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Archive for the ‘ES 335’ Category

Mid Sixties 335s.

Sunday, July 10th, 2016

 

I bought this late 65 (narrow nut) for $5000. Great guitar, great pickups, Braz board and less than some off the new ones. No brainer

I bought this late 65 (narrow nut) for $5000. Great guitar, great pickups, Braz board and less than some of  the new ones. No brainer

Not everyone can afford a 58-64 ES-335. $15000-$45000 is an awful lot of money for a guitar (even if you’ll probably get it back when you sell it). When I get asked for advice from buyers with $5000-$7000 to spend, I usually steer them toward 345’s and 355’s with issues from the same era. But if a 335 is the only choice for you, then 65 to 69 models are worth considering. Most of you already know why the values drop precipitously from 64 to 65 but I’ll give you the short version in case you missed that day.

In 65, the stop tailpiece was discontinued and replaced with a trapeze. But that isn’t the big reason. By mid ’65 the nut width has shrunk from 1 11/16″ to 1 5/8″ to 1 9/16″. It doesn’t seem like much but wrap your hand around that narrow neck and you will definitely notice the difference. There were other changes, like nickel hardware being switched for chrome and changes to the pickups (from enamel coat windings to poly coat) that took place in 65. But the neck size is the main reason you can pay $15000 or more for a 64 and $5000 for a late 65. We’ll toss out the big neck 65’s from the discussion because they generally are priced at around $8000-$9000. Less than a 64 but beyond that $5000-$7000 range that is such a popular range.

So, we have late 65, 66, 67, 68 and 69 to look at. I would toss out late 69 because the “Norlin” changes (neck volute, short neck tenon) should cost even less. They aren’t terrible guitars but 65-early 69 are generally better. Nobody likes the volute and the shorter tenon can have stability issues (although most don’t). One of the common assumptions is that all of these guitars have t-tops except maybe a few early 65’s. That’s simply not true. I’ve seen pre T-tops as late as 69 and I’ve never, repeat, never, seen a t-top in 65 and rarely in 66. In fact most 67’s don’t have t-tops either. 68 is a toss up but plenty of them have pre t-tops. T-tops can be great pickups as well, so, stop worrying about the pickups.

There are vast differences in the neck profiles during this period and that might help you decide. The problem is that they are kind of all over the place. I find most 65’s to have fairly large necks but 66’s generally have really, really thin necks. They go from a bit larger to way larger in 67 but some are still pretty thin. By 68 and into 69, they can get very large. I have a 69 (OK, it’s a 340) that has a huge (but narrow) neck profile. It rivals many 59’s. It’s not just the profile that merits a look-65’s and some 66’s  get you a Brazilian board while 67 and later gets you Indian rosewood. One the point to make-a very popular vintage guitar information site states that 68’s have a wide nut. They don’t. Period.

Don’t ignore the small stuff either. 65 and 66 have the wide bevel pick guard which I think is a lot more attractive. 68 and 69 have big f-holes which look a bit cartoonish to my eye. 65 and most 66’s have reflector knobs while late 66 to 69 have witch hat knobs which I really don’t like but knobs are easy to change. They certainly don’t affect tone or playability nor do other little details like the position of the headstock “Crown” inlay. It’s higher in 65-66 and lower in 67-69. They also changed the inlay material at some point in 67 (I think). The inlays are whiter and don’t have the same tendency to dry out and curl up at the edges.

For my $5000-$7000, I’d go with a 65. Narrow but medium chunky neck profile, Brazilian rosewood for sure, big bevel guard and maybe some nickel hardware. A big problem is that so many sellers describe their 66-69 335’s as 65’s. The reason for this is because the serial numbers were re-used as many as four times over these years. It never surprises me that these sellers simply look at the serial number charts and pick the earliest possible year. Do your homework. Look at the features. It’s pretty easy to tell a wide bevel guard from a narrow bevel. It’s easy to tell a low “crown” inlay from a high one. It’s not that hard to tell the big f-holes from the small ones. Read my old posts-I’ve covered all of this before and then go out there and find the “one”.

Wanna blonde without paying huge bucks? Buy a 69 ES-340 and rewire it as a 335. You can find these in the $4000 range. 70 and later are less busy they'll have the neck volute.

Wanna blonde without paying huge bucks? Buy a 69 ES-340 and rewire it as a 335. You can find these in the under $5000 range. 70 and later are less money but they’ll have the neck volute which everybody hates. You might even get pre T-tops. This one has them.

 

Top Ten List

Saturday, June 25th, 2016
58's are tricky because of the neck angle but the chances of getting a great guitar a pretty good. Two of my top five are 58's.

58’s are tricky because of the neck angle but the chances of getting a great guitar a pretty good. Two of my top five are 58’s.

I keep a mental top ten list of the best ES guitars to pass through my hands and, while the list is pretty diverse, there are some factors that are becoming meaningful. As I get to play more and more of them, I re-evaluate the things that make some of them simply good, others great and a few simply extraordinary.

It’s interesting that the current top ten (or maybe top 12) includes guitars from 58, 59, 60, 62 and 64. I try to keep personal preference out of the equation-like the fact that I like guitars with necks that start medium and get really big by the 12th fret. I’m really talking about tone. And that’s personal preference too,  I suppose,  but we all like a guitar that has great sustain and that singing almost vocal quality that some 3×5’s have and some don’t. Some of that is setup but some of it is simply the wood, the strings and the electronics and the relationship between them. I can’t totally explain why this 335 sounds so much better than that one but there are some common denominators that I can quantify and only because I’ve played (and set up) so many.

