Conference napalm::guitar

    Danny,
    
    Could you just clarify the difference between the stop and trapeze
    tailpieces? I've seen a lot of Gibsons, but I'm not familiar with these
    terms. I'd like to know which I have on my c. 1969 ES-345 SVT.
    
    - Ram

    Ram,
    
    The stop tailpiece is what is mounted on most modern Les Pauls -
    it is threaded into two studs mounted on the top of the guitar.
    String tension holds the tailpiece on the studs (if all strings
    are removed, the stop tailpiece can be slid off the studs).
    It does not have fine tuners on it (like the TP-6) and should
    not be confused with the tune-o-matic bridge (also on modern
    LP's) which is where the intonation adjustment is done.
    
    The trapeze tailpiece is mounted on the bottom edge of the guitar,
    usually in conjuction with the strap button.  There are usually
    two rods, or bars extending from the mounting point to either
    end of a crossmember where the strings attach.  It actually
    looks like a trapeze, and you can visualize the 'ropes' tied
    edge of the guitar and the strings attached to the 'trapeze' itself.
    
    The trapeze is an older style tailpiece, though still available
    on certain models.  Many f-hole arch-top acoustic jazz-box builders
    prefer the trapeze, because it doesn't contact the sound board,
    thus not interfering with the natural resonance of the guitar.
    
    A classic example of an electric which still uses the trapeze
    is the Rickenbacker 360/12 V '64.
    
    Steve

    Virtually all 345's except the earliest have trapeze tailpieces,
    which are as described in -.1
    
    A stop tailpiece can only be used on a guitar with a center block,
    so archtop makers don't just prefer to use trapezes--they have to! A
    trapeze supports the string tension on the rims and end block.
    
    A TP-6 is a type of stop tailpiece--any stud-mounted tailpiece is.
    
    Danny W. 

    re: .2, .3
    
    That's what I thought. I figured the rapeze was the one with the rods
    extending down to the strap button. What confuses me now is why my 345
    has a stop tailpiece with the tune-a-matic bridge. Is it not really a
    1969, as I was led to believe when I bought it, or was the bridge
    replaced somewhere along the line? Or is it possible that some 345's in
    1969 did have tune-a-matic bridges?
    
    - Ram

   
    Re .4
    
     Stop tailpiece conversions have been very popular--check carefully
    around the endpin to see if there are filled screwholes where the
    trapeze used to be. This could be hard to detect if the conversion
    was properly done on a sunburst or red guitar,
    
    If your guitar has no volute, no made in USA stamp, an orange label,and
    wood headstock veneer, it is pre-1970. Trapezes were standard on
    the 345 throughout the '60's and '70's, but it might have been custom
    ordered with a stop tailpiece.
    
    
    Danny W.

    In 1959, Gibson introduced another guitar that appeared similar
    to the 335, but was actually quite different: the ES 330T. This
    was really a thin hollowbody, without a center block, like a double
    cutaway ES-125T. Because of this, the neck joint was at the 16th
    fret, and a trapeze tailpiece was used. Originally a single P-90
    with chrome cover, soon changed to two P-90's. In the late 60's,
    a "long-neck" version, was available.  I've seen these with and
    without center blocks--I'd avoid the latter.
    
    The ES-325 was a bottom end semi, with unbound neck, no headstock
    inlay, dot markers, one f-hole, controls on a plastic semicircle,
    and pickups that appeared to be refugees from the bridge end of
    an EB-3. These are not high on the food chain.
    
    The Crest redefined strange. An all-rosewood hollowbody only 1.625"
    thick at the rims, with 355 style trim, rosewood fretboard on a
    mahogany neck, trapeze tailpiece with rosewood and MOP insert, bound
    rosewood pickguard,  freestanding rosewood bridge, and two
    semi-floating, sorta Johnny Smith pickups. The 15th fret neck joint
    makes for a really long neck extension that completely negates the
    advantages of a double cutaway.  The pickguard has binding in the
    pickup cutouts, a neat feature found on the Kalamazoo Award and
    Citation. The pickup selector is located on the upper bout, treble
    side, just like on most Gibson archtop electrics. Hardware could
    be either gold or chrome plated.
    
    Crests were expensive, not very useful, and only made in 1970-71.
     The rosewood body is very prone to weather checking, so finding
    a mint one is difficult. Average condition ones go for around $1k.
    
    The ES-340 has its own note #mumble.
    
    The ES-347 was introduced in the late '70's, and is essentially
    a non-stereo, non-varitone 345 with a TP6, ebony fingerboard with
    MOP blocks, and coil-cut switch. It is still available.
    
    The BB King Custom replaced the 355. "Lucille" headstock inlay,
    no f-holes, has varitone, and  stereo with two separate, rim-mounted
    jacks (all the other Gibson semi's have top-mounted jacks), all
    other details like 355. Standard color is black, but cherry red
    available. The guitar on the cover of Chuck Berry's autobiography
    is a BB King  Custom, sans the "Lucille" inlay.
    
    The BB King Standard has plainer trim, chrome hardware, no stereo
    & varitone, thumbprint headstock inlay.
    
    The ES-Artist also was based on the 355, with no f-holes, offset
    dot markers, seahorse headstock inlay (also used on the RD-Artist),
    and active electronics with compression, expansion and treble boost.
    Many of these had nicely-figured curly maple tops and backs. These
    were made from the early '80's until a few years ago.
    
    The ES-357 was a limited edition semi with three p-90's. Aimed at
    LA studio guitarists who were used to playing 335's, but needed
    a brighter sound, these cause a big stir when announced, but apparently
     few were made. The prototype had P-90's under humbucker covers.
    
    The ES-369 was another bizarre idea--mostly made of parts left over
    when Gibson was closing the Kalamazoo plant, it looks like a 335
    Epiphone by way of Ibanez. A number of these wound up here in New
    England--apparently, the local dealers thought they were getting
    instant collector's items. Fender fans who are familiar with the
    genesis of the Fender Custom will understand what Gibson was up
    to.
    
    Between 1959 and 1969, Gibson made a number of semi's under the
    Epiphone name that were equivalent in quality to the ES series.
    These were similar in trim and detailing to Gibson models, with
    typical Epi features. Of these, the Sheraton is the most interesting,
    being similar to a 355, but with the EPI inverted V block fretboard
    inlay and vine headstock inlay. It was available with either a Bigsby
    or Frequensator tailpiece. The 335 version was the Riviera. Gibson's
    first non f-hole model was the Epiphone Al Caiola, which came in
    a Custom and Standard version. It had a freestanding bridge and
    trapeze tailpiece.
    
    The Epi Professional had all the controls for its matching amp built
    into the guitar. Just slightly ahead of its time. If you ever find
    one of these, be sure the amp comes with it!
    
    Danny W.
    

    
    The Epiphone Sheraton, now made in Japan has been reintroduced,
    and while perhaps not up to the quality of the original, they *look*
    stunning and at about $500 are worth a play if you're looking for
    a semi on a budget.
    

    re: .5
    
    > Stop tailpiece conversions have been very popular--check carefully
    > around the endpin to see if there are filled screwholes where the
    > trapeze used to be. This could be hard to detect if the conversion
    > was properly done on a sunburst or red guitar,
    
    That explains one thing. I always wondered why somebody had drilled
    holes in the body around the strap button. Apparently it was originally
    a trapeze, and later converted to a tune-a-matic bridge. The pegs were
    also coverted to Grovers, probably at the same time.
    
    > If your guitar has no volute, no made in USA stamp, an orange label,and
    > wood headstock veneer, it is pre-1970. Trapezes were standard on
    > the 345 throughout the '60's and '70's, but it might have been custom
    > ordered with a stop tailpiece.
    
    Hard to tell. I believe it does have a headstock volute, if I correctly
    understand what that is from your other note. It's different than the
    one on my Martin, which runs parallel to the length of the neck, but
    there is a "bump" at the base of the headstock. Also, the label is red,
    white and blue, not orange. At least I think the background is white,
    it's kind of hard to tell because it has yellowed with age.
    
    On the other hand, it is not marked "Made in USA", but is marked "Union
    made". And as best I can tell the headstock veneer is wood, although
    that's also hard to be certain about since it has a coat of black
    enamal or something on it. But there are places at the edges where it
    is worn away a little, and there seems to be a layer of wood veneer
    under the enamel.
    
    If it's any help, the serial number is 778730. It would be nice to know
    the exact date, because I wouldn't want to misrepresent to someone if I
    ever sold it. Oh yeah, I also remeber that the pickup covers have
    "Gibson" embossed on them, if that helps in dating it. I recall that
    because someone once told me that the pickups with those covers tended
    to be inferior. Is that a myth or reality?
    
    - Ram

    re: -.1
    
    Paydirt. Your 345 was made between early '71 to mid-'72. The
    embossed pickup covers were used during this period. It is unlikely
    they are replacements on an older guitar--anyway, the volute precludes
    this. 
    
    There is no truth that these pickups are inferior to any other
    humbuckers made during the '70's.
    
   Weber's 94th law: Guitars rarely have extra holes for no good reason.
    
    Danny W.  

    Thanks, Danny, that's good to know. Your knowledge about these details
    overwhelms me.
    
    - Ram

    I have an ES345SV (serial number 406278). I believe it has a wine
    finish, since the finish is a dark red, with the grain showing.
    It has a trapese tailpeice, the pickup covers do not have the 
    Gibson stamp. I tend to think it has the volute, but I am not
    quite sure what a valute is supposed to look like. The back of
    the headstock is sqaured, and comes to a kind of a point at
    a bump, as apposed to my Fender Telecaster, on which the neck
    flows smoothly into the headstock with no bump. 
    
