There is no way to start this article without paying a great deal of due to Gibson\u2019s President during their \u201cGolden Era\u201d (1950s to early to mid 1960s) Ted McCarty. The man was a visionary and helped or invented futuristic models such as the Explorer and Flying V and had his hands dirty in the development of the Les Paul and Electric Spanish or ES series semi hollow bodies. Thanks Teddy!!<\/p>\n
The Gibson ES-335, 345 and ES 355 guitars are probably if not THE most verstaile guitar ever \u2026 certainly amongst the top. The solid maple block running through the middle of the guitar is why it is called a \u201csemi\u201d hollow. It allows for the sustain of a solid body with the overtones of a hollow body and the Feedback issue is solved all in one brilliant move. This solid block however would come into play as a difference later between eras which i will soon address in the article.<\/p>\n
The ES335 was introduced in 1958 with a market price of $267.50. I know \u2026 i know \u2026 if only today \u2026 but if it makes you feel any better .. you had to pay seperately for the case!! \ud83d\ude09<\/p>\n
The very 1st releases were in sunburst or natural or what is also referred to as blond today. The early 1958s were slightly different in that they had no neck binding. Though early and unique most dealers and collectors sell or value these for slightly less than a bound model. By mid 58 this was a non issue as binding was introduced and by 1959 the model was really off and running whether 335 345 or 355. Players like BB King and Chuck Berry would help put them on the map.<\/p>\n
Shortly after its release came the fancier models just mentioned. introduced in 1959.,\u2026. the ES345 and 355. What set these models apart was mostly ornamentaion and the stereo option as well as a vibrola, usually a Bigsby but some sideways are seen too. The 1959 ES355 would also show off the upcoming cherry finish officially introduced in 1960 AND the fancier bound ebony fingerboard. You may have seen the early 59 ES355s and most of them were actually made from the same red anolyn die that faded out of all their other models so the 355s often took on a more reddish orange hue than its later 1960 release where they had solved the fading issue \u2026 much like in Les Pauls standards of that era. It should be noted that while stereo was a big part of these models that early ES355s were also made occasionally in mono which is a superbly collectable combo. By 1960 all 3 models were available in Cherry Red, Sunburst and Natural but natural was discontinued after 1960.<\/p>\n
As time progressed some of the features would change and come seriously into play thus why certain eras are considered much better.<\/p>\n
A very big one to me with ES335s was the history of the solid block. 1958-1961 \u201cDot Necks\u201d (referring to their dot inlaid fingerboard) all had solid blocks through and through \u2026 but as Gibson\u2019s production on this model would ramp up they in 1962 began cutting out the treble side of the block between pick ups allowing for a \u201cuniversal\u201d shell so that determination of model could come later in case they needed a 345 instead for example. The stereo models required a big choke and stereo splitter and this device was mounted between the pick ups so suddenly the ES335s were also cut out. This will not show from the bass side F hole but will from the treble with a light. Then earlier ones had merely a small pilot hole drilled in the block for wiring as on Dot Necks but in mid 62 you\u2019ll see about a 1+1\/2 \u2013 2\u2033 cut out between the pick ups TREBLE SIDE ONLY. In my opinion as a 335 owner and obsessed fan all of my adult life is that the earlier solid block had more sustain and a darker sound more like a Les Paul and the later ones a little jazzier tone. This is a very important to some \u2026 yet a little discussed turning point except between the deepest of \u201c335 heads!\u201d<\/p>\n
This would be the start of a transitional era that eventually revamped many features of the model. Up to this point only minor mods like a knob change in 1960 had occurred. The changes in most cases happened in the mid 60s, These\u00a0 affected many Gibsons in that way. In later 62 the PAF decals were replaced by patent number pick ups though this was mostly a formality and didn\u2019t amount to changes made right away. Also at this time block neck markers became stock though dots were still an option. In 1963 dots were no longer offered. The next evolution would be in the mid 60s late 64 into mid 65 when the well accepted wider fingerboard would disappear \u2026.the nickel hardware would be replaced my chrome .. the stop tailpiece was then replaced by the trapeze, \u201cT-tops\u201d or later humbuckers were introduced and eventually what you wound up with was still a great guitar but certainly somewhat different than the original eras.<\/p>\n
The 60s and 70s brought players that would also give \u2018cred\u2019 to the model Eric Clapton used his 1964 on Cream\u2019s \u201cBadge\u201d \u2026 one of the best and most noted guitar solos of all time. In the 70s Fusion guys would put the dot neck into the history books forever with players like Larry Carlton cutting it up on Steely Dan\u2019s \u201cKid Charlemagne\u201d and Lee Ritenour showing up on the cover of everything with his red Dot.<\/p>\n
By the late 60s the changes were mostly the same as other models in that Norlin\u2019s signs would show up \u2026 like the head volute \u2026 \u201cmade in USA\u201d stamp\u201d But all in all stayed the same until the late 70s when small additions like coil splitters were added. But there is also another point regarding the center block to be made here and that is there was also a period early in the 70s where some but not all 335s were made with a total divide in the block from bass to treble side that you actually Can see through from both side F holes \u2026 or a non solid block. This may have a good clean sound but i have played several and feedback can be an issue at high gain and volume situations.<\/p>\n
By the nearly 1980s everyone was aware that the earlier features were the ones they wanted and much like Fender \u2026 Gibson launched into the reissue business and the reissues are a very close aesthetic version of the originals \u2026 though most would argue not on a level of the guitar\u2019s actual playability, sonics and desirability. Which would explain why the reissues go used for about $1500-$2000 and the orignals more like $25,000- $40,000 (and more for a blond!).<\/p>\n
I too \u2026 have payed through way too much for a blond\u00a0\u00a0\u00a0 \u2026 but back to guitars \u2026 It is my humble opinion that the Gibson ES335 is the most versatile guitar ever. It can be used as a Rock and Roll overdrive guitar, a jazz clean guitar, BLUES guitar extrordinaire \u2026. a country guy can use one on the treble pick up and so on.<\/p>\n
If i had to part with all of my electric guitars and keep just one \u2026 you KNOW its going to be my 61 dot neck ES-335!!<\/p>\n
Thanks for listening.<\/p>\n