Common denominators: All are 58-64 which doesn’t tell you much. All are stop tails. All have PAFs or early patents. Nearly all were re-fretted at some point. But there have been dozens and dozens that fit that description so there must be something more to these standouts. Four of the top ten have thin tops. If you aren’t a regular reader, you should be aware that all 58’s and some 59’s have a three ply top that is 25% thinner than the four ply tops that were used from 59 on. Of course, that means that 6 of the top ten had the thicker tops. But wait. There’s more. If we go to the top five, three of the top five have the thinner tops which tells us something. The top five are as follows–#1 late 58 335, #2 thin top 59 335, #3 refinished 62 dot neck, #4 59 first rack 345 and #5 unbound 58 335. So, I’m going out on a limb and saying the thin top early 335’s seem to have an edge when it comes to great tone. Looking at the next five on the hit list #6 is a first rack 59 345, #7 is a 59 355 stop tail, #8 is a 64 335, #9 is a 59 335 and #10 is an early 60 335. This is out of perhaps 500-600 that I’ve owned. There are perhaps another 75 that I would call contenders-an extraordinary one isn’t that much better than a great one. Most 58-64 3×5’s are simply excellent guitars. We’re talking microns here.

This list is rather fluid and I’m always replacing one with another as I play more of them. It is tricky to compare a guitar I have today to one I had five years ago (or more) but I consider the top ten to be kind of interchangeable. I’m sure that if I had all of them in a room, I would put them in a different order but they would all still be great. What would be really useful is if I could predict which ones would be the standouts before I even picked them up and played them. It would be nice to be able to tell folks to look for a particular factory order number or group of features that make for great tone but, alas, no such information exists. I’ve had 59 dot necks that are uninspiring. I’ve had trap tail 65’s that would give any of the top ten a good run for their money. There are a lot of variables and too many aren’t easily quantified.

There are a few consistencies that have occurred to me, however. First rack ES-345’s are generally excellent. What’s a first rack? Read this. It’s actually three racks but they all share certain characteristics and these characteristics seem to translate to great tone. Late 58’s and early 59’s are also fertile ground for great tone-again, the thin top is a possible factor. The shallow but not too shallow neck angle could also be in play here. The big neck? Maybe but there’s a 62 in the top 5 that had a skinny neck (and a refinish). Here’s another factor that throws a monkey wrench into the mix: On a given day, a particular guitar can sound great and on another day, it doesn’t sound so great. Humidity is a big factor and probably the state of my playing ability is another.

So, what can you take away from this? Well, mostly that you should play a guitar before you buy it. Just buying a 59 dot neck that you like the looks of will probably get you a great guitar but it may not be an extraordinary one. Buying a beat up refinished 62 could get you one of the best players you ever had. But you can’t know for sure until it’s properly set up and you sit down and play it.

This Candy Apple Red refinished 62 dot neck is in my top five ES's. Not my favorite color but my oh my did this baby sing.

This Candy Apple Red refinished 62 dot neck is in my top five ES’s. Not my favorite color but my oh my did this baby sing.

 

Six Figure 335’s?

Monday, May 30th, 2016
Where have all the blondes gone? To collectors who will probably be buried with them. They only made 209 of them, so it's not surprising that they have become so hard to come by. I haven't seen a no issue 59 stop tail hit the market in almost two years. There have been a few 58's, some Bigsby's and a couple of 60's. This killer 58 will be in my hands soon.

Where have all the blondes gone? To collectors who will probably be buried with them, that’s where. They only made 209 of them, so it’s not surprising that they have become so hard to come by. I haven’t seen a no issue 59 stop tail hit the market in almost two years. There have been a few 58’s, some Bigsby’s and a couple of 60’s. This killer 58 will be in my hands soon.

By any standard, the 335 is kind of a deal. Granted there is a pretty big range for the “Golden Era” guitars but when you put it up against the current giants of the collectors world, a 335 is downright cheap. Let’s look at the current market at the top end.

There were somewhere around 1400 Les Paul bursts built. LP guys will argue there are less because all of them can’t still be intact but that applies to any old guitar.  I’ve seen bursts with issues on the market for $80,000 (repaired headstock and a few minor issues) all the way up to $1,000,000. I don’t know what the highest price ever realized for a non celebrity owned burst is but it’s a lot higher than the highest price ever paid for a non celebrity owned 335. I know of at least one LP that sold for over $400K. There are a fair number in the $250K range. Most sales at this rarefied level are private and the prices paid aren’t public knowledge. Could one have sold for a million bucks? Maybe. Seems like a lot of money for a guitar.

I’ve written extensively about the fact that rarity isn’t the main factor in guitar values. Rarity only matters when the supply is wildly outstripped by demand. And that’s true of a few guitars in the Gibson lineup. Take the original Gibson Explorer. They allegedly made somewhere between 35 and 100 of them between 58 and 63 and they hardly ever come up for sale. Again, I don’t know how high they actually go-I know of at least one that reached $350,000. There is one on the market now for $750,000. Flying Vees are in the same ballpark even though there are perhaps twice as many of them as there are Explorers. Again, I know of a Vee that sold for around $300K. I don’t really keep track of these things so there certainly could be higher sales. The shipping totals are speculative. No one seems to know exactly how many left the factory.

