The Delta Snake Review: Musical Gear Review and Music Article Archive: Vintage Review: The Gibson B-25 12-String Guitar And An Anecdotal Personal History Of Twelves

The Gibson 60s B-25 12 String acoustic guitar isn't just rare because it's a vintage model, it's also because modern small-bodied 12's are very rare. I've owned five twelve strings, and three were small-bodied types, and have wondered why that type has pretty much died out while parlor-sized six strings have become a popular category.

I do have an idea of why, and this informal history will be related off the top of my head from memory, but, unlike more than a few evaluations of a vintage guitar, it'll be based on my actual experience owning and playing it over a while.

The main reason there were small-bodied twelves in the 60s was that it was considered a good size for a "student" or beginner model. The main drawbacks were less volume, and the tighter string spacing made it much harder for those with large-sized hands to play chords. I have smaller hands, and still found it difficult to form chords on a small-bodied twelve, which was made even harder by the thicker necks (the modern slim neck, the C profile, wasn't a common feature back then), and higher action which made pressing down 12 strings more difficult than six.

I could get around the complexity of chording by playing in open tunings, which made playing a chord easier because it only required barring it straight across, but thick necks and higher action still could make it like squeezing a gel stress ball to exercise the fingers.

Many of the twelves I saw back in the '60s and '70s were played like regular guitars by the simple expedient of removing six of the strings. I imagine that some were converted by the original owners but most were because used twelves were common and cheap.

It's been said that this type of acoustic was dying out in the 40s until blues-folk legend Leadbelly revived it as a folk instrument (along with Pete Seeger), and in the 60s, the type became more popular after rock groups like the Byrds and Beatles used the electric versions in their records.

Although the acoustic was used in '60s recordings, notably by Glen Campbell in particular, the popularity of the student model didn't appear to last more than a couple of decades. Part of that was easy to figure out; people wanting to play one because of the Byrds and other rock groups were probably told to start with acoustics first and after realizing it wasn't the same, didn't stick with it.

The idea of starting with a "beginner" guitar isn't a bad idea per se, but the assumption that most people will continue to buy successive models is based on the idea that you have to start with instruments that at first don't necessarily sound like what you want to play. That's particularly true of those who get told to start on nylon string guitars. Those strings are easier on the fingers at first, but are also thicker and the wider spacing makes it harder to form and play chords.

Plus, it doesn't give players a direct route to what they want to play. Most will buy one instrument, and that'll be the one played for fun. If Punk Rock is the goal, then a nylon string guitar is an extra step and expense, particularly in 2023. You can buy an electric (or an acoustic for that matter) at any price range starting from one hundred (even less used) and pay to have it set up so it's easier to play. Your fingers are going to get sore anyway, but electric is generally easier to play because of the lower action and lighter gauge strings.

Most importantly, you know the guitar will produce the desired punk sound with dedication and practice. No matter how good you get on the acoustic, you've got to go buy another guitar and navigate the next round of mansplaining, snob talk by Internet experts who'll tell you the electric in your price range is a piece of crap and but another necessary step in the American process of spending as much money as possible, and advice from people who haven't played the chosen model but base it on opinions by others (most who haven't played it either) and are judging it based on its price and listed specs.

In the United States, the formula is:

Quality = x(y+x) - a(b+c) > f(d+e)

x = number of dollars

y = number of Internet experts who approve of the crap guitar

x = number of celebrities who play the model

Subtracting:

a = number of negative comments on Internet

b = if manufactured in China

c = if modified with after market components that lose value even if it improves sound

If value greater than:

d = Ebay price quoted as real market to get you to sell at a lower price

e = cosmetic flaws that become major price deductions during the haggling process (figure on 200.00 per scratch)

f = level of bragging rights on guitar forum after successfully mansplaining the seller into selling at a low-ball price, plus extra bonus if said seller was made to feel stupid or greedy for trying to get desired fair price.

But anyway, let's get back to those early twelve strings.

