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Archive for the ‘ES 335’ Category

A Day Late (and more than a dollar short)

Tuesday, January 17th, 2017
This near mint 61 sold for $25K. If it was a 60, it would have sold for at least $30, if not $32K. It's 100% identical to a late 60 and that's something worth knowing.

This near mint 61 sold for $25K. If it was a 60, it would have sold for at least $30, if not $32K.
It’s 100% identical to a late 60 and that’s something worth knowing.

Guitars are not automobiles. Buyers seem to forget that sometimes and that can cost you. Let me elucidate. Cars have always had what we all call “model years”. I remember when I was a kid, my Dad would take us around-usually in the Fall around Halloween-to all the local car dealers to see the “new models”. Back in the late 50’s and through the 60’s and well into the 70’s, cars got a fairly extensive redesign every year or two. Go look. A 55 T-bird looks a lot like a 56 but a 57 is different and a 58 is even more different. A 59 looks a lot like a 58 as does a 60 but a 61 is totally different again. Cadillacs from the era are another good example. Look how the fins grow to humongous from 55 to 59 and shrink back through the 60’s. It was good marketing but it was expensive. Unlike the guitars of the era, cars are a big ticket item costing thousands. A few hundred dollars got you a 335, so complete retooling every couple of years didn’t make much sense. But, and I’m as guilty as you are, guitar players and collectors alike treat guitars as if they had “model years” as well and, at least during the period from the 50’s through the 60’s, they simply didn’t.

There were plenty of changes but nearly all of them occurred during a given year-not on some predetermined date that would designate these guitars as “59” or “60” or whatever. We can accurately (more or less) date the guitars we so desire but the fact that a particular guitar from a particular year is worth x dollars and a guitar from the following year is worth y dollars is a big flaw in our system of valuation. Year dating is very convenient but what I would call feature dating is more accurate. I recently sold a really clear example of this phenomenon.

A near mint, no issue mid to late 1960 ES-335 stop tail is a $30,000 guitar plus or minus a few grand depending on how close to mint it is and some squishy stuff like tone and playability. So, why is a 61 so much less? It isn’t like they changed anything on January 1. Gibson didn’t make changes that way. They made changes when changes were needed or wanted and they often phased them in over weeks or even months. It is actually extremely rare for a change to have been made at year end. So, back to the 61. I had a near mint 61 from early January. Nice neck-wide but sort of flat, just like a 60. It had a white switch tip-just like a late 60. It also had a long guard-I thought that added considerable value to this particular 61 because the short guard is one of the reasons folks don’t pay big bucks for a 61. Interestingly, there are late 60 335’s with short guards and early 61’s with long guards. That transition thing I mentioned. It isn’t all that logical, but there it is. The 61 sold for $25000 which, I think, was a $5000-$7000 savings over a guitar that was made a few weeks earlier with all the same features. The buyer was smart. He looked at a 60 that was priced much higher and chose the 61.

This phenomenon exists on a few other instances-more dramatically with 335’s than 345’s or 355’s. An interesting one is the difference between a late 59 and an early 60 dot neck. There is no difference. None. zip. They are absolutely identical except for the price. A mint late 59 will cost you close to $45K. A mint early 60? Maybe $38K on a good day. So, a day late for that 60 will be more than a dollar short. It will be more like $7000 short. But the guitar community reveres 59 Gibsons. Again, I don’t make the rules.

A late 58 will save you a few thousand over an early 59-not as much as the 60-61 or 59 to 60 but enough. Similarly,  a very early 65 is exactly the same as a late 64. It still has the stop tail at least through January and into February, so there are more than a few. A stop tail 64 is approaching $20,000 if a good clean, no issue example. The same with a 65 serial number will be at least $5000 less. 66 to 67 isn’t very dramatic, nor is 67 to 68. After that it starts getting tricky due to the major design changes that occurred when the nice folks at the Norlin Corp (beer, cement) took the wheel and drove Gibson into a sink hole. Just like an automobile.

This completely stunning early 60 sold for $32000. If this was a late 59, it would have been at least $40K. Maybe more. If you picked it up, it would feel and look just like a late 59 because it is the same in every way.

This completely stunning early 60 sold for $32000. If this was a late 59, it would have been at least $40K. Maybe more. If you picked it up, it would feel and look just like a late 59 because it is the same in every way.