    I have always thought that this guitar was a 1975 vintage, but
    after seeing that Ram's guitar is a 1970-71 vintage with the
    serial number in the 700k range, where mine is in the 400K range,
    I have to wonder.
     
    The knobs are black skirted knobs, and the varitone switch is
    the pointer type with a gold backing plate. It has a single top
    mounted stereo plug. All gold hardware, and gold Klusons with
    white plastic cranks. The pickups surrounds are black. TOM bridge
    without fine tuning. 
    
    So what do you think, Dr. Weber, How old ??
                                    
    Mark 
    
    ps: interesting note. 
    

    Re: -.1
    
    Mark, your 345 is '74-75, just as you thought. The bunp is a volute,
    400000 numbers were used in '74, and the rest of the description
    fits an instrument from this period. The finish is wine red--these
    vary from a dark cherry to burgundy to nearly black.
    
    I'm glad you enjoyed the note. 
    
    Danny W.

    I remember seeing a few ES335 Gibsons that had only the Stop tail-piece
    and no tune-a-matic bridge (just like the Les Paul did at one time &
    many of the SG's have), however, I haven't seen one like this in at
    least 20 years. Was this type of thing special order (I've always
    prefered the stop tail-piece as a bridge & not that excited about
    having a tune-a-matic in between the bridge and nut), or maybe a
    luthiers hack. I saw these in Chicago, probably around 1965 (at about
    the same time I bought my 1964 SG with the Stop tail-piece bridge).

							    Jens

    re: .13
    
    Jens, it sound like a hack. Gibson did ship many 335's with Bigsby's
    after the stud holes were drilled--they covered the holes with a
    plastic "Custom Made" plaque. If you removed the Bigsby, you could
    put something like a Badass or Schaller bridge/tailpiece assembly
    without using a separate bridge--but these didn't exist that long
    ago.
    
    I'm not sure why you would prefer this. The beauty of the TOM and
    stop tailpiece is that it lets you adjust string tension as well
    as action and intonation. Also, the bridge carries only vertical
    forces to the top, with the stop tailpiece holding the tension.
    This produces much better sound than a combination unit. Remember,
    this is not a flattop.
    
    Danny W.

    One thing for sure, each guitarist has their own preferances (like
    string guages, picks, necks, scale lengths, etc...). I've been looking
    for an ES335 with the Stop-Bridge combination for years (Also with dot
    fret markers - I never liked an abundance of inlay or fancy dressing on
    any guitars), also without the lump at the end of the neck (Gack!!!),
    and I've never seen them since (except maybe someone playing one in an
    early 1970's Guitar Player magazine, long long ago). I've wondered what
    the charge would be to have one custom made for me, but I hesitate
    knowing that it won't be cheap.

								Jens

    re .15
    
    335 dot necks are easy to find, and most if not all of them have
    stop tailpieces. If you've got the money, you should have no problem
    finding one.
    
    Gibson is making new 335's with these specs as we speak. I think the nicest
    ES I have ever seen is the natural finished-quilted maple-dot neck
    at Mr. C's music in Marlboro. It is a brand new 1988 model, but
    is flawless, and the wood on it is really striking. I didn't even
    bother to ask the price, but I am sure it is in the $1200 range.
    Not that I would actually buy anything from them, but they do have
    a nice selection of Gibsons. 
    
    Mark
    

    Jens, the current "Nashville" TOM is much less rattley than the
    original ABR-1, and even though the stud size is slightlyv larger,
    can usually be used on older guitars.
    
    Often the break angle over the bridge is steep enough so that the
    string touches the back of the bridge on the way to the tailpiece.
    This can cause all kinds of buzzes. Either raise the tailpiece or
    put a strip of felt on the rear edge of the bridge. 
    
    A Schaller Badass combo can often be used with the standard stop
    tailpiece studs, depending on their exact location. The ES-347,
    for example, has the stop tailpiece well away from the bridge, and
    can't be used this way, but many older instruments have the bridge
    and tailpiece much closer together. The wider spacing eliminates the
    problem of the strings hitting the back of the bridge, though.
    
    Since all 335's are now dot-markers without volutes, the only thing
    custom about the guitar you want is the bridge, so it would not
    add much to the cost of a new one, but Gibson's custom shop is
    backordered forever.
    
    You might also consider a Heritage H535, which is a 335 type made
    by the guys who were Gibson's Custom Shop in Kalamazoo. They enjoy
    custom work, have much faster turnaround and top quality at reasonable
    prices.
    
    Danny W

    The Older Tune-O-Matics has some small piece of wire that was to hold
    the screws in place & keep them from rattling - I didn't like it.
    Somewhere along the line there was nylon or some sort of metal used
    for the bridge pieces (the ones that supported the strings). The
    Current "Nashville" TOM looks an awful lot like the IBANEZ bridge
    of the middle 1970's that Gibson probably copied since it wasn't as
    flimsy as the original design.

    I've thought of what you are suggesting, but I don't think that the
    reach is long enough on the after market bridges (I have an IBANEZ
    adjustable Stop tail-piece/bridge that I used to use on my SG). I was
    hoping to find one that I didn't have to kludge what I wanted. My
    brother had a 1955 or 56 Les Paul with the P-90 soap bar pickups on it
    and a Stop tail-piece bridge (the idiot sold it for $75.00 back around
    1970!!!!) & I used to play it a lot. The combination feels more
    comfortable for me to play , and I think that it sounds better (pure
    opinion on my part) if bridge is the last connection between the
    strings and the body.

    re .16 - no, they don't make them this way at all, all of them have
    a Tune-O-Matic bridge in between the Stop tail-piece & the Nut.

    I still love the feel and sound of an ES335 tho (My brother has one,
    he bought it with the cash from the Les Paul). Never liked the feel
    of a Strat or Tele (but They sound just fine). I think that this
    relates to a warmer sound from a Mahogany neck versus a Maple neck.

							    Jens

    Jens:
    
    I have to admit that you are the only person I have ever met who
    would prefer the old combination unit to a TOM/stop tailpiece, since
    they were extremely difficult to adjust and impossible to intonate. Finding
    an early Goldtop with one is not impossible, but many of these have
    been long since converted.
    
    The Nashville TOM is actually a Schaller design that beats Ibanez
    by a few years. I prefer these to the originals, but I have met players
    who claim they don't sound as good.
    
    re: Volute
    
    For those of you who still are not sure what a volute is, see page
    163 of Tom Wheeler's American Guitars, which has a picture of guitars
    with and without. Also, the spine photo of The Guitar Book (first
    version) shows an L-5S in profile with the volute clearly visible.
    
    Danny W.
    
    

    I never can remember the name volute, but I recall the first one that I
    ever saw on the back of a Gibson neck, and I've referred to them as
    lumps ever since.

    Also, somewhere back, the Gibson headstock was smaller than it
    currently is on the ES335's (Maybe they make them both ways these days,
    I'm not sure). Somehow the larger headstock looks out of pro-portion to
    me (I guess I just like the smaller version).

    As for the Stop Tail-piece bridge. I've never had any problems with
    the intonation on my SG (circa 1964), and I'm real particular about
    the intonation on my guitars. I'll admit it takes some time to set up,
    but, since I always use the same guage strings, once set up, It doesn't
    need adjustment. I've also used the Bad-Ass bridges in the past & they
    (or a similar derivative) should solve just about any intonation
    problems, just as well as a tune-o-matic does.

    No matter what, I really like the ES335's & always think of Larry
    Carlton or Wes Montgomery when I see one. Chuck Berry and B.B. King
    come to mind also. I'll get one one day (I've been saying that since
    1975).

							Jens

    re: -.1
    
    To my knowledge, Wes never played an ES-335. Virtually all his
    recordings and live performances were done on various L-5C and L-5
    CES models. Early on he used an ES-225 and and ES-350, but never
    a semi.
    
    The current ES-335 has the same headstock as the originals. Face
    it, you're just putting off the inevitable. Buy yourself one, already.
    
    Danny W.

    The album of Wes Mongomery that I'm thinking of has a nice
    version of 'Elinore Rigby' on it. On the front cover, Wes has an ES335.
    I bought the Album around 1968 & I think it was the last album he made
    before he died. As for putting off the inevitable & buying one, I'm in
    no rush (I have 9 other guitars at the moment & not lacking of guitars
    to play or to keep in tune). As I say, If I see one with the bridge
    combination that I'm looking for, I'll probably find a way to buy it,
    if not, then I'll keep looking.

							    Jens

    I have a Gibson ES335 TDC 12 String in cherry red S/N 859301. It
    has no volute and a trapeze tailpiece and all chrome hardware. The
    neck has square inlays a two piece split diaomond inlay in the
    headstock and meets the body at the 19th. fret. The neck is bound
    but the head is not.
    
    Jim
    

    re: .22
    
    Your ES-335-12, which I assume has an orange label, is from 1967.
    
    Re: 21
    
    Jens, I'll have to take a look at that album cover, but even if
    there is a photo of Wes with a 335 , he never played it.
    
    Danny W.

    I've been looking at 335s lately, finding good used one's hard to find
    around New York (though I haven't been out to Mandolin Bros on SI) but
    have seen some new one's in the $600 - $700 range.  They are black or
    cherry and one I played had no f-holes (I thought this was particular
    to the Lucille model).
    
    Does anyone more knowledgeable on Gibsons (this would be first electric
    of any kind) have any thought on the lower priced 335 models?  (I think
    this may be the studio?)
    
    It will take a while to get the bucks together (wife wouldn't want to
    see it on a Visa bill), but it is certainly nice to think about.
    
