VGH Essentials

Vintage Guitar Essentials
IDENTIFICATION GUIDE

Gibson ∇
Fender ∇
Browse ∇

Fender

The Fender Telecaster

Inspired by the Paul Bigsby Merle Travis Guitar, Leo Fender built his first electric Spanish in the late 1940s. Leo built steel guitars and Amplifiers out of a small shop in Fullerton California, and the first Esquire prototype was the beginning of what came to be one of the most popular production electric guitars in music history, the Stratocaster.

Esquire Prototype 1949

First prototype "The Snakehead": Pine body, steel guitar like peghead, white, one pickup, no trussrod.
Second prototype: Six-on-a-side tuners Fender tele headstock. Stripped finnish, non trussrod, one pickup, precision bass like control plate.
Other prototypes: First Esquire one pickup butterscotch, two pickup, one red, one black known to exist. Pine body, no trussrod.

Esquire 1950

Esquire one pickup Butterscotch. Esquire two pickup Butterscotch.
Ash body
Spagetti logo low.
Serial #. ~ 0000 - 0250
Shipping Tot. ~ Small numbers

Broadcaster 1950. Nocaster 1951. Telecaster 1951. Black Guard

Broadcaster, Nocaster then Telecaster and one pickup Esquire.
Maple neck, black dots.
Neck incorp. trussrod
Serial # on Bridge Plate:
~ 33 - 860 = 1950 to 1952
~ 0001 - 0999 = 1950 to 1952
~ 1000 - 5368 = 1952 to 1954
Shipping Tot.:
~250 Broadcasters
~868 Nocasters, ~250 Esquires in 1951
~700 Telecasters, ~250 Esquires in 1952
~6.000 BG's 1950-1954

Telecaster White Guard 1954-55 =>

In 1954 the demand for changes from musicians and salespeople led to the design of the Stratocaster. The Telecaster continued production and change to a blond hue, white guard in -55.
Sunburst avail. -57
Squared off knobs -57
Spagetti logo high -57
Slab rosewood board, clay dots -59
Custom Esquire w binding -59
Serial # on Neck Plate:
~ 0001 - 8000 = 1954
~ 6000 - 10000 = 1955 (some 0 prefix)
~ 01000 - 08000 = 54-63
~ 09000 - 16000 = 1956
~ 16000 - 25000 = 1957 (some 0 or - prefix)
~ 25000 - 33000 = 1958 (some 0 or - prefix)
~ 30000 - 40000 = 1959 (some stamp on low edge)
~ 40000 - 58000 = 1960 (some stamp on low edge)
~ 55000 - 72000 = 1961
~ 71000 - 93000 = 1962
~ 93000 - 99999 = 1963
~ L00001 - L20000 = 1963
~ L20000 - L59000 = 1964
~ L60000 - L99999 = 1965
Shipping Tot. A lot!

Telecaster CBS and beyond

Transitional logo -64
Pearl dots -65
Black Fender peghead decal -67
Telecaster Thinline -67
Serial # F-series:
~ 100000 - 110000 = late 1965
~ 110000 - 200000 = 1966
~ 180000 - 210000 = 1967
~ 210000 - 250000 = 1968
~ 250000 - 280000 = 1969
~ 280000 - 300000 = 1970
~ 300000 - 330000 = 1971
~ 330000 - 370000 = 1972
~ 370000 - 530000 = 1973
~ 500000 - 580000 = 1974
~ 590000 - 690000 = 1975
~ 690000 - 750000 = 1976
~ 670000 - 700000 = 71-76
~ 400000s 73-76
~ 500000s 73-76
~ 600000s 74-76
~ 700000s late -76
Shipping Tot. Masses!

The Fender Stratocaster

The Fender Stratocaster, born in 1954, is a sleek solid-body electric guitar known for its cool design, vibrato system, and separate bridge sections for each string. Through trial and error, Fender developed unique features like its curved body and Bigsby-style headstock. The Stratocaster addressed the Telecaster’s issues by making the body more comfortable and concealing the jack. However, it took time to perfect its synchronized tremolo system, which became a defining feature.

Spring 1954

Ash body
Two-color sunburst
Spaghetti logo
No patent numbers
Round string tree
No-line Kluson 2356766 PAT. APPLD tuners
Truss rod adjusts @ butt
4 bolt metal neckplate
April to May serial # on tremolo plate
=> serial # on neck plate
One piece maple neck
Black dot markers
Walnut skunk stripe
8 screw single layer white vinyl PG
Small aluminum sheilding covers control cavity
White "bakelite" plastic knobs and pickup covers
2 piece steel tremolo
Straight trem arm
Nickel plated Fender Pat Pend. saddles
Hardtail model available
Serial # on tremolo plate. ~ 0100 - 0200
Serial # on neck plate -54. ~ 0001 - 8000
Serial # on neck plate -54-63. ~ 01000 - 08000
Serial # on neck plate -55. ~ 6000 - 10000 (some 0 prefix)
Shipping Tot. -54. ~ 250
Shipping Tot. -55. ~ 357 Trem. ~ 95 Non Trem