Year Ender-335’s

Wednesday, December 21st, 2016

 

Dot necks continued to be the leader of the group.  They were strong all year with the 1960 models showing considerable growth, especially the early ones with the 59 features.

Dot necks continued to be the leader of the group.
They were strong all year with the 1960 models showing considerable growth, especially the early ones with the 59 features. This is a 61.

Well, that just about wraps up another calendar year and that means it’s time to look back and assess what happened. Specifically, I want to look at the vintage guitars market. We will leave politics alone. I have some pretty strong opinions but they are largely irrelevant when talking about old guitars.

2016 was, to a great extent, an “up” year. Values for nearly all vintage guitars were up incrementally. Most have kicked up value wise in the single digits-10% or less. A few have dropped a bit (like 50’s and 60’s Strats) and a few have shot up significantly (like blonde 335’s). Even though I’m pretty active in vintage guitars that aren’t 3×5’s, I don’t think I sell enough of them to identify major trends in value based solely on my own experience. While it’s true that I sold around 10 vintage Strats this year and felt a clear and present downward pressure on price, I will leave it at that. No analysis, no insight beyond simple observation. But the 58-64 335 market is my market.

There are lots of dealers who are way bigger than I am-by orders of magnitude bigger. I keep, at most, 50 guitars in stock at all times-mostly ES335’s, 345’s and 355’s from 1958 to 1964. There’s an occasional mid or late 60’s example and maybe an 81-84 here and there but you can count those on two hands.  There are dealers with many hundreds of vintage guitars and a few with over a thousand. But, I don’t think you’ll find another who bought and sold nearly as many early vintage ES models as I did this past year: More than 70 on the buy side and 65 on the sell side. That puts me in a position to identify and quantify the trends in this very narrow market.

Most striking is the scarcity of really good original early 335’s. Collectors and players have been enthusiastically buying up the good ones for more than twenty years and there is a very finite number of them and it isn’t a big number. When you take away the ones that have been broken, refinished or heavily modified, the numbers are all the more striking. There were only around 600 335’s built in 1959. Given the number of guitar players out there, that’s not a big number. How many are left in the “wild”? Judging by my experience this year, not very many. The majority of the 59’s I saw this year came from collectors or players thinning their herds. That’s fine-it keeps the market moving but to find an uncirculated one owner 59 has become a once or twice a year experience. My experience this year with 58’s was largely the same. As you move into the 60’s, the numbers go up and by 64, Gibson had made more than 1200 335’s which is probably why I see so many more of them. So, which 335’s did what in 2016?

The big story this year is the incredible scarcity of blonde 335’s. I saw only 3 this year. A very nice bound 58, a near mint 60 (which I still have) and a Bigsby 59. I know of a sale of a 59 at $90K at the high end and a sale of a 60 Bigsby (by me) with a few issues at $40K. My stop tail 58 sold at $82K. That’s up nearly 20% over last year. Asking prices have reached $100,000 (and that’s a 60).

Early dot necks (58-early 60) were very strong this year but too many dealers are being overly “ambitious” in their pricing and the guitars are sitting for months (or years). This hurts the market because the individual sellers think their guitars are worth the asking price they see on Reverb.com or Ebay or Gbase. So, I get offered average sunburst 59 335’s at $40,000 or even more, which, of course, they aren’t worth. I don’t know what others get for their guitars, but I know what I get. Top dollar for a sunburst 59 is around $45K. And that’s for a no excuses, hundred percent original guitar in near mint condition.

Later 60 and 61 dot necks are, of course, less popular due to the thinner neck but that seems to be changing. The trend toward huge necks seems to be reversing. I think folks talked up the big necks and made them a big deal but practicality has overtaken the “mine’s bigger than yours” attitude that has prevailed for years. I’m seeing more players asking for slimmer necks and that recent trend is driving up not only those those years but 62’s and 63’s as well. 2015 was pretty flat for 60-63 but 2016 has seen a pretty good bump both in stop tails and Bigsbys. Stop tail 60 dot necks are well into the $30K plus range and 61’s are approaching $25K or more. As always, a mint example is going to command a premium.

