![]() ![]() A flourish inlay under “The Gibson” in the headstock. Similar to an A2 except for the top color: an orange top in the teens, and a white top (refrigerator-top) in the late teens and early twenties. A2-Zs were theoretically made during the Loar period of 1921-25, but only between 19. There are also examples of A-2Zs without the ‘Z’ on the lable but still sporting the black perfling line. There are a few examples of A-2Zs with black tops, though this was probably used to cover some imperfection in the selected tops. In 1923 it appears that Gibson began to assemble A-2s with left-over blonde tops from A-3s. A-3’s had refrigerator white tops with a black perfling line, adjustable truss rods and adjustable bridges. Similar to A-2 but with snakehead headstock, blonde finish, b/w binding, and A2-Z on the label. There was a line of black inlay (or ebony layer) along the centerline of the back of the neck. The headstock face was veneered in black. It had a double ring of purfling around the soundhole, pearl dots on the fretboard, dark stained birch back and sides and “The Gibson” stamped on tailpiece cover. It had binding on front, back, soundhole and the fretboard “The Gibson” inlaid into the headstock and a better grade of spruce top. This was available in brown, black or blonde finish. ![]() “The Gibson” stamped on tailpiece cover and inlaid in headstock. Similar to A, but with double purfling on the soundhole. A (also known as the A-0)īrown or black finish, some binding only on the top and in the soundhole with one ring around the soundhole. It was available with a brown finish and came as a snakehead or paddle headstock. A joint at the 12 th fret is an older, more traditional design, and while some acoustic guitars are built this way (typically parlor guitars) it is a hallmark of the classical design.In general, higher model numbers meant more binding and ornament. Neck-to-body Joint: If you look at most modern steel-string guitars you’ll note that the neck and body join at the 14 th fret. ![]() Because nylon strings put much less stress on the neck, classical instruments often do not have adjustable truss rods, though some do. These are necessary to counteract the tension of the steel strings, and they can be adjusted as needed. Truss Rod: The truss rod is a steel rod that runs the length of the guitar neck on steel-string instruments.Classical instruments feature much lighter bracing. Bracing: Steel-stringed acoustics incorporate solid bracing, not only to keep the guitar sturdy with the tension of the strings but also for better projection and resonance.The nylon strings make this a viable option, though some parlor, steel-string guitars have slotted headstocks as well. Headstock: Machine tuning pegs are an innovation we take for granted, but classical instruments still use slotted headstocks.In my opinion, this makes them super comfortable to play, but people with smaller hands may struggle at first. Fingerboard: Generally, classical instruments have wider, flatter fingerboards with slightly wider string spacing.Though, some acoustic guitars, such as parlor models, are similar in size and dimension to their classical ancestors. ![]()
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