    - Evan
    
    (Know the note's been dead awhile, but seemed the right place to put
    it.)

    re: .14
    
    >> I'm not sure why you would prefer this. The beauty of the TOM and
    >> stop tailpiece is that it lets you adjust string tension as well
    >> as action and intonation.

    Could you please go into a little more detail about the tension
    adjustment?  It sounds to me that lowering the tailpiece will
    increase tension because of the sharper angle over the bridge,
    correct?  Will this affect tone and sustain?  Is there an optimum
    bridge/tailpiece relationship you're trying to achieve or is it
    just a matter of taste?  I'm looking for some advice before I go
    fiddling with my 335.
    
    /rick

    Lowering the stop tailpiece increases the tension, improves the
    sustain, sounds better (this is an IMO) and makes the guitar play a
    little more stiffly. The best setting is a matter of personal
    taste--play with it until you find the best compromise.
    
    I keep the tailpieces on my 355's most of the way down, those on my
    LP's  and L-5S's all the way down. With the LTHB strings I use, this
    works well for me, but then again, I'm used to the higher tension on my
    archtops.
    
    A typical problem when lowering the tailpiece is that the strings may
    touch the back of the bridge, causing buzzes. Some guitars are more
    likely to do this than others, depending on the bridge height and the
    spacing between the tailpiece and the bridge. Sometimes a piece of felt
    can cure this, but it may be necessary to raise the tailpiece a little.
    
    Danny W

    I'm looking for advice on 'points to look for' in a new semiacoustic.
    I know more or less what to look for in a solid guitar, but I'll soon
    be looking at new 335s, and I wondered if there were any particular
    features worth checking.
    
    I'm looking at the latest ES335 re-issue -- has a 'National' bridge.
    
    Thanks in advance, 
    
    Richard. (P.S. I'm still looking for the cost of these things in the
    U.S. -- if the price is favourable, I'll nip across and buy
    there/import rather than in the U.K.)  

        I would say, the most desirable semis are either the 335, or the
    355, depending on your personal taste. The 335 is a mono version ,with
    a stop tailpiece, chrome hardware, dot neck, and no varitone circuit.
    355's are avilable in various configurations, but again, models with
    stop tailpieces, and no varitone are prefered.
    
    	Prices on brandy new semis are in the $750 to $1200 range. Used
    one are available for less, depending on year, features, and condition.
    	
    	It would be worth your while to read this entire note if you are
    seriously considering buying one.
    
    Mark

    Thought I'd put a little life into an old topic.
    
    We've discussed the 6-string Gibson semi-solids ad nauseam, but
    what about the real important stuff; the basses :-)
    
    I know of two models; the EB-2, double cutaway with f-holes, available
    with one or two pickups, and a baritone pushbutton switch.  The EB-6,
    similar body style, 6 strings pitched an octave below a standard
    guitar.  I believe these instruments were mainly produced in the
    sixties.
    
    Anyone ever actually own a semi-solid bass?  Any idea what they are
    worth nowadays?
    
    /rick

    I played in  a band with a guy who had the EB-2. Nice axe but prone to
    feedback when he pushed his amp. Very very very bassy tone, that sort
    of earth shaking thud type of sound, and it had a bass booster push
    button switch that made it really thud...no crunchy slap bass type of
    sounds though. It played like butter, a the time I was amazed that
    anything with strings that thick could play so fine.
    
    dbii

    
    There was also a Les Paul semisolid bass, the Signature.  Gold top,
    shaped sort of like a 335 with asymmetrical cutaways, one low-impedance
    pickup.  From the mid-seventies. Last one I saw was in a NYC shop about 
    10 years ago, mint for $350.
    
    
    						Brian

    I owned one around 1965. I loved it.......
    
    I sold it only because I needed the money. (Sas, sad, sad....)
    
    I still regret it, and from time to time I desperatly try 
    to find one to buy.
    
    Prices are not cheap. The only nice one I saw was in London six month
    ago. Very steep price. If I remember right it was more than 1200$.
    
    Altough not very much in demand, the few that are available seem to be
    very expensive. Maybe one day I will be lucky enough to find an
    affordable one, or melancolic enough to swallow the price.
    
    Real, fat deep sound. A that time (1965) I was running it through two
    18" speakers which really matched the sound texture of the bass.
    
    Jean-Paul, who now satisfies himself with a P-Bass and a Yamaha Motion
    Bass. 

    EB-2's in nice condition generally gp for $500-$600. EB-6's are quite
    rare, but there is not a big demand for them. The last one I saw for
    sale was priced around $1200, but I don't know what it actually sold
    for.
    
    Danny W.

    I have an ES345 at home, and I am thinking about doing some mods to 
    it. The obvious mod is to remove the "trapeze" tailpiece and install 
    a "stop" tailpiece. I haven't decided to definately do this yet, but 
    I understand it is pretty cut and dry, and increases sustain greatly. 
    Can anyone recommend a good (fussy) luthier in the Central Mass area 
    that I could trust to do this mod? What's the average price for the 
    conversion?
    
    I am also considering re-wiring this beast. The wiring on my 345 is 
    really the worst thing about it. It is stereo wired, but the volume 
    and tone knobs interact with each other. The middle position sounds 
    nasaly. It occurs to me that the two pickups may be out of phase with 
    each other and when both are on, lots of cancellation is occuring. 
    What is a 345 supposed to sound like in the middle position? Is it 
    suppossed to be a fat creamy sound, or a nasaly sound ?
    
    I am considering bypassing the varitone circuit, but only if doing so 
    will improve the sound, or prevent the interaction problem. I think it 
    would be a plus to wire this guitar in mono, so that I can use regular 
    mono cables. Some people have told me that the guitar should work 
    properly with a mono cable, but it doesn't. I only get one pickup to 
    work with a mono cable (I believe it is the neck pickup but don't quote 
    me). 
    
    Last but not least, would rewiring this guitar to mono decrease it's
    value ? I am assuming that bypassing the varitone circuit would
    decrease the value, and I would prefer to leave it alone, but I
    really want to eliminate the interaction problem. I want to be able
    to preset the bridge and neck pickups, and get a nice fat sound in
    the middle position which is a SUM of both pickups.
    
    I had the wiring out of this guitar once before, to fix an intermittant
    switch contact, so I know firsthand that pulling the wiring out of
    a semi is a pain in the butt. A repairman would have to charge for 
    all the hassle. Would it be worthwhile to remove the wiring harness
    myself and bring it to someone and have them rework it, then install
    it back in the guitar myself?
    
    Mark

    
    Mark,
    
    You should find that with the varitone in the "off" position (1, most
    likely) the only "loss" you get is due to whatever capacitance or
    inductance the switch itself contributes, essentially zero.  The only
    advantage to disconnecting it is if you bump into the switch a lot. 
    
    			Brian
    

    My biggest complaint with varitones is with each click of the switch, 
    the gain (there I've said the G-word) drops down more. In position
    6, the signal is almost nill.
    
    What would be pissa on a varitone-equipped guitar would be a unity-gain 
    buffer which would compensate for signal loss when using the varitone 
    circuit. It would be a bitch changing batteries on an ES, though. You
    might be able to do it through one of the F-holes.
     
    Mark

    
    A unity gain buffer won't help.  The loss of signal on a Varitone is
    not so much due to loading as due to the fact that a significant amount
    of the signal gets notched out.  What I think you *mean* is a gain block
    to compensate for the gain reduction of using the Varitone.   On B.C.
    Rich guitars with Varitones, they do have a preamp with adjustable gain
    to let you do that; sadly, it requires you to twist a knob after you've
    changed the Varitone setting.  On my bass, that's OK because I would
    typically use only one setting on a given song, but to attempt to make
    adjustments on the fly while playing...ugly...  
    
    							Brian

    I have 355's with Stereo/Varitone and mono/nV. The mono one  sounds just
    slightly worse than the other, but the difference between the two is no
    more than normal variations between guitars. I ignore the Varitone and
    stereo--the switch stays in the #1 position.
    
    The interaction between the pots has nothing to do with S/V. Gibson
    wires the pots with the wipers together when the toggle is in the
    center. You can easily rewire them so that the wipers are across the
    pickups to eliminate this interaction...however, the pickup loading
    will now change as you vary the volume, causing large tone changes.
    
    If you use the volume knobs with finesse, you can get a reasonable
    range of sounds in the center position before interaction becomes a
    problem.
    
    If the tone in the center position is thin, the pickups are likely out
    of phase. Gibson has done this pretty often, by accident. My Kessel
    Custom is like this--I've never bothered to fix it, since I rarely use
    anything but the neck pickup on this guitar. I'd definitely change it
    on a 345--the center position tones of these things can be terrific
    when the pickups are in phase.
    
    Danny W.

    When I had my 345 apart (quite a few years ago) the pickups have
    coaxial leads which connect to the selector switch. I'm pretty 
    sure both the pickups are wired properly (shield to ground, center
    conductor to the switch posts). Could the pickups still be out of
    phase with each other even though they appear to be wired with the
    same polarity? Is it possible that the shield and center conductors
    were wired to the wrong terminals on the pickups themselves? Is there 
    any markng on the pickup itself that indicates the positive side of 
    the coil and the negative side ?
    
    Mark
    

    re: .40
    
    Yes the pickups may be incorrectly phased. Either the connections are
    swapped inside or the magnets are reversed.
    
    Danny W.

    Does anyone know if Gibson uses a different type of wood on it's natural
    finish semi-solids?  Or perhaps if they use an especially thick piece
    for the top?  I've tried several ES-335s with a natural finish, both old
    and new, and in every case these guitars seemed to have a deader, more
    muted tone to them.  A good 335 will ring out somewhat acoustically, but
    I've never found a natural that would do this as well as I'd like.  I can
    understand why the wood on these might be specially selected for appearance,
    but I wouldn't expect this to affect tone.