Early blocks from 62-63 (small necks) were up as well. The real world price hasn’t cracked $20K despite what so many sellers are asking. I sold around 15 62 and 63’s this year and never once cracked $20K. Finally the venerable 64, still the easiest 335 to sell, has bumped up in value in 2016. The red stop tails are the leader but sunburst stops are just as valuable-they just don’t sell as fast. Even though the vast majority don’t have PAFs, they still command prices equal and sometimes greater than the 62-63s with them. Bigsby’s in top condition have passed $15K and are heading up and top condition stop tails are likely to push past $20K any day now.

Next we’ll look at 345’s and 355’s.

Block necks have broken out of their 2015 doldrums. This is a mint 64

Block necks have broken out of their 2015 doldrums. This is a mint 64

Bargain Basement

Monday, November 7th, 2016
My Refinished 1961 Dot Neck. I bought it in 2005 for around $9K. I sold it for around $10K a year later and bought it back a few months ago for $9K. Great player, great tone.

My Refinished 1960 Dot Neck. I bought it in 2005 for around $9K. I sold it for around $10K a year later and bought it back a few months ago for around $10K. Great player, great tone.

For most of us, the quest is for tone. Then it’s playability. Or is it the other way around? What good is extraordinary tone if you can’t play the thing? And what good is a guitar that plays like butter but sounds like crap? So let’s call it both. After that, it’s anybody’s guess. Originality? Condition? Rarity? Looks? Provenance? Well, from my experience, it all depends on who is buying. I don’t have a degree in psychology (but I took a psych course in college once-does that count?) but I’ve learned a thing or two about folks who buy vintage guitars. Some play and listen and are sold (or not) on that basis alone. No questions, no worries about its history or provenance and no worries about whether one of the saddles got changed in 1963. Some ask 1000 questions and still can’t decide which guitar is right for them. And I don’t blame them-a vintage guitar can be a huge investment as well as your tool of your trade. But the one thing that all of you can do is take advantage of my experience.

I’ve owned 600 ES-335, 345 and 355’s and played every one of them. Tweaked and set up most of them as well. If I can make it play and sound better before I sell it, then it’s my obligation to do so. Likewise, if it has some changed parts, it behooves me to change what I can to make it as right as possible (and disclose it). But lets go back to the original premise here. I called the post “Bargain Basement” and the reason it’s called that is because you can get the playability and tone of a great 58-64 for half the cost or less. There are some kind of dumb rules that apply (that I didn’t make) to vintage guitars. We all know that originality trumps everything. Neck repair? Half the value. Refinish? Half the value. Bigsby? Knock off 15-25%. Grovers? Knock off $1000-$4000. Refret? I dunno-depends how good the fret job is. Buckle rash? Missing some binding? replaced nut? There are lots of things that affect the value but don’t necessarily change the two big factors of tone and playability.

Let’s take a stop tail refinished block neck-say it’s a 64. If original, that’s a $20,000 guitar more or less depending on condition. The refin drops it to $10000 or maybe a little more if it’s a really good job. $10K for a killer player 64 with all of its original parts that can sound 100% as good as any with an original finish is a bargain. Especially with new ones getting up over $6000. Make it a Bigsby/Custom made version and set it up as a stop tail and you could be at $8000. In 5 years, that brand new reissue you paid $6K for will be worth $4K or less. That $8000 64? I’ll bet you a dot neck and raise you a tweed Bassman that its worth the same or more in 5 years. Headstock break? If properly repaired, it cuts the value in half but most of the time it will have no effect on playability or tone. Add in some other benign changes like Grovers or some good repro parts and you could drop the cost below that of the high end reissue.

Want to save even more? Buy a mid 60’s 335. I’ve seen plenty of 65’s with early patent number pickups (same as a PAF) and I’ve seen plenty of pre T-tops right up to mid 69. If you can manage the narrow nut, you can get a killer player for under $4000 if its refinished or repaired. Don’t like the trap tail? Have your luthier or tech convert it to a stop. You aren’t going to hurt the value any further-just make sure he puts it in the right location. Want to save even more? Make it a 345 or a 355. I’ve picked up some junkers that have played great and sounded great. In fact one of the best sounding 335’s I’ve ever played cost me around $8K less than 5 years ago. It was a refinished early 62 (dot neck). I wish I had it back. I’ve had $40,000 59’s that didn’t sound as good as that one.  I also had a killer 65 with a neck repair that cost me $2500. Not in the top ten but still a great player.