There are no other Gibson guitars that even approach these numbers. If you ask me (and I know you will), the 335 is every bit as good a guitar as a Les Paul, an Explorer or a Flying Vee. The circuit is pretty much the same. The pickups are the same. The design is every bit as good and playability is arguably better on a 335 than any of them. Again, my opinion. Tone is subjective but plenty of folks have called 335’s (and 345’s) “burst killers” and some of these folks are burst owners. You know who you are. So why can you buy a sunburst 58, 59 or 60 ES-335 for $20,000 (for a 60 with minor issues) to $50,000 (for a mint 59)? It has to be the demand. There were about the same number of 58-60 335’s made as there were 58-60 Les Pauls. There were around 1700 58-60 Les Paul Standards (some 58’s were gold tops). There were around 1300 335’s made during the same period. Interestingly, a lot more 58-60 335’s come on the market for sale than do Les Pauls. But here’s where it gets strange. The blondes.

There were 209 blonde 335’s built from 58-60. There are a few built later-I know of one 61, one 63 and one 64. Of the 209 dot neck blondes built, I’m sure a few didn’t survive the nearly 60 years since they left Kalamazoo. So, lets be generous and say that 20 were either refinished, broken or simply trashed in some way, leaving 189. There must be at least 100 already in the hands of collectors and probably more than that. I know a lot of the owners and a few with multiple blonde 335’s. They are very attached to them so many of these guitars are effectively off the market for the foreseeable future. So, how many are left with original or later owners or widows and families that will hit the market as “uncirculated” 335TDN’s? Well if the present slate of blonde 335’s is any indication, precious few. There was one 60 at a well known dealer in California listed at $100K. An unbound 58 in the Heartland for $86K which apparently sold recently, although I don’t know the sale price . There is a Bigsby 60 with a 345 fingerboard at $72K and a Bigsby 60 with an unusual “Custom Made” plate in a lower than normal position for $66K. The only other one I know of is a 58 that has a damaged top.  As I said, not much out there.

I know that stop tail blondes approached and, although I don’t have absolute proof, reached $100K in 2008. I predict they are on their way back to that number. There simply aren’t very many left.  The old rule of thumb for blondes was double the price of a sunburst. With near mint sunburst 59’s now approaching $50K, a near mint blonde 59 should be at $90K+. Call me biased, but that still seems like a much better deal than a $300,000 Vee or a $750,000 Explorer.

Unbound 58's are a little less desirable to many collectors. I think they are very cool. This one looks like the top came from the same piece of maple as the bound one at the top. I sold this one in 2015.

Unbound 58’s are a little less desirable to many collectors. I think they are very cool. This one looks like the top came from the same piece of maple as the bound one at the top. I sold this one in 2015.

Nothing Like Old Wood. An Expert Responds

Wednesday, May 11th, 2016

Before you read this post, please read the post entitled “Nothing Like Old Wood. Or Not.” This post was an email sent to me by luthier Ken McKay who built the guitar I’m writing about in the previous post. He fills in a lot of the blanks for me and explains his (and Gibson’s) methodology. Here it is in its entirety.

I enjoyed reading that and generally speaking I wholeheartedly agree.

In 1959 Kalamazoo factory was filled with newly ordered racks pattern grade mahogany, it was just dried the normal way.  They used drying kilns in those days. These billets of mahogany were pattern grade meaning they used the wood to make patterns for automobile parts. They had to be stable. So that is the neck. Just pattern grade mahogany. Still available if I look hard.

Let me get into the other parts a little bit. But first I have to tell you that the ES xx5 guitar design is evolutionary. Once they got it right with the center block they pretty much kept it that way. That is until circumstances made it different and it became an entirely different guitar.  Current 3xx guitars only replicate the essence of the original models. It’s too bad some players get confused and think they’re getting something that they are not. They are simply not the same. If a player wants that sound and feel that comes with a vintage guitar. Then only a vintage or McKay will get you there. If A player goes into a store and plays a new 335, and likes it, that’s a different story. There’s no confusion there and they’re getting what they want. I would encourage players to play a few vintage models though to see what’s really possible.

In my Benchmade guitars I use different quality contour brace material. I also have the veneer sliced to different dimensions using different materials than the current factory does. I use different glue. And like you,  I like to use Brazilian Rosewood for fingerboards.

It’s an engineered guitar. It’s ply construction. Not just the top and back plates but the entire body. If you take a cross-section of the guitar body cut in half there will be 11 layers from top to back. Four veneers for the plates, spruce followed by Maple followed by Spruce again and then four more layers of maple veneer. These are all glued up in different succession to make up a composite. This was the best they could do at that time. The materials at the time were simply wood and glue. Metal was too heavy and Carbon plastics and things did not exist. And some things  were happy circumstances, for example the glue they used dried hard and crisp. This of course could’ve been engineered into the plan but I think it was just circumstance. Because it helps retain the crisp high-end.

Another huge factor is the part of the guitar that is not there, the air. The pickups hear all the parts including the resonance of the air. Air is a cushion. It gives the guitar the acoustic attack and is mixed with the sustain of the center block maple. The amazing thing is they got the proportion correct pretty much from the start. Personally I think it’s a practical thing if they were to have made it thicker it would be too heavy. In the body, the size does seem to be perfect. So this is part of the engineered guitar… the double air chambers.