    /rick

    Are you saying that a painted ES has a better sound acoustically than
    one with a natural finish ? It seems to me that it should be the opposite.
    
    Who know's ??
    
    My ES345 has a wine finish which darkens, but does not hide, the wood
    grain. I've never really compared it tone-wise to other ES's though. 
    I would think the tailpiece, and pickups would do more to effect tone
    than anything else.
    
    When I bought my ES345 (~ 1980) brass nuts were all the rage. I had the
    original nut on my ES345 replaced with a brass one. I'm not sure if it
    affected the tone or not. Anyone care to comment on brass nuts versus
    the original ?
    
    Mark

     Mark,

     I replaced the original bridge with a brass one on my LP goldtop,
     the original one had the adjustable pieces in nylon, so I thought,
     brass ones must give more sustain, higher output more overtones
     and so on.
     But now I think the original bridge is in fact designed very accu-
     rate and with great care to give the best possible sound on the
     particular model.
     I found the LP having some weird overtones, difficult to describe,
     with the brass bridge, so I put the original back in, with no loss
     of sustain and a nicer tone again.

     So I believe, with better guitars, design is being done with great
     care; if it has a nylon piece bridge, it's propably the best thing
     for that guitar...

     I know on earlier LP's (50's), they had brass bridges on them, but
     the body was a bit different as well (more curved on top). Some
     years ago I saw a new anniversary vintage model, again with the
     brass bridge and curved top.

     I believe they know what they do (at least I hope so :-))..

     Poul

    re .44
    
    I didn't replace the bridge, I replaced the nut. The TOM bridge on mt
    ES345 came from the factory with (gold-plated) metal saddles. The
    ES330 I used to own had nylon saddles. I'm not sure why Gibson used
    nylon on some, and metal on others.
    
    Mark

     Re. .45:

     Yeah, I know, but what I mean, same philosophy...many times, what
     the guitar is equipped with, may be the best thing for the parti-
     cular model...what is the nut anyway, is that what I call the
     saddle (opposite of the bridge, at the 1st fret)?
     Excuse me for being unfamiliar with the guitar parts expressions!
     (I can tell you the names in Danish :-))...

     Poul

    Several years ago I ordered a B.B. King Custom in cherry red. At the
    time Gibson was only making them in black, although red was listed as a
    standard color. I had forgotten all about it until two years later,
    when the guitar showed up at my dealer's.  He offered it to me at the
    original price, which was a few hundred dollars lower than it had
    become, so I bought it.
    
    At that time, I wasn't really in the mood for another semi. I posted it
    for sale in this notesfile, but had no serious inquiries.  I took it
    out a few times, but compared to my main stage guitar, a sunburst 1981
    ES-355, it seemed a little stiff: I continued to use the 355 instead.
    
    Well, sometimes, these things just have to grow on you.The guitar has
    lots of sustain and the cherry finish has plenty of stage
    appeal.Although the sound is a little colder than the 355, it sounds
    great through my Boogie, and I find myself playing it more and more.
    
    The guitar, which is now called a B.B. King Lucille model, is an ES-
    355 TDSV without f-holes. All the trim is the same. The headstock has
    "Lucille" inlaid in script instead of the 355's split-diamond, and
    there is a brass truss rod cover engraved "B.B. King". The electronics
    are the same, but a dual jack stereo system mounted on the rim replaces
    the 355's single top-mounted jack. Although I prefer the top-mount, the
    dual jacks make it easy to use the guitar in mono without having to
    modify stereo plugs or use a y-cord. The Varitone hasn't changed--I
    just leave it in position 1. The hardware is Nashville TOM, TP-6 and
    Schaller tuners with tulip knobs; the 355 has "Crank" tuners instead,
    which really like. The nut is bone--earlier B.B.'s used brass.
    
    The neck is very nicely shaped and the frets came properly leveled and
    polished. I had to re-slot the nut after replacing the factory strings
    with D'Addario XLS-540's (10,13,17,30,40,50).  Of course, there isn't
    the volute that graces my 355, a definite bonus. The overall
    workmanship is first-rate, except for the usual excess rubbing compound
    where the binding joins the body, which was easily removed. The
    see-through finish reveals the (non-curly) maple grain that is typical
    of 355's. The case is the deluxe brown Canadian job with red plush
    lining.
    
    The last Gibson semi I owned which didn't have f-holes was an
    ES-Artist. The electronics on it were fun to play with, but the basic
    sound of the guitar was thin and wiry. The Lucille doesn't suffer from
    that problem--it sounds surprisingly rich for such a solid guitar. It
    also weighs a ton.
    
    I have been very impressed with the guitars I've purchased from Gibson
    in the last few years. The quality has been very high and the sound and
    playability excellent. I think these guitars are much better than the
    instruments I've had from the mid-80's.
    
    Thumbing through GW at the newsstand, I came across an interview with
    B.B. in which he claims that he has played 355's for the last 20 years
    and that before that he played 335's, and that the difference between
    the two is that the 355 is solid and the 335 is hollow. All of that is
    wrong: he was playing 355's in the 60's; the S/V routing means that
    355's are arguably *less* solid than 335's; he started playing the
    prototype of the Lucille in the late '70's. No matter, even the
    immortals may have brainflashes from time to time.
    
    
    Danny W.

   I've got a line on a (probably) '70s ES-345, walnut finish, stereo, mint
   condition, with original hardshell case.  Can anyone tell me what a reason-
   able current market value of this instrument would be?  (Reasonable as in
   "what it's currently going for".  Used prices are, to me, beyond "reason"
   for this type of thing anyway...)  Don't know the date exactly, but am
   going to look at the guitar later today, armed with my Gibson serial number
   decoder ring.

   For now, let's say the asking price is "just under $1000".  Is it worth it?

   -- Sam
   

     Norlin Alert Sam!!!

     There are alot of these guitars floating around. If it has a shallow
     headstock angle, (almost flat) fat neck, trapeze tailpiece, and a
     volute, I would stay clear. Just my opinion.
     	Recently, I was at Mr. Music in Allston and he had a bunch of '70s
     ES-3XX guitars for $599 up to ~$750 for early 335 DOT Reissues in good
     shape, but I think that's way too much for a guitar made by Gibson
     during the Norlin years.
          
     Neal

   Thanks for the quick response, Neil (I need it - I'm headed out real soon
   to look at this thing).

   Please pardon the ignorance, but what's a "volute"?

   -- Sam
   

    It sounds like an almost exact description of *my* ES-345 - except that
    mine's been customized with a stop tailpiece and Grover pegs (and is
    not in "mint" condition). I think mine is a very nice guitar.
    Comparable Gibson's I've seen at Mr Music (they do have quite a few
    335's, not many 345's) were not in nearly as good condition. I bought
    mine about 7 years ago for $600. The ones in Mr. Music are somewhat
    more than that generally. I would say if it's *really* mint, and you
    really need stereo (or the tone switch, which is the only other major
    advantage over a 335), then it may be worth 800-900. I wouldn't go much
    higher than that.
    
    I'm also curious as to what the down-side is of the "Norlin years".
    I'll have to check mine to see if it has the characteristics that were
    described. I could also get you the serial number if you want.
    
    - Ram

    I also have an ES345-TD stereo that fits the description you gave.
    I would be interested in how much the one your going to see went for
    so I can get a ballpark idea on how much mine is worth.  I wish
    I had a serial number decoder ring ;^)  If I post the number here
    can you date it for me ?
    
                                                         Thanks
                                                         

   Well, it's still sitting in the store.  It wasn't as "mint" as I thought it
   was going to be (belt buckle marks on back, divots in fretboard, needs a
   fret job; perhaps some replaced, some other small dings), it's had Grovers
   installed (badly), and had the trapeze tailpiece that I didn't want.  Also
   it was stereo only (1 jack) and had the Varitone control (yuck).  No volute
   (someone tried to explain that to me - is it really just a bump on the back
   of the neck?) and had a relatively steep headstock angle, so I don't think
   it's one of the Norlin products.  It is an ES-345TD, fwiw.

   The plus side is that the binding was in great shape (yellowed but not
   cracked), and the finish in general was in good shape (except for the
   above-mentioned marks) and very pretty.  Played very well, too.

   It's in a pawn shop in Co. Spgs.  Got a $1100 price tag on it, but they'll
   sell it for $800, probably a little less.  If anyone's interested let me
   know and I'll give you the name of the place.
   
   Thanks for the notes,
   
   -- Sam

   P.S.  My "Gibson serial number decoder ring" :-) can be found in various
   topics in this conference.  In particular note 1652 is a good place to
   start.

    
    	Personally, those years ES3* (early 70's) don't compare to
    	the 60's or 80's.  I had a 73 es335 and it honestly felt
    	like a Micky Mouse crank guitar compared to my 62.  It was
    	like one of those guitars that El Kabong used to break so
    	easily... ;^)
    
    	Queeeksdraw 
    

    re: -1
    
    "hold on there Baba-louie, *I'll do the thinin' 'round here, and don't
    yew fergitit!"
    
    "Si, Seeenyor Queeksdraw"

    
    I disagree with the premise that Norlin guitars are automatically not
    worthy of consideration. Even though this period quite clearly marks
    Gibson's low point of overall quality, they still managed to build many 
    fine instruments. Additionally, there are several desirable models that
    existed only during the Norlin period, including the HR Artist, L-5S, 
    LP 25/50, LP Artisan, and Kalamazoo Award.
    