So, ask all the questions, play as many as you need to and, above all else, be happy with the guitar you buy. No, be ecstatic. It should make you play more, play better and play happy. Ultimately, when it comes to the important stuff, buy what you can afford. If the one you can afford doesn’t do all of the above, wait for one that does. They are out there for sure.

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.

Somebody Famous was Here

Tuesday, October 25th, 2016
I once had a white '65 ES-355 with BB Kings autograph on it. It probably would have sold for more without it but the buyer was a BB King fan, so I left it.

I once had a white ’65 ES-355 with BB King’s autograph on it. It probably would have sold for more without it but the buyer was a BB King fan, so I left it.

I get a lot of emails from folks buying and selling ES models and one of the most frequently encountered subjects is guitars that have been autographed. While this is not my market, I feel it’s worth writing a post about. The assumption by most sellers is that an autographed guitar is worth more than one that isn’t. I don’t entirely agree.

Well, let me clarify. Right now there are no less than four Gibson “Lucille” models for sale of Reverb.com. One is $60,000, another is $15K, one $14K and one at $8000. The guitars, without the autographs, are nice guitars but they aren’t particularly old nor are they particularly collectible. I can pick up a 90’s or 2000’s Lucille for $2500 or so. So, do the sellers believe that the autograph is worth $5500 to over $50K?  OK, the really expensive one comes with some tour swag but $60K seems like a really big number. So do all the rest of them. Let me tell you a fairly short story. A few years ago, I was contacted by the widow of the owner of a pretty nice 1958 ES-335. I flew to Nashville to meet with her and discuss the value of her late husband’s guitar. We hadn’t finalized a price but we had established a range pending my inspection of the guitar. I ended up offering around $25000 for it and her reaction was “…but it’s autographed by BB King.” My clever rejoinder? “OK, $24000.”  I explained to her that the first thing I would do when I got back home was to remove the autograph.

My point is that a collectible guitar is not made more collectible just because its autographed by someone famous. In addition to the great BB King, I have removed Eric Clapton’s autograph, Les Paul’s, various members of Kiss and quite a few others. If you must get your vintage guitar autographed, have them sign the pick guard-preferably on the back. Or bring along a new (cheap) guitar and have them autograph that. A lot of these guys sign thousands of guitars and the value of the autograph is very small. If you’ve got a Beatle or Elvis, then leave it alone. A Rolling Stone? I’d probably remove it from a vintage Gibson unless it was a Firebird VII autographed by Brian Jones. That would be worth something.

OK, well how about if the guitar was owned by somebody famous? That’s a whole ‘nother ballgame if you’ve got good documentation. And he (or she) can’t just have played it once. It has to have really good provenance. An album cover photo is good provenance. A signed letter by the artist with a photo will probably do. A letter from a friend of the friend who got it from the famous player’s ex-wife’s cousin isn’t good enough. A photo of the famous player holding the guitar isn’t good enough either. I’ve had plenty of famous players in my shop and if a photo of them with one of my guitars was worth something, I’d be snapping photos all day.  Be careful though. Provenance is pretty easy to fake. That’s why the album cover photo is great provenance. And make sure the guitar that’s in the provenance is the same guitar as you’re considering buying. Wood grain is pretty much like a fingerprint. If the grain doesn’t match, walk, no, run in the opposite direction. We all know what the Clapton guitars have sold for and the Dylan Strat and the Lennon J160. It’s some serious dough which is why I generally stay away from that market. The price of admission is high and the rate of fraud is up there as well.

EC's autograph on an '84. I think I left this one on too. It didn't affect the value at all.

EC’s autograph on an ’84. I think I left this one on too. It didn’t affect the value at all.

FON Follow up.

Monday, October 17th, 2016
Huge neck, pat applied tuners, thin top, "T" FON...58, right? well maybe not. The serial number is 1960 in the A331xx range. What do I call it?

Huge neck, pat applied tuners, thin top, “T” FON…58, right? well maybe not. The serial number is 1960 in the A331xx range. What do I call it?

Just when I make my big point about FON’s and serial numbers, a guitar comes along that makes me feel like I just shot myself in the foot. Generally, conflicting FON’s and serial numbers are on the cusp of the years they straddle. So, you might have a late 59 FON and an early 60 serial. I’d call that a 60. There are 58 FONs that show up in mid 59 which is strange. There’s a whole lot of them, in fact.