The center block is soft maple. It’s not too heavy. It’s not too anything for that matter,  it’s just correct. I have used different material and it did result in different sounds. So this, of course, can be part of the process. Generally speaking, though lightweight, soft maple works out best. If you wanted for example little more crisp high-end and spankiness then perhaps hard maple might work out for you.

The Spruce contour brace material is also important because it helps sound waves travel rapidly. I use very straight grain material and the speed of sound is rapid through this material. With this you get a quick attack. I think this would drive up the price of a factory guitar if they used only high-quality material like I do.

And then there’s the other things that add up. Long studs, proper metal for saddle, bridge,  proper nut material. The headstock angle and the neck angle also make a difference of course.

Here’s a picture of my innards.  Contour brace stock and maple centerblock stock. I weigh each for  comparison.

Ken1

Ken2

Ken3

Ken’s logo on one of his wonderful guitars.

Top Dollar-Block Neck 335 Edition

Saturday, May 7th, 2016

 

This beauty of a 62 sold for what I consider to be top dollar in today's block neck market. That would be $20,000. It was about as mint as they get.

This beauty of a 62 sold for what I consider to be top dollar in today’s block neck market. That would be $20,000. It was about as mint as they get.

I sell a lot of ES guitars. I’m on track to sell close to 100 this year-nearly all from 1958 to 1965. I sold around 75 of them last year and about the same number the year before. That’s a lot of 335’s, 345’s and 355’s. This gives me an unusual level of insight into the marketplace for these guitars. Clearly, there is a range for any guitar from any year. Aspects like configuration (stop tail/Bigsby/Custom Made), originality and condition are the big factors but there is something else. That something else could be described as overreaching, greed or,perhaps, ignorance. You’ve all seen guitars listed for ridiculously high prices. You probably scoff and say “that’s a ridiculously high price.” And you should. But these prices cause something of a ripple effect in what should be a relatively predictable and stable marketplace.

Go to Ebay and see what the asking prices are for an early (62-64) block neck. Wait, I’ll save you the effort—the bottom is $12000 for a 64 with a few changed parts and Bigsby holes to $100,000 for, well, I’m sure you know which one that is. $12K is not an unreasonable price for  64 with original paint, no repairs and original electronics. $100K? You decide. What’s really interesting to me and what caused me to write this post is the number of stop tail block necks that are in excellent condition that are priced higher than I’ve ever gotten for that model and year.  And it’s not just a few There’s a 63 for $38K, a 64 for $25K, a 63 for $24,900, a 62 for $24,500, a 64 for $24K, a 63 for $22,900, and a 64 for $21,900. There are dealers and individual sellers in there and most of these guitars have been listed week after week.

Here’s the buried lead (lede?). The MOST I’ve ever gotten for a block neck 335 with a stop tail is $20,000 (post 2008). That covers all 62-64 blocks except the blonde 63 I sold last year.   That’s at least 100 guitars. The range has been $7000 for a 64 with a not very good headstock repair to $20,000 for a dead mint 62 with PAFs. Truthfully, if I can’t get $21,900 to $38K for a block neck 335, then, in all likelihood,  neither can you unless you get really lucky. Are the sellers waiting for a billionaire who doesn’t really care about what things cost? I’ve sold guitars to billionaires and they negotiate harder than your average starving musician. Perhaps this is how they became billionaires or how they stay that way. Are they waiting for the sucker who doesn’t do his due diligence? Maybe. Are they simply kidding themselves? Some clearly are. I understand that you can put your guitar out there for any price you want. It isn’t really any of my business except when it is.

When another dealer or an individual asks thousands more than the current market rate, he potentially affects all buyers. Here’s how. Grandpa dies and his 62 ES-335 has been in the closet since 1975. The family wants to sell it quickly and for a reasonable and fair price. They do some research-they check Ebay and maybe Gbase to see what the asking prices look like and they see these. Then they call a dealer or two and are told that the value is perhaps half to 2/3’s of those big asking prices. They often feel like the dealers are trying to cheat them and they simply perpetuate the problem by putting Grandpa’s pride and joy up on Ebay for a stupid high price. I tell Grandpa’s family to check the completed listings on Ebay as part of their research. That’s a good start except that some sellers have taken to showing their guitar as “sold” at a very high price and then it turns up for sale again (often at a slightly lower price) a few weeks later. That messes up the research but not as much as the “ambitious” prices asked by so many sellers.

The other side of the equation is that these prices make my prices look pretty compelling. The problem is that I can’t keep my prices reasonable and fair if I can’t buy the guitars at true (and fair) market prices. I understand that a rising market can be good for me and good for owners but the market isn’t rising that much-in fact, it’s pretty stable. It’s getting back to being a standoff where the buyers won’t buy and the sellers won’t sell. And that hurts everybody. There’s nothing wrong with asking top dollar for your near mint beauty. But there is something wrong with asking 20% to 500% more than top dollar.

This 64, which as a terrific player had, if I'm recalling correctly, 29 filled holes in the body. I believe there were 12 on the back from a back pad, at least six on the headstock from different tuners. A few on the bass bout from an armrest and a few more under the bridge from it being repositioned. I sometimes figure on $1000 per hole off the top dollar price but, clearly, that doesn't always work. I would have had to pay you to take this one.  I don't remember what it sold for.