    Not only that, but the Norlin era is not monolithic--there are obvious
    differences between guitars built in the early '70's, mid-'70's, late
    '70's and early '80's. For example,  in the late '70's, Gibson
    re-learned how to make guitars with a decent neck shape, so many of
    these are great players. My favorite semi is an '81 355 (with both
    stereo and varitone--I just ignore them), my favorite LP
    is a '77 Artisan and I have a '78 HRA that I use frequently that sounds
    good, plays well and looks nice, too.
    
    Judge a guitar on its own merits.
    
    Danny W.

    I agree. I've got 2 Gibsons made during the Norlin era and they
    play and sound great. 
    
    Weren't all Citations made during the Norlin years ?
    
    Mark

    Every ten years or so I buy an ES-355 (or two).  I bought my first one,
    a late 1959 TDSV Cherry Red with stop tp, in 1962 after being unhappy
    with an early double cut White Falcon. The 355 was like heaven and it
    alternated with a '61 Fender Jaguar as my stage guitar. By 1966 I was
    doing jazz almost exclusively, so the 355 sat around while I played
    archtops. 
    
    In 1971 I was doing a lot of casuals (GB up here) and bought a 1971
    TDSV (also in Cherry) with a Maestro Vibrola and the world's skinniest
    neck (although these were nominally 1&9/16" at the nut, this one was
    1.50" exactly). I used it heavily until about '77, when I got into a
    lot of electronic foolishness and started using a koa BC Rich
    Mockingbird Supreme. I sold the 355, because the narrow neck was really
    starting to annoy me.
    
    In 1981 I was back to doing jazz and GB, and I bought a 1981 355 in
    Antique Sunburst,  with TP-6, crank tuners, SV and a normal (1&11/16")
    neck. This is a beautiful instrument that is still my number one choice
    as the best all around guitar I've ever owned. It is from the very last
    factory order of 355's. 
    
    It was so good that I desperately wanted another--I custom ordered one
    immediately. Delivery was quoted as one year; in the meantime, I bought
    a '79 model in a very dark Wine Red. Although it looked nice and played
    well, I never liked it as much as the Sunburst, and sold it after a few
    years. I'd gladly have it back, if I could. My custom order, a Blonde
    355 with curly maple top, hearts & flowers fretboard inlays, Epiphone
    vine headstock inlay, TP-6 and no SV showed up on time. It does not
    sound quite as good as the Sunburst and has a neck that is slightly
    chunkier than I like. Still, it is truly stunning, and has increased in
    value beyond anything I would have ever predicted, so I'm hardly
    disappointed by it. It's too precious to take out of the house;
    however, that's what the Sunburst one is for.
    
    That was it until I got my Lucille,  about which I've previously
    written. I like it as a stage axe, but it isn't really a 355. 
    
    Back in 1984 I had had an idea for another custom model. One of
    Gibson's early 355 ads shows Andy Nelson playing a prototype 355 with
    an L-5 neck. I sent Gibson a request for a 355 with an L-5S neck and
    L-5S binding in a vintage sunburst with a Maestro Vibrola tp. They
    no-bid it. Every  year I submitted it and they rejected it.
    
    In August '92 I tried again with different results. Gibson now had two
    custom shops. The one at the factory does fancy paint jobs and special
    hardware. You want a flaming dragon on your LP, they do that. You want
    a psychedelic SG with a Floyd-Rose, you got it. You want a 355--no way.
    
    The new custom shop is in CA and builds the more challenging stuff. As
    far as I can tell, it's a one-man operation; he gets the bodies and
    necks from the factory and does the rest. So, he happened to have a
    couple of L-5S fretboards from the last (1983) run of them and a couple
    of Vibrolas, too-- when my request appeared, voila! He told me it would
    be done in February. I didn't really believe this, but, after working
    out all the details of the guitar with him, told him to go ahead.
    
    A slight digression: 
    
    While many players think that a custom-made guitar would be the
    ultimate instrument, I have found that this isn't necessarily the case.
    There are too many variables in guitar building to predict how a given
    set of specifications will feel and sound when turned into a guitar.
    For example, on my blonde 355, the neck measurements appear to be just
    what I asked for, yet it feels chunkier than the neck on my Sunburst
    from which I took those measurements. I've had several custom archtops
    built with 24.75" scales, after which I've decided that archtops feel
    better to me with a longer scale length (I do prefer the shorter scale
    length on semi's and solids--go figure). Buying a guitar that already
    exists is one way of avoiding this problem--you can play and listen
    before deciding.
    
    So why go custom? To get some combination of features that doesn't
    exist the catalogs makes a better reason than to find the perfect
    guitar. This is probably why Gibson's and Fender's regular custom shops
    have been so successful (and busy)--their mix'n'match approach to
    customizing  makes it hard to go far astray.
    
    Anyhow, around New Year's I called for a progress check and was
    surprised to find out that it was almost finished! I arranged through
    my dealer for it to be drop-shipped to me in early January and waited
    for UPS to show up. When it didn't arrive on time, I called and
    discovered an interesting thing. Seems my guitar isn't the only 355/L-5
    he's building (so much for a one-of-a-kind instrument) and the one that
    he'd finished belonged to someone else. In fact, the body/neck for mine
    was still being made at the Gibson factory.
    
    Needless to say I was a little disappointed. I called again six weeks
    later and was told that the trim work was done and he was packing it
    off to Gibson for finishing. Six weeks later, he told me the same
    thing.
    
    "And, oh, by the way, there is one *minor* overlooked detail".
    Apparently, Gibson made the top just like an ES-335, with *unbound*
    f-holes and since the body was already assembled, there was no way to
    enlarge and bind them.
    
    At this point, I told him, no problem, just build me another one. I
    hate unbound f-holes. The last guitar I owned like that was my '59 355,
    and I don't want another one. They just look unfinished to me: I'd
    prefer a closed body, like Lucille's, to one with unbound f-holes.
    
    So he got distressed, and about a week later told me he had routed out
    the holes to the proper size for binding and had devised a method to do
    the binding from the top. Okay, great, we're back in business.
    
    Except that now it has to go back to Gibson for finishing. Apparently,
    he can't meet CA's laws for lacquer application, so unless I want poly
    (be serious!), it's off to Nashville.
    
    If this were a movie, there'd be a shot of calendar pages dropping to
    the floor.  I call every month. I get somewhat hostile. I get
    disgusted. I get bored. Finally, about 13 months after I placed the
    order, it's here.
    
    I didn't know whether I really wanted to open the case or not. For one
    thing, the case is a standard black one rather than the deluxe brown I
    ordered. For another, after waiting this long I was bound to be
    disappointed. Well, nothing ventured, nothing gained, so I fumble open
    the latches...
    
    and suck my breath in through my teeth. It's incredible!!! I really
    didn't expect it to look so good. I had really worried about the color
    of the sunburst, since Gibson has made several different ones over the
    years (not counting ones that have faded.) To be sure they understood
    which one I wanted, I photographed a perfect example, my '65 L-5C, and
    worked with a printer until the print perfectly matched the guitar.
    Gibson perfectly matched the print. The wood's really nice, with narrow
    curls that are just right for this style guitar.
    
    It plays and sounds as good as it looks, too. It has a great archtop
    feel to the neck, just like the '63 Kessel I used for the dimensions,
    and the fretwork is like velvet. The sound is very rich and deep, but
    it still has good bite on the treble pickup. I'm not sure yet if the
    vibrola will turn out to be a mistake, but it looks nice and my other
    355's all have stop tailpieces, so I wanted something different.
    
    It's not perfect, though. Several of the details are different from
    what we'd decided: the body binding is like a 355, but it was supposed
    to have multiple side binding like an L-5; the truss rod cover is
    inscribed "Custom" instead of  "DRW;" the added-on f-hole binding  is
    missing a ply; and it has the wrong case. Some of this is easily fixed,
    the others I'll have to live with. Even so, I'm thrilled with the
    results and feel that it was worth the wait.
    
    But I don't know if I'd want to go through it again
    
    
    Danny W.
        

    
    Re. .58
    
    When I saw this note come up I knew I was in for another Danny Weber
    treat!  So, I got a cup of coffee and sat back and read it.
    
    I'll have to admit that I live vicariously through some of your notes. 
    There is no way that I'll ever have the scratch together to buy a bunch
    of guitars, never mind having one built for me.  Well, maybe if I hit
    the lottery, but even then there are too many other hands in my wallet.
    
    So I read your great notes about fine wood, different bindings, smooth
    frets, etc. with great interest.  The notes remind me of sitting around
    the back room of a favorite music store shooting the breeze late on a
    Saturday afternoon.  Nice.
    
    Thanks!
    
    Kevin

    re: last two
    
    Yeah, this is like that guy you know whose girlfriend/wife is drop-dead
    gorgeous and so nice and you just gotta-just wanna... and you know you
    never will.
    
    Yeah, thanks a lot, Danny.
    
    Dave

    
    	An issue or two ago of GP had a feature on archtops.  Talk about
    	the most beautiful instruments!!  They even look like they have
    	Joe Pass riffs built right it!!  (dream on...)
    
    	Yeah, Danny - your notes are great and they suck too, since I'll
    	probably never see one.
    
    	Hey, wait a minute.  I have a VERY nice '62 Cherry ES335TD.
    
    	Wanna talk trade?
    
    	Tom
    

    > ...very nice '62 ES335TD.
                            ^^
    
    Cool! Vanity models!!!
    
    Edd

    
    	I believe it stands for Thin Double Cutaway - but I'm not
    	sure.  ES is Electric Spanish.  er, I think.
    
    	But yeah, I always felt it was named for me... ;^)
    

    Just kidding, Danny - I really enjoy your notes and have read 1016,
    1132 and 1535 completely several times each.  It's just that in my
    dreams I finally get to buy some ratty 335 player and I'm deliriously
    happy.
    