My database shows that 1959 serial numbers A30247, A30248, A30251, A30268 and A30659 have “T” FON’s which means they were at least started in 1958. All show certain 58 only features like the thinner top. Some, but not all,  have the shallow neck angle. Another 58 feature is patent applied Klusons rather than patent number. Interestingly, none of the 59’sn with 58 FON’s had them. That leads me to believe the bodies and necks were made in 58 but the guitars were assembled in 59 with 59 parts. None had shaved bridges or the low profile bridge (most of which have collapsed by now. These are June 59 (and later) 335’s. Were these bodies somehow left over after Gibson made the changes? There were complaints about cracks in the tops and collapsing bridges, so maybe they put the unfinished 58 bodies aside until the complaints died down (or they got too busy) and decided to sell them anyway.

That brings us to today’s subject guitar. The serial number is March 1960. That means the guitar sat for at least 15 months. The guitar has a relatively early (for a bound 335) 58  factory order number and shows all of the late 58 features including the pat. applied Kluson tuners, the shaved bridge and extremely shallow neck angle, thin top, “rolled” plastic truss cover (gone by mid 59). So, using the policy I laid out in my last post that says the serial number designates the year, it’s a 60. The problem is that everybody associates an early 60 dot neck with a smaller “transitional” neck profile. This one has the biggest neck I’ve ever measured on a 335-.94″ at the first fret and over 1″ at the 12th. Most 58’s are .88″ or so at the first fret. The biggest 59’s are usually .90-.93″. Calling it a 60 does the guitar an injustice but as a compromise, I’m calling it a 58/60 with a 58 FON and 58 features.

This isn’t the first time I’ve come across a big gap in FON/serial number but its the first one that so clearly shows it’s FON heritage. I had a 62 block neck that somehow got an “R” FON designating a 60 build. But in that case, the guitar wouldn’t have been completed in 1960 as it had a block neck (started in 62) and patent number pickups (a completed 60 would always have PAFs). That one had a darker overspray at the endpin but it didn’t cover anything up. I just assumed it was covering some amateur paint work. maybe that’s why it didn’t ship when it was built.

As I’ve said before, buying and selling vintage guitars requires a bit of amateur forensics and some imagination. You have to ask why something like that would occur and come up with a reasonable scenario beyond “uh, it must have been a special order…” Gibson seems to have been in a state of constant change throughout the period from 56-65 or so. That is perhaps why anomalies come up from time to time.

Looks like a 62 but there is hidden weirdness going on. It has a 1960 Factory Order Number and has the thinner body of a dot neck.

Looks like a 62 but there is hidden weirdness going on. It has a 1960 Factory Order Number and has the thinner body of a dot neck. No one has a good answer for why this occurs.

FON or Serial Number?

Friday, September 30th, 2016

 

Here's aa 59 FON. The letter is the year T for 58, S for 59, R for 60 and Q for 61 and then they stop. The number that follows is a three or four digit number and that designated the "rack"-usuall 30-40 guitars. The last number is the "rank" or the guitars number within the rack. Confused?

Here’s a 60 FON. The letter is the year T for 58, S for 59, R for 60 and Q for 61 and then they stop. The number that follows is a three or four digit number and that designated the “rack”-usually 30-40 guitars. The last number is the “rank” or the guitars number within the rack. Confused?

Pet peeve warning…I’ve talked endlessly about how so many sellers will look up their guitar serial number and when they see multiple years come up will usually pick the earliest year. Understandable? Yes, I suppose but not particularly honest and pretty easy to debunk. Trying to get more money for your guitar by misrepresenting the year and making it look justified is wrong. Either disclose the possible years or learn how to tell the difference. Pretty straightforward, right? Good. Now try this:

From 58 to 61, there was both a serial number and a factory order number for all 335’s, 345’s and 355’s. FON’s existed way before 58 but since 335’s didn’t, we’ll look at only those 4 years. There is no debate that, in general,  a 59 335, 345 or 355 is worth more than any other year, assuming the condition and originality is equal. Usually, the FON and the serial are from the same year. But not always. So, how do we assess the value of those guitars that have a factory order number from one year and a serial number another? I recently bought a J200 for a client that was advertised as a 59. When I got it, I noted that the serial number was very early 60. I currently have a 59 ES-335 with a 58 FON and I recall a blonde 60 345 with a 59 FON. One thing you won’t see is a FON from a later year than the serial. This is simply because the FON goes on the guitar first.