This 64, which was a terrific player had, if I’m recalling correctly, 29 (nicely) filled holes in the body. I believe there were 12 on the back from a back pad, at least six on the headstock from different tuners. A few on the bass bout from an armrest and a few more under the bridge from it being repositioned. I sometimes figure on $1000 per hole off the top dollar price but, clearly, that doesn’t always work. I would have had to pay you to take this one. I don’t remember what it sold for.

Dating in the 1950’s

Sunday, April 24th, 2016
59 or 60? This guitar, which is not the one I'm talking about in the post, had all the 59 features including a big fat neck. But it is a 60 based on the serial number and the FON.

59 or 60? This guitar, which is not the one I’m talking about in the post, had all the 59 features including a big fat neck. But it is a 60 based on the serial number and the FON.

Yes, today I’m going to tell you what it was like to date in the 1950’s…Actually not even I’m that old but I can tell you about a dating problem I had recently with a dot neck ES-335.

A well known and respected dealer has a ’59 dot neck ES-335 to sell. It’s beat up but, hey, it’s a 59, right? Well maybe not right. I emailed the dealer and asked a bunch of questions-like “what is the serial number, how big is the neck profile and are the tuners original?” I also asked that they try to locate the factory order number (FON) and even sent a photo in case they didn’t know where to look. I was assured that they had no doubt it was a 59 and that it couldn’t possibly be anything else. The neck profile is kind of small, the knobs are bonnets and the tuners are single ring, all of which say 59. Oh, and the label was missing.  OK, it’s pretty well priced for a 59, so just get me the FON and we’ll talk. “Sorry, I can’t find the FON but the tech department assures me it’s a 59.” It has 37th week of 59 date codes on the pots.

So, to review, the only features that tell us it’s a 59 are the knobs, the tuners and the pot codes. An early 60 will have those knobs and those tuners. Gibson didn’t have “model years” like a car. They made their changes when it suited them and always used up the old parts and transitioned in the new ones. So, how do we tell a late 59 from an early 60 and why do we care that much. Well, we shouldn’t really care that much-an early 60 and a late 59 are the exact same guitar. Same build quality, same builders, same pickups and so on. But the vintage market has decreed that a 59 is better than any other year and therefore requires that you pay a premium for the privilege of owning one. I don’t make the rules but I can’t dispute that a 59 is easier to sell, commands a higher price and comes with a set of bragging rights only surpassed by owning an original Les Paul burst. Everybody wants a 59. I could argue that 58’s have some real advantages but that’s a whole ‘other post.

So, back to the guitar in question. It could be a 59. It could be a 60. Using the knobs and the tuners as an absolute dating feature is unreliable. They can be changed and that doesn’t even matter here since those knobs and tuners are correct for both years anyway (until some time in the Spring of 60). So, there are a lot of 60 ES-335’s that fit the description. But what about those pot codes.  The 37th week is sometime in mid September. I’ve seen earlier pots on a 60. The pot codes really only tell us that a guitar can’t be earlier than the pot code date. Because the pots were ordered in large numbers, the idea that a pot sat around for as few as 16 weeks is not even remotely out of the question. I’ve seen ’66 pot codes in 68. I’ve seen 1954 pot codes in 1958. 16 weeks is nothing. My conclusion is that in the absence of a serial number of FON, you can’t (and I can’t) tell a late 59 from an early 60. There is one other possibility and this guitar doesn’t have it. An original sales receipt. Without these things, it should be priced like an early 60. Simply put, pot codes are no good for dating a guitar with any accuracy-they only tell you the earliest build date and not the latest.

One other point-if it had a 59 FON, it could still be a 60. I go by serial number when dating a 3×5 but I always mention the FON if it differs-as in “it’s a 1960 but construction began in 1959 as indicated by the 59 FON. Or, it’s a 1959 serial with a 58 FON. You get the idea. Fortunately, most FON’s are visible and I wouldn’t be surprised if this guitar has one somewhere. The position of the FON can be almost anywhere-it was put there before the guitar was built. Sometimes you have to look a little harder.

345's count too. This blondie had a 59 FON and an early 60 serial number. I called it a 60 although plenty of dealers would call it a 59. I'm not really sure who is right, so disclosing both is a good solution.

345’s count too. This blondie had a 59 FON and an early 60 serial number. I called it a 60 although plenty of dealers would call it a 59. I’m not really sure who is right, so disclosing both is a good solution.

Rare as a Warm April Day in 2016

Sunday, April 10th, 2016
It doesn't get much rarer than this. This is the only known 63 stop tail ES-355 Mono (or stereo, for that matter). If perhaps you know of another, I'd like to know about it.

It doesn’t get much rarer than this. This is the only known 63 stop tail ES-355 Mono (or stereo, for that matter). If perhaps you know of another, I’d like to know about it. Thanks to Roger in California who was kind enough to offer this beauty to me. I was so close to getting this one last time it sold.

Those of you who live in the East have noticed that Spring has taken a vacation. It was warm for a minute and a half in March but Winter isn’t letting go. My beautiful magnolia trees were just blooming and bam!, 14 degree weather and all the flowers are dead. Bummer. This has nothing to do with the post but I’m pretty bummed about those trees. So, warm April days have been rare this year and rare is the subject today.