    So what's the difference between a 355 neck and an L5-S neck?
    
    Dave

    re: .59 etc.  I didn't realize that I had such a heavy responsibility.
    I'll try to be worthy.
    
    re: 64: A 355 has a fretboard and headstock like a Les Paul Custom,
    with pearl block markers, single binding on the  fretboard edges, pearl
    split diamond headstock inlay and a straight edge at the body end of
    the board. The L-5S has abalone block markers, multiple edge binding,
    double inlaid lines along the top of the board, abalone flowerpot
    headstock inlay and a pointed end to the fretboard that's usually
    called "heart shaped."
    
    I had a chance to buy another custom 355 during the Summer. I was
    traveling in CA when I got a voicemail message from Tom Van Hoose. When
    I called him, he told me about a repro of a cherry red, stop tailpiece,
    mono '59 355  he had had built last year. I told him I really didn't
    want one with unbound f-holes and he told me that this one had
    particularly nice wood. So I had him send pictures, which were waiting
    when I got back home. He hadn't lied--not only was the wood beautiful,
    but the guitar looked authentic, including the "Mickey Mouse" ears
    characteristic of an early Gibson semi. Unlike mine, the body for his
    was built at Gibson's archtop facility and was fully custom. The only
    detail that wasn't quite right was the fingerrest, which was shorter
    than on the early models.
    
    The price on it was a lot lower than a mint condition '59 355 would go for,
    so after a few more days I called him and said I'd take it, figuring it
    would be fun to play with while waiting for my custom order. Too
    late--he'd promised it to someone else.
    
    I know it's just as well: between the unbound f-holes and the mahogany
    neck, I'd probably have not kept it long. It sure looked pretty,
    though.
    
    
    Danny W.
       

    Several noters sent mail with some 355 questions, which I'll answer
    here.
    
    355's originally had unbound f-holes. For some reason, Gibson didn't
    think of binding them until 1966 (Epi Sheratons never did receive
    them.) By this time, the neck width had become just slightly narrower
    than a crayola, so this means that all the desirable (i.e.: playable by
    humans)  early models have unbound f-holes. BTW, this information
    (about the f-holes, not the crayolas) is not in Gruhn's book, which I
    find surprising. I guess even the best guitar reference books have some
    oversights.
    
    In late '77 or so, Gibson widened the neck to 1&11/16". Of course, by
    now they all had volutes, so if you want a wide neck with no volute and
    bound f-holes, too bad. (Note: for all that I bad-mouth volutes, both
    my '81 355's have them and are great players, so my dislike is probably
    more aesthetic and/or psychological than anything else.) One solution
    to this dilemma is the Lucille model (B.B. King Custom), which
    eliminates the problem of unbound f-holes by eliminating them (f-holes)
    completely, which seems to be a rather draconian measure. Another would
    be to buy a '59 355 and have the f-holes reworked--please don't tell me
    if you do this. Strangely enough, it was cheaper to have one custom
    made than to buy a '59 one.
    
    Danny W.
       

    re: mahogany neck
    
    Do 355's usually have maple necks?  How about 335's?  Is there a
    difference in playability, or stability, or is it just cosmetic?
    
    Dave

    I was just about to enter a reply on the same subject.  I saw a '79
    ES-347 today, nice axe, had the wider "human sized" neck and it was
    a three-piece maple.  So Danny, do the late 70's / early 80's semi's you
    like so much all have maple necks?
    
    /rick

    Gibson started using laminated maple necks on semi's in 1974. I prefer
    these because the guitar balances better when I'm standing, and because
    I like the stiffer feel. Some players prefer the added warmth of
    mahogany, but mine seem to have enough of this with maple necks.
    
    Danny W.

    I had been meaning to mention that from late '72-'75 (?) Gibson used a
    short center block, which was very detrimental to the tone and feel of
    these guitars. This would account for Tom's observation in .54. I know
    this has nothing to do with the current string, but I just remembered
    that I forgot to enter it last time around
    
    Danny W.

   A friend of mine just picked up a 1965 ES330TD for a song (har, har) and
   asked if I could try and get some info from the experts here.  The guitar
   has the word "Constellation" in tiny block lettering at the 21st fret (he
   said it looks like a decal that was put on prior to the finish, and thus
   suspects it was done at the factory - it's got the stock finish).  However,
   he's even called Gibson and the people he talked to had no idea what the
   significance of the "Constellation" was.  Anyone here know?

   -- Sam
   

    There's no finish on the fretboard, so a decal could be added at any
    time. 
    
    Gretsch once had a "Constellation" model, but I don't know why anyone
    would put this label on a 330.
    
    Danny W.

    The are lots of common sayings that don't hold up to close scrutiny,
    like "good (or bad) things come in threes"--they come in any number you
    like, depending on when you start and stop counting. One expression
    that does hold true for me is that "it never rains but it pours"--when
    I've been looking unsuccessfully for a certain type of guitar and find
    one, I often find another (and yes, sometimes even three!) immediately
    thereafter.
    
    I've been following up on virtually every late -70's, early '80's 355
    I've heard of since I bought my '81. There were few made during this
    period, so there hasn't been much to follow. I found some that were
    either not in good condition or just not good instruments and didn't
    buy them. After all these years, I had resigned myself to either having
    one made or buying an original model with unbound f-holes. After my '93
    Custom showed up, I thought I was done, but a few weeks later I got a
    call from a Nashville dealer I've known a long time (not the obvious
    one). He often stops in the Gibson factory to cherry-pick Custom Shop
    models and told me he found a NOS 1985 Custom Shop Original in "Dark
    Cherry Red." I was a little skeptical about the later, since dealers
    often use this as a euphemism for Wine Red, but he assured me that it
    was in fact really cherry, albeit darker than usual. In addition, since
    the original purchaser had put in a deposit for it but declined to pay
    for delivery, Gibson was willing to sell it for the remaining portion
    of the original 1985 price!
    
    After all these years of looking for 355s, it's sort of hard to get out
    of the mode. To find an unplayed one at a bargain price was more than I
    could resist, especially since I could return it if I didn't like it.
    
    It showed up in a weird case, kind of squared off and clunky looking,
    with a cream-colored interior, but wearing the Gibson name. This was
    from a period when Gibson was still searching for a decent case maker.
    While my first view of the guitar was not as gut-wrenching as when I
    first saw my Custom, I was nonetheless impressed with how nice it
    looked. The finish really is transparent Cherry, with none of the
    burgundy color that generally shows up in Wine Red, and it does not
    appear black in low light as dark Wine Red instruments are prone to do.
    The neck is very similar to early '60's instruments, very shallow
    without much "cheek," has no volute and is extremely comfortable. The
    hardware is two PAFs, Stereo, Varitone, TOM, stop tailpiece and "Crank"
    tuners. The wood has no curl, but does have a nice maple grain. The
    workmanship is outstanding and the guitar came perfectly  set up. As
    for the custom features, well...there are none. The only thing custom
    about it is that it was made in 1985, four years after Gibson
    discontinued the model. Except for the color, the tailpiece, the shape
    of the neck and the "Custom Shop Original" stamp, it is identical to my
    1981 355. I guess the original buyer wanted a stock 355 at a time when
    they weren't available, and had not been able to find a nice used one.
    
    The difference between this guitar and my  '93 Custom model is really
    amazing. The '93 has a fat jazz neck and trapeze tailpiece: strung with
    D'Addario Jazz lights, it gets a warm sound that won't fool you into
    thinking it's an L-5, but works well for live jazz and pop playing. The
    neck feels like it belongs on an archtop (that's where its dimensions
    came from) and it's almost disconcerting to play it and find a thin
    body attached. The '85 is a classic semi: with D'Addario LTHB strings,
    it's got that bright, round 355 sound that makes it a perfect
    all-around instrument, and the neck is great for rock, pop and blues. I
    don't think Gibson ever designed a finer guitar and 35 years after they
    did it, I have never found a guitar I enjoy playing more. Don't ask
    which I like better--they're two completely different instruments that
    just happen to have the same model number and both are outstanding
    examples of their type.
    
    "Life sucks and then you die" is another saying I don't believe in.
    Sometimes it treats you really well indeed. I don't suppose I have to
    mention that I decided to keep the '85, do I?
    
    Danny W.

    I suppose I could cure my ignorance by searching the replies, but mu
    laziness precludes it.  What, Master Weber, is the diff between a 335
    and a 355?
    
    Inquiring dawgs wanna know....
    
    :)

    re: .74
    
    The difference is... 20!  %^)  (couldn't resist)
    
    Danny, I have a question about your 355-with-an-L-5S-neck (in .58);
    does the neck have the same scale as a 355?  (24.75", right?)  Does an
    L-5S have a longer scale, like most archtops?
    
    Dave

    >>The difference is... 20!  %^)  (couldn't resist)
    
    OK smartguy, just what *is* a Gibson 355, huh?
    
    :)

    Ok, Meester Booldawg, an ES-355 is an ES-335 with bound f-holes, stereo
    electronics and some fancy-schmancy inlay.
    
    Now, do you know what an ES-335 is?
    
    Dave

    re: .75
    
    Good question. The L-5S has a 24.75" scale, which is why I specified an
    L-5S neck rather than an L-5 neck on the 355.
    
    re: the other one
    
    the basenote describes the difference between a 335 and 355, which is
    actually 5.97%
    
    Danny W.

    re: -1  
    
    5.9% is correct, bass players ain't got no good rithmetic....
    
    re: -2
    
    Yes, I do.......it's a 355 without bound f holes, and the other stuff!
    
    8*)

Has anyone here played one of the modern made-in-Japan Epiphone
Sheratons?  They look great, and the price is very appealing,
but I haven't had the opportunity to play one.