So, I have this 59 ES-335 with a 58 FON. That means it was built (or at least started) in 1958. It could have been completed in 1958 as well but there is no absolutely foolproof way to know for sure. But there are clues. It has the thin top of a 58, so that tells us that it’s got some 58 aspects. It’s got a pretty good neck angle-no thin bridge or shaving required-so that’s kind of a 59 thing but there were very late 58’s with that feature. The tuners are patent numbers rather than the patent applied tuners that nearly all 58’s had which leads me to believe that it was built in late 58 and assembled in 59. Why the completed body sat around from sometime in late 58 until April of 59 is a mystery. I had another 335 with a 58 FON that didn’t ship until August of 59. Maybe they built a load of 58’s and put them aside because Gibson was getting complaints about the cracks around the jack (typical of 58’s). Then, perhaps they were selling more than they could built in mid 59 and raided this cache of 58’s. I’ve spoken to a couple of Gibson employees from the era but none could shed any light on this.  My point is-do I consider it a 58 or a 59? It is to my advantage to call it a 59. But what about that 60 with the 59 FON? Again, I’m probably going to get more for it if I call it a 59. So, it works both ways. But you can’t have it both ways, can you? My hard rule is that I go by the serial number, i.e a 60 serial means it’s a 60 regardless of the FON. I’ll mention the FON in all cases if it’s different so I’ll list the guitar for sale as, say, a 1959 ES-335 with a ’58 FON. That’s about as honest as I can be.

I’ve been compiling a FON database for a couple of years now and I’m still filling in some of the blanks before I post it. There are lots of surprises and ambiguities. It seems that the more I learn, the more confusing it becomes. I’ve never run a large manufacturing business, so I have little insight into the day to day operations of a factory. Especially a factory operating more than 50 years ago. I’m convinced that they worried less about paperwork and more about filling orders. I’ll post the database when I have enough information for it to make some sense because now, with around  130 entries (all 335, 345 and 355’s) it’s about as clear as mud. Feel free to continue sending me data-serial, FON, model, finish and configuration (stop or Bigsby). No names will be entered.

This is an April 59 serial number 335 with the 58  factory order number T7281 24.  I call it a 59.

This is an April 59 serial number 335 with the 58 factory order number T7281 24. I call it a 59.

New 335 Book

Sunday, September 18th, 2016
Tony Bacon's just released 335 book.  Fortunately, it won't replace me as the "335 guy" but it's a worthwhile addition to your guitar book collection. I would call it the best 335 book ever written.

Tony Bacon’s just released 335 book. Fortunately, it won’t replace me as the “335 guy” but it’s a worthwhile addition to your guitar book collection. I would call it the best 335 book ever written.

 

Tony Bacon writes a lot of guitar books and the very first guitar book I ever bought was one of Tony’s called “The Ultimate Guitar Book”.  I was happy to hear he was writing a 335 book. I received a copy of the book a few weeks ago and was asked to not write about it until its release and, since it’s now available, I can talk about it. Bear in mind, I’m not a book reviewer.

The beginning of the book is a history lesson-stuff that, if not for Tony’s vast knowledge of the development of the electric guitar, would likely be lost forever. He doesn’t dwell on the minutia that I lean towards but takes a more macro view of the 335 and it’s ancestry. I was flattered when he asked me to consult with him about the really fine details of the 58-65 era and the level of detail he goes into is satisfying without being too geeky. I’m happy that he left geekdom to me and my readers. But he doesn’t gloss over the fine details either. He presents the evolution of the 335 mentioning specific changes that made a real difference rather than every little detail. Big changes like neck angle and top thickness are discussed in detail but minor changes like who made the pots in what year and the other really geeky stuff I cover was, probably wisely, downplayed or left out entirely.  I was particularly impressed by his knowledge of the other guitar makers and their products that either competed or influenced Gibson in its development and manufacture of the ES series. Who knew that Gretsch patented its stereo system in ’56 and that Rickenbacker’s stereo guitars were launched in ’58 a full year before Gibson came out with the 345 and 355 stereos? I don’t think there is a better guitar historian than Tony.

