F-7`s compared to F-5`s

[Willie Poole]

While reading and looking at some drawings of an F-5 mandolin top it showed the tone bars running at an angle from the back of the mandolin towards the fingerboard, it also said that the feet of the bridge should rest directly over the tone bars, on an F-7 the bridge is placed farther back on the top due to the "short neck" and the tone bars will be wider a part at that spot if they are spaced exactly like the F-5...So my question is "were they built the same as far as the top dimentions and tone bare placement goes? I know that some of the F-7 conversions that I have heard sounded a lot more powerful after they were converted to an F-5 than they did as an F-7...

Thanks in advance....Willie

[William Smith]

Gibson didn't use as fancy woods on the 7's body, a bunch of em have mismatched wood all over but I believe they were the same body dimensions. I've never taken one apart so Randy Wood would be the guy to ask. I know most all F-5's-F-7's of the 30'shad thicker tops than the Loar 5's. Some 7's are great with the shortneck but Converted they are really great, adds the 5 power and sound.

[f5joe]

Bridge position and correct F5 tone bars are what make to difference to me. F7's I've played are a cross (to my ear) between and F4 and F5 .... which is what one might ought to expect. Great historical pieces. I hate to see them destroyed by making them into an F5.

[pheffernan]

F7's I've played are a cross (to my ear) between and F4 and F5 .... which is what one might ought to expect.

I know that there are many who prefer the tubbier sound of a short necked oval as opposed to the more modern hybrids. I have often wondered if anyone has a similar preference for the short necked F7/F10/F12 mandolins with f-holes.

[DataNick]

I know that there are many who prefer the tubbier sound of a short necked oval as opposed to the more modern hybrids. I have often wondered if anyone has a similar preference for the short necked F7/F10/F12 mandolins with f-holes.

Happy Holidays Pat!

Going off memory here, but I believe the F-12s have the neck join at the 15th fret, like the F5.

[pheffernan]

Warm wishes right back at you, Nick!

Your memory is correct in that the F12 once reintroduced in 1949 had the 15th fret join, but I was referring to the earlier model introduced back in 1933 with the 12th fret join.

[William Smith]

I bought an F-7 already converted and that is a monster, Brian Aldridge called me today "he was the previous owner about 15 years ago" and we talked mandolins and I know he kicks himself for selling it, he said it is the best mando he's ever played and he has owned and played loads. One could have a great life instrument with a 7,just keep the original neck so it could be put back original but once ya have one converted you'd never want to! I also had one converted "I didn't feel bad about doing it because of the overall condition of it" Big Joe is also right to an extent because there is probably less than 30 F-7's out there and a good # have been converted!
I wouldn't convert one thats in real good shape, best keep the nice ones original.
also on the 10's and 12's they are so rare with only 3-4 of each known and I know of some that have been converted! I know I plan on keeping my 35 F12 original

[f5joe]

Big Joe is also right to an extent because there is probably less than 30 F-7's out there and a good # have been converted!

Uh ........ perhaps you are referring to "f5joe". Big Joe is one of my heroes though.

[William Smith]

Uh ........ perhaps you are referring to "f5joe". Big Joe is one of my heroes though.

Sorry about that, I get names etc.. messed up all the time.

[Willie Poole]

Bluegrasser, Brian came by my house one afternoon on his way home from N.J. and he had that converted F-7 with him and it is indeed a great sounding mandolin, it was converted by Randy Wood, he also had a Gilchrist and his Loar and a `25 Fern, to my way of thinking the Gil was the best bluegrass sound of all of them although his Loar was fantastic.....

I also did have the chance to play one F-12 with the short neck and It didn`t show me much at all, but then again set ups do make the difference and I can`t say if it was set up correctly or not, I know I owned a later F-12 with the long neck and it was a fantastic mandolin and I had it converted to an F-5 and offered it up for sale and it went right away, the buyer almost wet his pants when he saw it and played it he liked it so much, I should have doubled the price...Lol

I guess from what answers I have gotten that the F-7 tone bars were installed exactly like the F-5`s so having them converted and moving the bridge forward would put the feet right over the tone bars and also closer to the middle of the top so it would have to make a difference, whether good or bad...I`m sure more people will post a little more about them...

Willie

[Glassweb]

Listen to Monroe's original recording of Tennessee Blues. I believe that was done on his F7. 'Nuff said. I owned an F7 that sounded fabulous and have played several others that sounded equally great. The proof is in the pickin... if it sounds good don't mess with it...

[pheffernan]

The ones listed for sale right now seem to range from $9500 to $12.5 K, great value for a vintage Gibson F but a tough price point to sell against modern F5s from all but the most elite current builders.

[Bernie Daniel]

The ones listed for sale right now seem to range from $9500 to $12.5 K, great value for a vintage Gibson F but a tough price point to sell against modern F5s from all but the most elite current builders.

Yes at the higher price you are knocking on the door of a Gibson F-5 MM.

[lenf12]

The proof is in the pickin... if it sounds good don't mess with it...

Totally agree to not messing with a 30's vintage Gibson of any designation. I've gotten used to and enjoy seeing the bridge set so low on the body below the midpoints of the f holes on those 7s, 10s and 12s. I haven't yet played one but that black F-7 (is it at RetroFret?) looks very intriguing and sounds really good on the sound clip. Still, to satisfy my vintage preferences, I'm lovin' my '56 F-12 with the long neck...

Len B.
Clearwater, FL