There was one other reason these guitars were hard to play, particularly if bought used; which was bad necks. By that, I mean one that was bowed upwards so the strings were higher and required a very expensive neck reset that cost more than the guitar. The main reasons were the extreme pressure caused by twelve strings and the fact that most were tuned to concert pitch or regular guitar tuning. Also, many twelves were just six strings with a larger headstock to accommodate the extra tuning pegs without the extra bracing and thus were prone to neck warp and the area of the top caving in where it met the fretboard.

Most of these would have lasted a lot longer if the standard advice back then had been followed; which was to tune it a half or full step down (electrics were generally OK at standard). That significantly reduced neck tension and produced a richer sound. However, that meant a C chord was a C flat or B, and that could cause problems when playing with others. That was why music stores would keep those at concert pitch even if they knew it stressed the neck. Customers who didn't have experience with the type would expect the chords to sound like those on a six-string, so the neck warp began before purchase.

Tuning a twelve deserves its own article, but in brief, the things are hard to get into tune, and as four of the sets of strings (called courses) include one tuned eight steps higher (to produce that rich octave sound) it's easy for beginners to break strings.

The most common mistake is that the novice will notice that the string isn't changing pitch as the tuning peg is turned so he or she will keep doing it until a string breaks. I say "a" string, not "the" because what's happening is it's a common mistake to turn the wrong peg over and over. The six tuners on each side are placed very closely, and it's easy to lose count and turn the wrong one.

Then, after successfully tuning all 12 strings, it still sounds out of tune and internet experts will interrupt the process of criticizing your guitar to inform you that the pegs are cheap and won't hold tune.

However, what's really happening in most cases is that as the strings are tightened up, it increases the pull on the neck and that'll twist it very slightly, enough to pull the other side of the neck out of tune. So by the time you reach the high E, the low E on the other side will go slightly out of tune. A second run-through will take care of that (generally) and if the guitar is already pretty close to being in tune, then one pass is enough.

That is, unless you're putting on new strings. Then it's 12 strings twisting the neck and stretching. I used to put on the strings, do the usual pulling to stretch the strings, then put the guitar away for a couple of days and let it just go way out of tune and give the strings to settle in better.

There were days that I felt like torturing myself, so I'd sit there and retune it every few minutes and that has the positive effect of helping one remember which tuning peg goes to which string which adds to the satisfying feeling that one is an expert musician.

One famous 12-string player, Ry Cooder, goes a step further and just uses single strings instead of two high courses. That's a viable alternative for those who want to play a ten-string instead of a twelve.

The condition of the neck is why the price of a 60s Gibson B-25 twelve can start as low as 800.00 (or less). You're generally going to get one with a warped neck at that price. It might be "playable" but with considerably more effort and playing up on the upper frets will be nearly impossible (with intonation problems to boot). I owned mine in the 80s, and it had been well taken care of so the action was decent (and I was able to adjust it down further).

The B-25 had less volume than a dreadnaught, and its tone was more Gibson-like, that is to say, warmer than, say, a Guild, which had a louder, "booming" sound or a Martin, which was brighter and more jangly.

At the time, I recall the most famous rock group to incorporate the small-bodied Gibson was The Moody Blues, but in my case, the artist who made the acoustic twelve-string more popular was Leo Kokke, whose "6 and 12 String Guitar" album on the Takoma Label in the 70s was a sensation among guitar players back then. He played twelves that were down-tuned correctly and along with John Fahey, added to the popularity of solo guitar music. That is solo guitar in American folk and rock music in the '60s and '70s. The solo form has always been common in classical, in Europe, 20s-30s blues and bluegrass. Not to mention other types of acoustic instruments around the world since forever.

The Gibson, as I said earlier, despite it's smaller body was difficult to play unless you had small hands, and because of its thick "baseball bat" neck, was "neck heavy" and tended to move downwards on your left hand (that required a change in position, which was doable).

Less volume meant less bass, though that made it a good recording instrument as that sound range sounded cleaner. One can always add more bass during the mixing/mastering stage but it's hard to clean up a muddy or booming bass.

The string spacing was close to the sound hole, which made it more difficult to play clean fingerstyle but conversely, made it easier for flatpicking.