-Hal

        I've got one, Hal - but I don't know enough about the "genuine"
        Gibson equivalent to  offer  a  valid  comparison.  It's a well
        made, very playable guitar, sounds good and costs <$500. 

        Andy
        

    Washburn makes a 'decent' copy too.......for 'around' $500.
    
    

    What is the diff between the 345 and the 355???
    
    Thanks,
    
    RJ

    read the basenote

    My first semi-solid Gibson was an ES340, I think.  It had some kinda
    funky single coil pickups that I replaced with PAF's and it really
    increased the output and fattened up the tone. Cherry red, nice axe,
    shoulda kept it......1972/1973......sigh.
    
    My 2nd and last was a brown ES345, (I think) in 1975.  Kept it one year
    and swapped for a Gold Top LP Deluxe.  Don't have either of those axes
    either......stupid.  I remember the 345 had a different
    pickup/volume/tone control that was non-standard, but I can't remember
    what the config was.  Seems like it was possibly stereo and both
    pickups were on all the time?  It's foggy......
    
    dawg

    I just re-read the basenote....I guess I had a walnut ES345v with the
    stereo wiring!
    
    wow!

    Just when I was starting to think I was 355'd out, I came home and
    found the good doctor Van Hoose's voice on the machine. The guy to whom
    he had sold his Custom 355 was interested in something else on Tom's
    list and wanted to trade it back. Would I be interested?
    
    The smart answer would have involved writing NO! on a postcard and
    dropping it in the mail, but instead, I called back and said "sure." I
    mean, if Ted Nugent could once have owned 18 Byrdlands, I can have a
    small collection of Custom 355's.
    
    (George Gruhn once said that a while a person owning 18 different
    Strats representing various periods, models and colors would be a
    collector, a person with 18 identical Strats is just hoarding guitars.
    I don't know what this makes someone with 4 custom 355's, all
    different--out of control, probably .)
    
    Since the weather has been so cold, I asked Tom to overnight it to me
    last Monday, because it was supposed to be relatively warm on Tuesday.
    This brilliant plan would have worked perfectly if Louisville, KY,
    hadn't received a foot and a half of snow, for which they appear to be
    woefully unprepared, and which closed not only the airport in which UPS
    has a hub, but also the roads to said airport, so it couldn't even get
    trucked out. I called their toll-free number every day and spoke to a
    different, pleasant-sounding woman who told me that it was still
    stranded there. I asked one if it was protected from the weather and
    she said, laughing " It's not out in the snow or anything." I told her
    it might be damaged by cold and she said "It's inside our warehouse,
    which is heated, except that they probably don't have power." I am not
    making any of this up.
    
    Anyway, it got out Thursday and arrived Friday. I waited several hours
    before opening the case to allow it to warm up slowly. It was
    undamaged, and, as Tom described, is incredibly gorgeous. 
    
    I had thought from Tom's pictures that it had Mickey Mouse ears, but
    this was a trick of the camera angle; the body appears to be regular
    production, just like mine. The wood has outstanding curl on all
    surfaces. The color is a very bright cherry that matches an
    advertisement that Tom had sent to Gibson, featuring Chuck Berry
    playing a mid-'60's 355. The varnish has a properly aged color that
    really looks authentic. 
    
    One nice feature I hadn't expected is that the peghead overlay is
    holly. I must be an original early '60's from either a 355 or an LP
    Custom. In addition, unlike my '93 it has no "Made In USA" stamp, and
    has an orange label, two details I overlooked on mine. The serial
    number is 921960, applied in the appropriate manner.
    
    The bridge, tailpiece and pickguard are NOS early '60's. A slightly
    jarring note is that the strap buttons are "posi-locks," which look out
    of place and were apparently installed by the person who has owned it
    for the last 6 months. The knobs are the little, plain black jobs that
    were used in the late '50's, which I'll probably replace with gold top
    hats. The Kluson Deluxes that were on it when Tom took the pictures
    seemed to have mutated into Grovers, also by the recent owner. This is
    not a bad thing--I prefer the Grovers and they're the correct style for
    the instrument. 
    
    The neck seems identical in shape to the current "dot" reissue. The
    peghead has a 17 degree tiltback--I don't know if this is standard on
    new "dots" or not. Although the neck feels good, I'd actually like a
    little more depth to it at the 12th fret, The frets are current-style
    Gibsons, whereas mine has '70's-style, which I prefer, but at least the
    binding edges are rounded over. The inlay is nice pearl, but nothing
    special.
    
    Whew! What does it all mean? Well, compared to my other custom 355's, I
    like it the least. It plays and sounds terrific, but so do the others.
    It has nicer wood than the '85, but no better than the '93, nor does it
    have the amount of custom work and detailing that the '93 has. I hate
    the unbound f-holes, and the cherry finish is bordering on garish,
    though it will look striking on stage. Still, guitars like this don't
    come along every day, so I'm going to keep it (well, for now, anyway.)
    
    Okay, so maybe good things do come in threes, at least in this case.
    I'll have find another custom 355 just to disprove this saying.
    
    
    Danny W.
    

    When was this custom 355 actually made?  Were the NOS 60's parts done
    originally, or did someone add those on afterwards?
    
    /rick_who_really_wouldn't_mind_just_one_of_these

    The serial number holds the secret: 921960 is Gibson's trick way of
    saying that it's a 1960 model built in 1992. The NOS parts were from
    Tom's private stash and are original: he sent them to Gibson when he
    placed the order.
    
    Danny W.

    >>saying that it's a 1960 model built in 1992.
    
    Hmmmm, I wonder if Chevy would make me a 'new' '68 Malibu SS396......
    
    dawg

    In my previous discussion of semi's I've known and loved I skipped over
    a couple of unusual ones, mostly cause I didn't quite love them.
    
    In 1978 I wanted a sunburst 355. Although Gibson had made a few over
    the years,  finding one was not easy. Gibson starting cataloging these
    in the late '70's, but had only been making wine red. Anyway, one day I
    stopped in Bob Bucci's store in Tewksbury  and he had an Ibanez 2630,
    which is similar to the current AS200, I think. It looked nice and was
    inexpensive, so I took it home.
    
    Frankly, I can't tell you much about it. I don't remember playing it
    and sold it in less than a year. I guess it didn't make an impression
    on me.
    
    I still needed a semi, and Gibson had just released a trio of guitars
    with active electronics, which include the ES-Artist. I got one in
    Antique Fireburst, a dark 3-color sunburst. It had striking wood front
    and back, with quilting so tight it looked flamed from a distance. I
    didn't like the aesthetics of the fretboard--the offset dots seemed a
    stupid idea--bit the guitar was attractive overall. The closed body was
    the precursor of the B.B King model. The neck was acceptable, but it
    could have been less chunky at the 12th fret.
    
    This guitar has the usual pickup toggle,  plus 3 gold-plated
    mini-toggles,  and volume, bass and treble controls. The latter two
    offer boost and cut. One mini-toggle controls the compressor, the other 
    controls the expander, the last is treble boost. Turning on both the
    expander and compressor gives a unique sound, since the two effects
    have different rise times: the notes pop and then sustain. I liked this
    sound and used it a lot (meaning too much) when recording.  
    
    What it lacked, however, was the standard Gibson 355 sound that I like
    so much. I found that loading the pickups with a little RC (I can't
    remember how much, though 150 pf and 10k ohms sounds familiar) to
    simulate cable loading helped the flat, "uneffected" sound, but not
    enough. Another problem was that there was a huge change in the volume
    when the compressor was switched on, which wasn't too much of an issue
    for recording but was hard to control on stage.
    
    These guitars (the ES Artist, LP Artist and RD Artist) tend to be under
    priced compared to standard Gibsons of similar quality and vintage, and
    if you want to have an interesting, "electronic" sounding guitar, might
    be a bargain. Note that if you are thinking of bypassing the
    electronics and putting in a standard wiring harness, the pickups are
    not standard humbuckers, but are special units with very low output.
    You will not be happy with them driving an amp directly, so if you want
    to do this, the bargain aspect goes away, since you'll have to spring
    for new pickups. I converted an LP Artist to drive an ARP Avatar, and
    replaced the pickups with tapped DiMarzios, using the mini-toggles to
    do a mind-numbing amount of series/parallel/single coil/humbuck
    switching. I still have the active electronics from this guitar in a
    box in the basement, somewhere.
    
    Anyhow, in '81 I located my Sunburst 355 and soon sold the ES Artist. 
    Despite putting a lot of miles on it, I never learned to love it. I
    would have liked it more if the electronics could have been completely
    bypassed, leaving standard humbuckers and wiring. By the time I had
    outgrown my PMRP (pre-Midi Rack Puke) phase, my interest in guitars
    with built-in electronics had become zero. 
    
    
    Danny W.

    There are two "Nashville" Epiphones, a Riviera and a Sheraton. Unlike
    the imported Sheraton, the Nashville version has mini-humbuckers and a
    Frequensator tailpiece. It differs from original Sheratons in that it
    has bound f-holes (a plus) and rosewood fretboard (a minus). It is
    reasonably priced at under $900 and looks like a nice alternative to a
    335. I haven't had a chance to play one, but I'd expect it to have a
    brighter sound because of the mini's.
    
    
    Danny W.
    
    
    

    The cover of Living Blues magazine has a picture of Little Milton
    holding an ES-355 with a green into yellow sunburst that sorta' jumps
    off the page. I actually like it, but I'm not going to use that color
    scheme on my next custom Gibson.
    
    Danny W. 