You know, if you read my posts regularly, that I love the rare stuff. I’ve had the most unbelievable luck  finding rare 3×5’s over the past year. I’ve found two of the four black 59 ES-345’s, a factory blonde 63 block neck 335, a red 59 dot neck with a a factory Varitone, three blonde 335’s and three stop tail 355’s. Now, I’ve got the only stop tail 63 ES-355 known. This guitar is a pretty interesting story on its own. There are only 6, maybe 7 known stop tail ES-355’s. I’ve now owned 4 of them. A stereo 59, a mono 59, a stereo 60 and now a mono 63. My friend Tom in Texas has a mono 60 (and the stereo 60 that I had). There’s a stereo 60 in Sicily and that’s about it. There are probably a few that haven’t surfaced yet but it’s still one of my “holy grail” guitars, especially the mono ones.

The stop tail 63 showed up on Craigslist (if I’m recalling correctly) in North Jersey three or four years ago. I got on it right away and made what I though was a fair offer. The seller apparently thought so too and agreed on the price. This was a Friday. I told him I would make the drive on Monday to pick it up. I had a conflict and asked if I could pick it up Tuesday. He told me he had gotten a better offer and it was sold. I would have gone higher (I really wanted this guitar) but he said the deal was done. I thought the deal with me was done three days earlier but sometimes integrity goes out the window when an extra grand flies in.

A couple of days later, one of my most avid readers tells me how he scored a 63 stop tail 355. I couldn’t blame him-he didn’t know that the seller had already accepted another deal. I immediately started my subtle campaign to get this guitar from him. Four years later (more or less), in an email with the subject line “temporary insanity”, the 63 stop tail was offered up to me. I dropped a hefty 40% markup over what he paid and the guitar was mine. At least for now. And it’s just great. Of course, I’ll sell it but I’ll play it and get to know it for awhile before I do. Once again, I have to go back to the old rule…something about not falling in love with guitars.

I’m sure a lot of you think it’s weird to seek out these rare birds only to turn around and sell them. It IS weird. But I can’t afford to keep them and all of them go to folks who truly appreciate the rarity (and the craftsmanship and playability and tone). I know where every single one lives and I generally ask the buyers to offer them back to me before selling them elsewhere. I’ve had the great fortune of playing and owning some of the rarest of the rare. Here’s a list of the ones that stick out in my mind:

’59 ES-345 in red. The first red one made. ’59 red dot necks-I’ve had two-one with a Bigsby and a stop tail with a factory Varitone. A Pelham Blue Trini Lopez, two black 59 ES-345’s, a blonde block neck 63, four stop tail ES-355’s, two blonde ES-345’s, that little blonde ES-140 with the PAF and 8 blonde ES-335’s. I was also lucky enough to find a 59 dot neck with a pair of reverse zebra pickups. Oh, and the white 65 ES-355. Then there’s “The Mexican” which is one of perhaps two or three cherry sunburst stop tail ES-335’s made in 1965. I would have kept every last one of them if i could afford to. They have all been great. Some better players than others for sure, some prettier than the others but ll interesting and, oh yeah, rare.

To many collectors, rarity doesn’t matter much. If the model isn’t popular, then rarity doesn’t matter at all. I’ve had two of only 11 blonde Byrdlands made in 1961 but they are really not worth much-rare or not. Why? Because nobody seems to want archtops these days. But when you get a rare version of a sought after model, it’s a different thing all together. They command a pretty serious premium and you start getting emails from billionaires and rock stars. Nice to know people are paying attention.

They didn't make any block neck 335's in blonde. Except this 63 and a lefty 64. One of my favorite rarities. This came out of Scotland.

They didn’t make any block neck 335’s in blonde. Except this 63 and a lefty 64. One of my favorite rarities. This came out of Scotland.

Then there's this 67 Pelham blue Trini Lopez I had back in 2010. Near mint. Bought it off of Ebay. I think there are 16 of them. Not a great player but it sure looked cool.

Then there’s this 67 Pelham blue Trini Lopez I had back in 2010. Near mint. Bought it off of Ebay. I think there are 16 of them. Not a great player but it sure looked cool.

 

Long Time Comin’

Saturday, March 26th, 2016
Nope. Not a reissue. Not a real dot neck either. It's a Ken McKay "tribute" 335 that took me and my friends more than four years to complete.

Nope. Not a reissue. Not a real dot neck either. It’s a Ken McKay “tribute” 335 that took me and my friends more than four years to complete.

I think it was 2011 that I was contacted by Ken McKay to help him out with some measurements for his new 59 ES-335 “tribute” bodies. Ken was going to make the bodies an exact copy of a 59 ES-335 and you were on your own when it came to putting a neck on it and fitting it out. I was very impressed with Ken’s work and wrote a blog post about him. Find it here. I bought one of Ken’s creations to see how it checked out against the real thing. Then things started going awry.

My friend Chris made a neck for me using a nice piece of Brazilian rosewood for the fingerboard I had been saving since the 90’s. I had the dot markers made from a set of vintage inlays and had him custom carve a rather 64ish neck profile. It was a true custom as I was there when he shaped it so I could say take a little more off here and leave it fat here. I did it by feel-not by the numbers. I could have asked for .88″ at the first fret and .98″ at the 12th like my 58 but I chose to go by feel alone. It turned out to be around .855″ at the first and .96″ at the 12th. A little shoulder but not much and a neck set angle somewhere between the really shallow 58 and the more moderate 60. Medium jumbo frets finished slightly lower and flatter than normal and I had a true custom neck. That part was delayed by various circumstances affecting my life and Chris’s so it took some time. I think we had a completed body and neck by around 2013. Then came the finishing.

