fretboard dots, for that elegant touch. The action, according to my guitar tech, was a little higher than it needed to be, but I hadn't noticed, and on a guitar with action this easy it really doesn't bother me. I was amused to note that on the quality control inspector's checklist, the electronics on this fully acoustic guitar had been checked. Thank God he didn't find any strange pickups in there.

I've had this guitar for two months so it's a little early to comment on longevity, but the 1956 Les Paul Junior that I have has a very similar neck and hardware, and is still holding up fine.The basic design is so simple and elegant that I'm sure it will hold up. The hardshell case is extremely tough and well padded, and I still haven't even gotten that dreaded "First Ding" in the finish. It holds a tune quite well, which is a good sign.

This guitar comes with Gibson's warranty, which is basically a guarantee against flaws in material and workmanship. There were none, as I think these guys up in Bozeman are trying really hard. The only repairs I am contemplating are the installation of a strap pin on the heel, and the installation of a Fishman pickup under the bridge, either of which would void the warranty anyway. I have never had any problems with Gibsons that I couldn't handle myself or turn over to my guitar tech, who may be an authorized repairman anyway.

I started my first band in 1969, and have been in my current band since 1978.I own a 1956 Gibson Les Paul Junior, a Fender Esquire, a Fender Stratocaster 50's reissue, a 1968 Gretsch Clipper,a Danelectro U-56, a Gibson B25N Deluxe, a P-Bass, and cheap guitars in numbers and profusion that will cause doubts as to my sanity. I was delighted with this guitar, and it was free of all of the problems I was afraid it might have. It has that beautiful round-bellied shape that you see on very old Gibsons, and fits me perfectly; I'm sort of a 3/4 sized person. This guitar is a bit pricy, as any handmade American Gibson guitar is liable to be. I hope that Gibson decides to release an inexpensive Epiphone version of this model, as more parents would be able to afford it for their kids, and then discover that it's good for adults too.