Tony covers the evolution of the line admirably, hitting the high spots with regard to features, finish and early adopters. The fact that he even mentions the Argentine Gray finish gets kudos from me. Instead of completely separating the development of the guitar from the players of the day, he seamlessly moves from the evolution of the model to the back story of how ES players like Elvin Bishop, Justin Hayward, Ritchie Blackmore, Tony Hicks and lots of others (and largely British) artists came to appreciate these American icons. Following the ES timeline through the changes of the late 60’s and into the 70’s, ES players like Alvin Lee, Steve Katz (who was the very first customer in my shop when I opened in 2014) and, of course, Eric Clapton come into focus, all drawn to the versatility and gig worthiness of the guitar. And he doesn’t stop there. Tony follows the format of evolution and artist through every decade right up to the highly regarded Memphis 335’s available today. And, unlike me, he isn’t judgmental about it. I have no problem saying that most of the ’76-79 335’s I’ve played are less than stellar. He sticks to the facts and the book is probably better for it. After all, it isn’t a buyer’s guide, it’s simply the most comprehensive history of the line ever compiled in one place.

And the photos. When folks ask me why I don’t write a book myself, my stock answer is that I don’t have the skills to shoot the photos that such a book would require. Tony’s photos define the guitar book genre. The guitars themselves are impeccably photographed and the historic photo content is a real pleasure to see. In fact, my biggest complaint about the “other” 335 book was the horrible photos. Tony’s photos are always totally professional and his choice of what guitars to feature is dead on (there’s even a Fender Starcaster).  So, thanks, Tony, for all the great content. I don’t get the 335 reissue on the cover but at least it’s red. And that counts for something.

I Love Surprises (Sometimes)

Thursday, September 8th, 2016
Very early Trini Lopez Standard. This guitar had a few aces up its sleeve.  Pickups are pre T-top with the purple windings like a PAF. It also had a zero fret which is just weird.

Very early Trini Lopez Standard. This guitar had a few aces up its sleeve. Pickups are pre T-top with the purple windings like a PAF. It also had a zero fret which is just weird.

Every time I buy a guitar, it comes with a surprise. It doesn’t matter if I get it from another dealer or from Craigslist, Ebay or The Gear Page. There is always a surprise. Usually, it’s an undisclosed issue and generally it’s a small one like changed saddles or the wrong bridge. Maybe changed tuner tips or spliced leads on the pickups or opened covers. Or missing PAF stickers or two repro knobs or a changed pot. There are a fair number of parts on a guitar and stuff gets swapped out over the course of decades. So, I generally accept stuff being wrong-or different than expected. It’s not generally because anyone is trying to cheat me. Its simply because most folks just don’t know the difference between a no wire ABR-1 and a wired one. And I don’t expect them to. I’m allowed to ask a lot of questions and look really carefully at the photos but somehow, something always gets by me. The good news is it cuts both ways. A really good example came to me recently off of Craigslist (the biggest crapshoot of all).

The seller had a Trini Lopez Standard for sale. Now, I like Trinis although I rarely find the early ones that I prefer. The very first ones had a wide 1 11/16″ nut, all nickel hardware and pre T-top pickups.  This one had some unusual issues but I bought it anyway – for a reasonable price. There was one issue I saw in the photos and that may have scared away some buyers. Someone had installed a zero fret which shouldn’t work properly without moving the nut which they didn’t. So, I figured, what the heck, I can simply remove it and fill the slot with some glue and rosewood dust. Well, oddly enough, the intonation seems fine, so I left it. When the guitar arrived, the pickups had chrome covers. But the photos showed nickel. “WTF”, I said to myself. But the nickel ones were in the case pocket which was a relief. So, I decided to removed the badly soldered chrome covers and put the nickel ones back on. I know, from experience that this guitar should NOT have had t-tops. Regardless of what you read elsewhere, 65’s don’t have t-tops. They usually have the later poly winding pre T’s. Not this one. Both pickups had the coveted purple enamel wire. They were identical to PAFs. The pickups alone were worth the price of the entire guitar (almost). And yes, it’s pretty unusual to see these pickups in 65 but if the covers are nickel, the windings are almost always purple.