I wanted the guitar to be watermelon red and I asked my regular luthier, Dan, to paint it. I was very specific about the red I wanted and we just couldn’t get it right. We got a nice red but it wasn’t the right red. So, I told him to just paint it black. Dan got very busy with his own line of guitars and I got very busy moving from Westport, CT, closing my NYC video business and opening my shop in Kent, CT. I kind of forgot about the McKay 335 and so did Dan. We both had too many other things to do. But, finally, the McKay was painted and ready to put together.

I thought about assembling the guitar using only vintage parts but I didn’t have everything I needed, so I improvised. The tuners are no lines from a 52 Les Paul, the bridge is a 59 no wire ABR-1, the stop tail is a repurposed wrap tail from a LP Special. The neck pickup was a Shaw PAF that Dan rewound for me using the purple enamel wire of a PAF and a pair of white bobbins that I left uncovered for the neck. The bridge pickup is a real 59 PAF that I left covered. The harness is from RS, the knobs and guard are repro. The TRC is a real “Custom” from the early 60’s and the strap buttons are the real deal plastic ones from 59 or 60. So, it should sound like a real 59, right? Well, the wood isn’t exactly old and the lacquer is still curing but I strung it up with a set of 11’s and sat down to play.

First impression was more than just OK. The bridge pickup is awesome. Bright, articulate and complex. The neck pickup is a monster. Loud, prone to distortion (it’s slightly overwound per my specs-I love a neck pickup that approaches 9K) and did I say loud? The middle position was out of phase which is pretty interesting but I’ll probably flip the magnet in the neck pickup and see if I like it better in phase. I’m supposed to check the phase before I install the pickups and string up the guitar. I didn’t. But beyond the great tone of this guitar was the surprising playability. Having a custom made neck is a real luxury. Having the frets done to my spec is also a luxury. And a piece of very tightly grained dark, dark Brazilian rosewood completes the package.

So, it took me more than four years to get this guitar done but it really compares favorably with the best of the dot necks I’ve had. The shallow(ish) neck angle and perfect intonation make for a very playable and comfortable guitar. Vintage electronics and a custom wound neck pickup make it sound like I want a 335 to sound like. And look at it. It looks authentic. Ken got the shape dead on which Gibson still can’t do. I didn’t have it relic’d so I can crap it up myself. Most of you know, I never keep guitars-even my favorites end up for sale and this one will probably go as well. Somebody is going to get a work of art. Thanks Ken.

Ten (or Eleven) Years After

Monday, February 29th, 2016
Here's the real one before he changed the knobs (and probably the tuners).

Here’s the real Clapton 335 before he changed the knobs (and probably the tuners). I used to have the same strap definitely not the shirt.

Even though Alvin Lee (Ten Years After) played a red 335, this post isn’t about him. It’s about the now more than ten year old “Crossroads” ES-335. In 2004, Eric Clapton’s 64 red block neck was sold by Christies Auction house for $847,500. The folks at Guitar center who bought it hyped it mightily as the “Crossroads” ES-335 even though most believe that the recorded version of “Crossroads” was played on an SG. Sounds like an SG to me. In any case, the guitar was used as the basis for the “Clapton” Crossroads Reissue. That was nearly 11 years ago now.

It’s interesting that the iconic guitars of these 60’s masters weren’t even this old when such great music was played on them. If “Crossroads” had been actually played on that 64 ES-335, it was not even four years old at the time of the Winterland Ballroom show in San Francisco (although we all grew up thinking it was The Fillmore). Now the Clapton reissue is close to eleven years old and since I have number 25 of 250, I thought it was worth another look.

I first played a Clapton 335 in 2006 when a guy who was buying a guitar from me brought one along for me to check out. Immediately liked it and felt that it captured the look and feel of the real thing. I had a lot less experience with vintage 335’s at that time but I had been buying and selling them for awhile on a very small scale. I would buy and sell 6 or 7 guitars a year from 1998 or so until 2010 when I really started getting serious writing this blog and buying 50 or more a year.  I’m going from memory here but I recall a couple of things-I thought the guitar looked particularly authentic. And I thought it played great and sounded quite good.

Gibson, until recently, hasn’t been able to get the body shape right (MM ears and later pointy ears). I still contend they aren’t quite there but they are close. Interestingly, these Claptons are almost dead on. I had #25 next to a real 64 on the “A” rack in my shop and a potential buyer came in to play the 64 and I inadvertently handed him the Clapton. I realized I had done so before he took the guitar from me (I noticed the Grovers and knew I had erred). But I gave it to him anyway just to see if he would notice. He didn’t until I mentioned it. He really liked the guitar and I have to agree with him. The rumor is that the guitar bodies were built by Terada in Japan. If so, kudos to the Japanese-they got it right.

The body is right, the neck is right, the bindings are darn close, the pickup covers are screamingly wrong. Wrong? Yes, Gibson doesn’t seem to be able to get the pickup covers right. They’ve been reissuing 59 335’s for 35 years and they still can’t get the covers right. That aside, the feel is right. It would be even better if folks would actually play these guitars and get a little real player wear into the mix but they seem to be more popular with collectors than they are with players. I get that. They were expensive in 2005 at $12000. They have held their value relatively well but are still expensive and they certainly haven’t gone up in value. But when you look at the street price of Gibson’s top 335 reissue now at $6000+, maybe the Clapton cachet and playability isn’t such a bad deal. If the new reissues are equally good at $6000 and a Clapton will cost you $10,000-$11,000, is it worth the extra $4000 or $5000? I think it is because in 10 years, a 59 reissue is simply going to be a 10 year old reissue that they will probably still be making and it will probably cost a few thousand more. The Clapton will be 20+ years old and still be a limited edition of 250 with EC’s autograph. It will likely be worth at least what it is worth today. I don’t think it will matter if it sits in the case for the next ten years or you play the crap out of it. It will still be what it is and you’ll probably enjoy it a lot more if you play it.

