Memory is a funny thing. My previous all-time favorite converted Gibson Roy Smeck Stage De Luxe was also a 1934 scallop-voiced model from this same batch, 1010. Though I sold that one 4-5 years ago, the strong emotional impressions that it made on me were vivid and lasting. I think that I like this one even better. The feel is light, but with enough substance to stay in tune and to carry a musical voice in all registers. Distinctive to this one batch is the use of the beautiful engraved WG-31 Waverly tuners that some batches of fancier Gibson flat tops used in the early 1930s. This guitar is about the 30th Stage De Luxe that Alan Perlman has converted for me. He has really gotten to know the many peculiarities of this model, as almost every batch is slightly different than the next. My nut width instructions are 1 13/16″ for neck and fingerboards that are moderate stiffness, 1 3/4″ for extra stiff, and 1 7/8″ for extra flexible. This neck is right in the middle, so the nut width is 1 13/16″. The one side crack is on the treble side, just past the end block toward the waist. The two dryness cracks between the bridge and tail block are near the centerline for the longer one with reinforcement cleats, and below the low E string for the shorter one. The original bridge saddle slot has been plugged and an angled compensated saddle slot installed for good intonation. The bridge pins were replaced with Stew-Mac solid versions. The guitar has a warm and musically rich voice that is very easy to access all over the fingerboard. Whoever might be lucky enough to end up with this guitar will be rewarded with gorgeous tone and easy response. Ably protecting this jewel of a guitar is an SCGC Ameritage case that they had made for their version of the Stage De Luxe model.
Comments are closed.