However, just about any instrument can be played as desired after regular practice. When you read a review where a guitar is said to be bad for this or that style of picking, it's a good idea to note if that judgment came from the owner or someone who just picked it up and found it incompatible with their playing style.

It's also good to note if the reviewer actually has played it for a good length of time. It's not a given on the Internet that it was, many people just pass on opinions they've read.

Most important, is the review by someone who has a financial interest either directly or working for a publication or site that depends on advertising and has free access to review instruments sent by sellers. If so, you're mainly going to see a rewrite of the press release with maybe a complaint or two added on for credibility.

In the case of Twelves, my advice for a lower-priced model is to go for playability. If a 165.00 Oscar Schmidt feels better than a 1200.00 used Gibson B-25 with high action, then save some money and go for the one that'll feel fun to play.

A twelve by its very nature will have an enjoyable rich sound that'll make it a pleasure for a lifetime, particularly if you don't pay any mind to Internet trolls who tell you it's a piece of crap. Easier said than done, perhaps, as many Americans rank things by price, but ignoring that kind of trolling gets easier with practice, and in 2023, there's always a large contingent of users who are fed up with "cork sniffing" and express the once heard-of view that cheaper can be pretty good.

In the case of the B-25, I ended up selling it to a woman who had very small hands and was thrilled with it. I then got a cheap full-sized used Yamaha for 125.00 that played and sounded surprisingly good until I found an Ovation Glen Campbell model. Good enough, that I kept it and it ended up lasting longer than the Ovation, which began to cave in, etc.

Anyone who's owned a Yamaha wouldn't be surprised; that brand is underrated and known for being good at any price range.

That said, I would add that a vintage Gibson B-25 12 would be a nice addition to any guitar collection if it's right for you. It has a warm sound that isn't common in most modern twelves (which tend towards a Martin or Guild sound) and if in good condition, will last a while if kept tuned a half or whole step down. Its used price is lower than a lot of new premium models, and you can always find a buyer for an old Gibson if it becomes time to sell.

Most modern twelves will have slimmer necks, even in the economy models. Also, the premium range can generally be kept at concert pitch if that's important or necessary for your needs. After a few decades, most of these are no longer converted sixes so the construction is better and will easily last a long time.

The life expectancy of a 12 neck back in the 60s-70s was three years at concert pitch (if that), which is a good thing to remember when buying a vintage model over the Internet. When the seller says it's playable or good, watch out.

An honest seller will tell you the string height from the top of the 12th fret. If it's more than 1/16" (and it will be even higher with a bass string) then it'll be harder to play. You might feel that a little TLC can fix that and if the price is right, sure, why not?

However, look at pictures of the bridge. The normal solution to the string height increase is to shave down the bridge piece (that little plastic piece the strings arch over from the pegs). If that's been shaved down all the way, then lowering the action (cheaply) isn't possible unless you shave the whole bridge down. On a cheapie, no big deal. On a name brand, you'll wreck its resale value and still need to get the neck reset in most cases.

In my case, I'd just go ahead and buy a cheaper new guitar that's set up or one I can easily do myself. There's a certain point where you have to ask yourself if all that fiddling is adding or detracting from the pleasure of playing guitar. There's no wrong answer to that. I spent a year making my old 1965 Regal more playable than when it was purchased. I've passed on quite a few that were very rare but required luthier level work to restore just to playability.

The twelve is a difficult guitar to learn and play. However, its strong point for a beginner is that due to the rich sound, even the simplest music sounds beautiful. If you can persevere through the early learning stage of correctly tuning it, this type of guitar will have you playing nice-sounding music that a lot sooner than most of the other types of instruments.

It's even easier if you choose an electric one. A well-set-up one is much easier to play than an acoustic type.

If it's the sound you're looking for, no other type of guitar can duplicate it either. If after doing research and hearing it on YouTube (by several players of different skill levels), you decide to play a twelve, then go for it.

And for God's sake, don't follow the advice to buy a cheap nylon six-string first. If you want to learn a twelve, get one. As I said earlier, most people will only want to buy one guitar, so make sure it's the type that plays the music that's in your head waiting to come out.

- Al Handa

2023

The Quitturz by Al Handa