Lastly, I’ll mention the tone. While the playability and feel are very close to a 50+ year old honest to god 64, the tone is good but not quite the great tone of a 64. Maybe in another ten years, it will be there. If I was really, really curious, I would drop in a set of 64 pickups just to see how it sounded then but collectors are funny about certain things. If I break the original solder in order to try a set of early patent numbers, somebody is going to be unhappy when they find out the pickups have been out. So, it will stay as is and I will continue to enjoy playing it until somebody comes and buys it. Don’t even ask about the case.

Not vintage yet but on its way. Even if Gibson simply called it a 64 reissue, it would be a really good guitar.

Not vintage yet but on its way. Even if Gibson simply called it a 64 reissue, it would be a really good guitar.

Unless British exports got a totally different case (or he changed it out), the reissue case is nothing like a real 64 case. It's a perfectly good case but it if I got a vintage 64 in this case, I would make a stink about it.

Unless British exports got a totally different case (or he changed it out), the reissue case is nothing like a real 64 case. It’s a perfectly good case but it if I got a vintage 64 in this case, I would make a stink about it.

No Rules

Saturday, January 30th, 2016
Very unusual 66 ES-345. Look at those ears...M-I-C-K-E-Y you know the rest. Stranger things have come along but not many.

Very unusual 66 ES-345. Look at those ears…M-I-C-K-E-Y you know the rest. Stranger things have come along but not many.

I write frequently about how to identify the various years and models of ES guitars and, mostly, they follow a pretty predictable set of rules. Except when they don’t. Just when you think you’ve got it nailed down, something comes along and you say to yourself…”see, anything is possible at Gibson in the 60’s…” And, by and large, it is. I’ve written about a number of oddballs over the years.

Recently, I bought a 66 ES-345. It’s the third one I’ve seen with Mickey Mouse ear cutaways. Those were gone by mid 63, so the idea that they were left over bodies is remote. But there they are. I’ve seen some kind of rounded, almost MM ear 66’s and with the hand work that went on, I suppose some variation is likely but this one is dead on. OK, big deal, I wrote up the first one a couple of years ago. Everything else about that one was typical 66. The neck was 1 9/16″ at the nut and the depth was a pretty typical .80″ or so at the first fret. Not this one. First off, the nut is 1 5/8″. Not unusual on a 65 but not usual at all on a 66. Being a fairly low volume model, the neck could have been left over from 65. But then there are the other measurements. This one is .87″ at the first fret and a whopping 1.02″ at the 12th. That’s 58-59 territory. Not even the 64’s reach .87″. Custom order? Maybe but there was no “Custom” truss rod cover which is pretty consistent on custom orders. Employee guitar? I have been told by a Gibson employee from the 60’s that the employee guitars had to have “2” stamps (even if they weren’t “seconds”). Somehow, that neck is outside the “normal variation” bell curve that 60’s ES’s seem to exhibit. An outlier, if you will.

That’s one of the things that is so much fun about 60’s Gibsons (I still say “so much fun” rather than “so fun”-that still sounds wrong to me) is that there are these rule breaker guitars. When I buy a guitar sight unseen from an individual, it’s still an adventure (or a crapshoot depending on your attitude)-even after many hundreds of them. It still feels a little like Christmas morning when I open a guitar box-especially one bought from Ebay or Craigslist. Mostly, the surprises are not so good-changed harnesses, wrong bridges, changed pickups and on and on. When the widow or the family is selling the guitar, it really isn’t fair to ask them to start taking the guitar apart. You look at the two or three photos they provide and hope for the best. Sometimes you get a bad surprise, sometimes you get a good surprise. It would be nice to say that the good surprises outnumber the bad ones but they don’t. That’s simply part of being in this business. But, to be truthful, the good surprises usually outweigh the bad ones. Getting a set of double white PAFs in a 61 when you didn’t even ask if the guitar had PAFs is a good surprise. Getting a 76 harness in a 59 dot neck is not. And, really, you can’t point a finger at the widow of the original owner and say “you didn’t disclose this…” There are no returns in these cases. You simply make the best of it and hope you get it back to being correct and playable.

The point here is not so much that Gibson was full of surprises back in the day. They weren’t. Most of the guitars I get follow the timeline pretty well. But then there are some that don’t and sometimes they don’t in a wonderful way. It’s often a big gamble when you’re spending thousands of dollars on a guitar that you’ve seen perhaps 6 photos of and have no hope of recourse from the 86 year old seller. But, in this case,the Mickey Mouse ears were right there for everyone to see. So how come I was the only one interested? Well, it’s that crapshoot thing again. And besides, that’s why I’m here.

Speaking of unusual, my friend Richie just bought this very rare and very cool 64 Bigsby only. These are are rare to begin with but this one has ears that don't match. How cool is that?

Speaking of unusual, my friend Richie just bought this very rare and very cool 64 Bigsby only. These are are rare to begin with but this one has ears that don’t match. How many martinis did you have for lunch?