Other good news, 64 date codes on the pots, nice wide neck, Brazilian board and the rest of the parts were nickel. Bad news? I had to buy a set of proper vintage strip tuners to replace the ill-fitting Schallers that had been added. And it plays great. I should point out that for every time I get lucky and get more than I expected, there’s another guitar with a rewound PAF or a repro stop tail or a back bow in the neck. You can always ask a lot of questions but when the 89 year old widow of the original owner is selling the guitar to pay for her nursing care, you really can’t ask her to pull the pickups to check the stickers or try the truss rod to see if it still turns. And I don’t (ask her, that is). It’s the crapshoot part of the business. It’s nice that it goes my way once in a while. Like the 61 ES-355 with the neck break, changed bridge, wrong tuners and a pair of double white PAFs. Christmas can come all year round.

Always nice to find an undisclosed double white. It's like your birthday and Christmas rolled into one.

Always nice to find an undisclosed double white. It’s like your birthday and Christmas rolled into one.

Didja Ever Notice…

Tuesday, August 9th, 2016

Rooney obit

Those of you old enough to remember Andy Rooney on “60 Minutes” will recall that the opening line of many of his segments was the title of this post. So, “didja ever notice” how every guitar seems to be all original except for something somebody did to it along the way? All original except for the Grovers. All original except for the frets, the nut and the saddles. All original except for the plastic, the pickups and , oh yeah, the finish. You’ve done it, I’ve done it. It’s just marketing. But beyond the typical stuff people do, there are some other things they do beyond the usual disasters.

Not all mods are terrible but they all will take something away from the vintage value. I can think of a couple that are kind of break even like taking the stereo circuit out of a 345 (as long as you keep it with the guitar). Adding a stop tail to a trapeze equipped 60’s ES-335 won’t hurt the value much (as long as you put it in the right place) since everybody seems to want to do that anyway. But there are some pretty alarming things have have perpetrated on these (and other) guitars over the years. And even rock stars aren’t immune to the overwhelming desire to somehow make what is nearly a perfect guitar somehow better.

Alvin Lee put a single coil between the hum buckers on his 335. Larry Carlton stop tailed his 68 and missed by about a half inch. At least all EC did was to add a set of Grovers, a Hare Krishna sticker and a “custom” truss cover. Somehow that added around $800,000 to the value (oh, yeah and he played it). Neil Young swapped out some pickups in that old black Les Paul and Frank Zappa never met a guitar he couldn’t “improve.” But beyond rock stars, we mere mortals have done some monumentally stupid things (and some that were simply ill advised).

One of the most frustrating things about a 3×5 is the harness. It’s really hard to remove ad even harder to install especially if the center block isn’t cut. Then it has to go in and out through the f-holes. Well, that’s an easy fix. Just cut a big hole in the back and put a plastic plate over it. But wait, that will show. I know, cut a big wedge out of the top-it’ll be covered by the pick guard. Nobody will ever know (except that they will). Bad intonation? How about a 70’s “harmonica” bridge-that won’t look too bad. A lot of mods were supposed to be improvements (I’m sure Alvin Lee really liked the extra pickup) and they were simply the fads of the era. Coil taps were a big deal in the early to mid 70’s and a lot of mini switches sprouted on the tops of 335’s. Master volumes were also added during that dark decade. The 80’s brought DiMarzio pickups and, eventually, active electronics. Fortunately, plenty of players left their guitars alone and those are the ones getting the premium prices these days. Also, many of the mods over the years have been reversible. You can take the DiMarzios or the EMGs out but you can’t grow the wood back where that coil tap and phase switches went.

Yep, we’re idiots all right but we can take some comfort in the fact that we were young when we did all this dumb stuff and we know better now. After all, they were just old guitars back then. Vintage was for wine (which we didn’t drink-we were men-we drank Jack Daniels). So, when you send that Les Paul R9 out to Historic Makeovers for the full treatment, just remember that in 2060, somebody is going to moan that some idiot messed up a perfectly good 2000 Les Paul by refinishing it, changing the fingerboard and taking the all important “condom” off the truss rod. Everybody knows the tone for those comes from that truss rod condom.

This probably seemed like a good idea at the time. This is a 64 ES-335. Heartbreaking.

This probably seemed like a good idea at the time. This is a 64 ES-335. It’s all original except for this big ol’ hole in the back.

I guess this mod worked out OK for Mr. Young. I'm guessing you wouldn't touch this guitar with a ten foot pole if I had done this.

I guess this mod worked out OK for Mr. Young. I’m guessing you wouldn’t touch this guitar with a ten foot pole if I had done this. It’s all original except for a couple of changed pickups.

 

 

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.