    In 1984, studio guitarist Mitch Holder asked Gibson's Custom Shop to
    build a guitar that would combine Fender and Gibson sounds with a body
    style appropriate for LA studio use. Gibson made an ES-347 without
    f-holes and installed 3 P-90 pickups on it, with a separate volume
    control for each one, a master tone, a standard toggle for the bridge
    and neck pickups and a mini-toggle to switch the middle pickup in or
    out. Since Mitch thought he might like to try other pickups, the P-90s
    were built into standard humbucker covers.
    
    This guitar created a stir in the studios, so Gibson made another half
    dozen with regular P-90s. They liked the concept so much that they even
    gave it the model number ES-357. Unfortunately, Gibson was going
    through turmoil at the time and with the closing of the Kalamazoo
    facility the idea was dropped. 
    
    I had seen pictures of Mitch Holder's guitar in various places, but
    never saw another or even knew anyone who had seen one until I got a
    call from a friend at Gruhn's, telling me they had one, and since they
    know I like custom semi's, they thought I'd be interested. It was the
    first one they had ever seen, too.
    
    Unlike the original, this one is based on the fancier ES-355, without
    f-holes,  with split diamond headstock inlay, 5-ply top and headstock
    binding, 3-ply back binding and 5-ply bound tortoiseshell pickguard
    binding. I had a mental picture of standard dog-eared, metal covered
    P-90s and thought this would look ugly, but the pickups actually have
    soapbar style black plastic covers with gold screws. Set directly into
    a natural finish, highly-figured maple top, they look quite striking.
    To provide the pickups with clearance around the pickguard, the inner
    edge is cut away; this would have looked better if the edge had been
    bound. The back is also highly figured, but neither top nor back has a
    strongly graphic look, just lots of random quilting, eyes, some stripes
    and medullary grain. The neck is of very plain maple, but the walnut
    spacers are quite distinct, which dresses it up somewhat. There's also
    a heel cap and a Custom Shop stamp for additional dress-up.
    
    The pickups are quite hot and are cleaner-sounding than standard Gibson
    humbuckers, but this guitar still sounds more like a Gibson than a
    Fender. It gets a great sound for country and should be good as a stage
    guitar for GB. The mini-toggle allows the middle pickup to be off, on
    or out of phase with the other pickups, providing a lot of versatility.
    I could see using this on Beatles or Byrds or Bangles tunes instead of
    a Rick 6-string for jangly rhythm parts.
    
    The thing I like least about this ES-357 is the neck. It's fairly deep,
    has small frets and the side marker dots are tiny. Gruhn shipped the
    guitar to me as soon as they got it, and I can see why it's in mint
    condition: the setup was so horrible that I doubt it could have been
    played. After adjusting the relief, dropping the action and setting the
    intonation, I can play it without wincing, but I'll never love the
    neck. 
    
    I haven't yet decided to keep it, but it's unusual enough that I might.
    It's certainly a different sound for me and provides some comic relief;
    for some strange reason, when I cranked it up I turned into George
    Thorogood  :-)
    
    Danny W.
    
    

    I get a lot of dealer's stocklists every month and don't normally have
    enough time to really read them. Add in a bunch of traveling, and the
    unread lists can really pile up. After my last trip I started to wade
    through some of them and found a listing in Mandolin Bros. for a new
    Custom 355 late '50's repro in blonde with a Bigsby. Ooooh. Call them
    up. Stan says it's sold! :-(
    
    I console myself by saying " You can't expect to own every nice custom
    355 ever made"
    
    Then I ask: "Why the heck not?"
    
    Danny W.

    Gil Southworth's (Southworth Guitars) latest list shows the actual
    cherry red ES-345 used by Michael J. Fox in Back To the Future II
    for sale.  I think it's a circa early '60s.  No price is mentioned
    
    /iggy
    

    It's too bad that he goes back to 1955 to play it. A better choice for
    the movie would have been an ES-350T.
    
    Ana Chronistic

    I've recently been in touch with someone who writes for several guitar
    magazines about vintage and pawnshop prizes. He's doing an article of
    the "Mitch Holder" guitars I mentioned in 1132.95. According to him,
    mine is not one of the original six, since these are all still in the
    possession of their original owners, but instead appears to be a
    fancier Custom Shop job that someone ordered after the first six where
    sold.
    
    One big difference is that the first ones were 2" deep, compared to the
    more normal 1&5/8" depth of mine. The others were also all trimmed like
    an ES-347 while mine is like an ES-355. He said mine has slightly
    different controls, too.
    
    I think the article will be in Vintage Guitar in a few months.
    
    Danny W.

    I looked at the Gibson entries and didn't see anything on the ES 135.
    
    A friend of mine bought one and let me try it out.  It seemed like the
    action was kind of high.
    
    Does anyone have any knowledge of the ES 135 such as best string size,
    how low should you have the strings be set off of the neck, etc?
    
    Thanks,
    
    Mark

    My brother-in-law (a non-player) recently inherited a 50's vintage
    ES-135.  I've not seen it but he claims it to be in good shape with
    some small nicks in the finish but otherwise in good shape.  I've
    asked him to locate a serial number for dating purposes, but I'm
    curious as to the range of values for this piece.  Of course,
    without more specifics it's impossible to be precise, but I'm more
    interested in the high/low numbers.
    
    Anybody want to hazard a guess?
    
    	Rick 

    re:100
    I just purchased an ES-135 (Cherry finish) in November. List was $1475
    with gigbag. I got it for $1200 with the Gibson hardshell case and tax
    included.
    
    The stings that came with it were 9's and the action was high. My
    guitar instructor is also a luthier; he did a fret job, lowered the
    action considerably, and put 10's on it. I'm considering putting 11's
    on the next string change.
    
    The ES-135 is pictured and spec'd on Gibson's literature sheet, "The
    Artist Collection/ES Collection" and  more detailed spec's are
    available from Gibson's Internet homepage.
    
    /Leo

    Do you know if he reset the intonation after lowering the bridge?
    
    My friend bought the cherry finish 135 and got a 50's reissue MIJ
    strat thrown in for $1300.00.  I think he got them in Vermont.
    
    	Mark

    re:103
    
    My instructor first filed the frets, then filed down the nut string
    guide slots, average height on the E string is now 3 mm. He then reset the
    intonation.
    
    Leo

    I'm surprised your instructor/luthier felt the need to file the frets
    on this guitar. This is a new guitar, is it not? Generally, Gibson does
    an excellant job on fret dress and there is rarely any need to file 
    them.
    
    Filing the nut is another story altogether. It is very common to lower
    the action at the nut or bridge. If you screw up it's fairly easy to
    undo. This is not the case with frets.
    
    Mark

    Yes, the ES135 was new, but replacing 9's with 10's resulted in buzz on
    several frets. Fret job enabled heavier strings and lower action.
    
    I was unhappy that a new Gibson would need a fret job, but the result
    was worth it.
    
    Leo 
    
    
     

    I have been told that the ES-357 article I mentioned in .99 is in the
    current issue of Vintage Guitar. I haven't seen it myself, so I don't
    know if it mentions my 357.
    
    Danny W.

    
    I had a chance to noodle on a Gibson Lucille this 
    weekend.  Nice guitar, and of course its stereo, with
    two jack inputs.  I assume one each for each pickup. 
    
    I was wondering however, 
    
    (1) what do you do if you only have one amp?  Can
    you use a Y connector to combine the signals? 
    
    (2) does the varitone eliminate one of the pickups in
    some of its settings? 
    
    Dave
    

    re: -1
    
    >>> two jack inputs.  I assume one each for each pickup. 
    
    	If it's like stereo Rickenbackers, one input jack is a
    	two-wire mono jack and one is a three-wire stereo jack.
    	The two inputs are not used at the same time.
    
    >>> (1) what do you do if you only have one amp?  Can
    >>> you use a Y connector to combine the signals? 
    
    	Use the mono input jack???  Why recombine the signals
    	when the mono jack doesn't split them in the first place?
    

    -.1 is right--one jack is stereo, one is mono. Use the mono jack for
    both pickups into one channel.
    
    The Varitone is a notch filter that's (almost) out of the circuit in
    position 1 and introduces various amounts of notching (and signal loss)
    in the higher positions. It is possible to get some interesting sounds
    in the higher positions, but I usually leave it in #1. It doesn't
    affect the pickup selection.
    
    Danny W.

    
    On a recent Guitar Player cover they show what is 
    described as an ES-369.  I've never heard of that. 
    Is that a new model?  It appears to have humbuckers
    with the covers removed. 
    
    Dave
    

    see note 1132.6

    Can anyone identify the following Gibson semi?  Single cut Les Paul
    body style but semi-hollow, body binding front and back, bound f-holes,
    2 humbuckers, trapeze tailpiece, bound neck with ebony board and block
    inlays (like an LP Custom) and flowerpot inlay on the headstock.
    
    I've only seen one of these, so it's possible it was a custom order or
    a Frankenstein.  Did Gibson ever make a model that fits the description
    above?
    
    /rick
    

    Could it be a Howard Roberts Fusion? My cousin owns one of these.
    It's a great guitar. 
    
    Mark

    Doesn't the HR Fusion have an oval sound hole, not f holes?
    
    Jim
    

    Nope, the Howard Roberts (not Fusion) has the oval soundhole.  The
    picture of a Howard Roberts Fusion II that I have hanging on my cubicle
    wall looks kind of like what was described, except that the f-holes
    aren't bound.
    
    Paul

    Oops.  Other differences...finger tailpiece and dot inlays.
    
    Paul

    
    Any comments on the Howard Roberts Fusion II? 
    What's different from Fusion I?
    
    Also: Ebony or rosewood finger board, any 
    binding, playing impressions?  Comparison in 
    sound/playability with a 335 style guitar or
    Roger Borys B222 Jazz Solid? 
    
    Dave