Fall 1956

Alder body replaces ash
Rectangle string tree replaces round string tree
Single-line Kluson 2356766 PAT. APPLD tuners
Serial #. ~ 09000 - 16000
Shipping Tot. ~ 1500

Spring 1957

Vinyl plastic knobs and pickup covers replaces "bakelite"
Serial #. ~ 16000 - 25000 (some 0 or - prefix)
Shipping Tot. ~ 1500

1958

Sunburst finish changed to three colors
Single-line Kluson D-169400 PATENT NO tuners
Serial #. ~ 25000 - 33000 (some 0 or - prefix)
Shipping Tot. ~ 1500

Mid 1959

Slab rosewood board with clay dots
Flat bottom board glued to maple neck
Mint green three layer celluloid PG, 11 screws
Some transitional models have 9/10 screws
Thin aluminum shield size of PG underneath
Serial # -59. ~ 30000 - 40000 (some stamp on low edge)
Serial # -60. ~ 40000 - 58000 (some stamp on low edge)
Shipping Tot. -59. ~ 1500
Shipping Tot. -60. ~ 1500

1961

Logo with 2 patent numbers:
2,573,254
2,741,146
Serial #. ~ 55000 - 72000
Shipping Tot. ~ 1500

Rory Gallagher's early 60's stratocaster.

1962

Logo with 3 patent numbers:
2,573,254
2,741,146
2,960,900
Serial #. ~ 71000 - 93000

Mid 1962

Veneer rosewood board
Arched bottom board glued to maple neck
-63, last year for black bottom pickups
Serial # -63. ~ 93000 - 99999
Serial # -63. ~ L00001 - L20000
Shipping Tot. ~ 3000

Fall 1964

Thicker gold "transitional" logo
Logo with 4 patent numbers:
2,573,254
2,741,146
2,960,900
3,143,028
Doubble-line Kluson D-169400 PATENT NO tuners
Pearl board dots replaces clay dots
Transitions with smaller side dots becoming pearl after the top dots
Plastic white three layer PG replaces celluloid
Serial #. ~ L20000 - L59000
Shipping Tot. ~ 3000

Late 1965

Large peghead
Maple board optional (2 piece neck, no skunk stripe)
Logo with 5 patent numbers:
2,573,254
2,741,146
2,960,900
3,143,028
2,817,261
Serial # -65. ~ L60000 - L99999
Serial # late -65. ~ F100000 - F110000
Shipping Tot. ~ 3000

1966

Peghead with 3 patent numbers:
2,741,146
3,143,028
DES 169,062
Bent trem arm CBS period
Serial # -66. ~ F110000 - F200000
Serial # -67. ~ F180000 - F210000
Shipping Tot./year. ~ 5000+

1968

Black Fender peghead decal with 2 patent numbers:
2,741,146
3,143,028
Bold "With Synchronized Tremolo"
Patented "Orginal Contour Body" by 1969
F-style tuning gears replaces Klusons
Polyester thick finish replaces nitrocellulose lacquer
Squared corner pickup routes 1969-1976
Serial # -68. ~ F210000 - F250000
Serial # -69. ~ F250000 - F280000
Shipping Tot./year. ~ 5000+

Fender Stratocaster 1966/1974 Parts Guitar

1970

Peghead decal has 1 patent number 2,741,146
Serial #. ~ F280000 - F300000
Shipping Tot./year. ~ 5000+

Late 1971

3 bolt neck with micro-tilt replaces 4 bolt system
Die-cast 1 piece chrome Mazac tremolo replaces 2 piece steel unit
Bridge saddles, cast with no stampings
2:nd string tree added, hold G and D strings
Bullet truss rod adjusts @ peghead
Serial #. ~ F300000 - F330000
Shipping Tot./year. ~ 5000++

1972-1974

Peghead decal patent number changed in 1972 from 2,741,146 to 3,143,028
Strap button placement pointing forward 1973-1976
Flush pole pickups replace staggered pole pickups in mid 1974

1975

Black 3 layer PG, black knobs and black pickup covers
Transitions black pickguards with white knobs and covers are seen first, followed by black pickguards, knobs and covers
2:nd gen. Schaller made F-tuners

1976

Serial number moves to peghead decal
Worm rout disappear
5-way pickup selector in -77

1982

Last year for the large peghead

Other Fender models
1956: Musicmaster
1956: Duo-sonic
1958: Jazzmaster
1962: Jaguar
1964: Mustang

Bass
1951: Precision Bass
1960: Jazz Bass
1961: Bass VI
1965: Bass V
1966: Mustang Bass
1968: Telecaster Bass (P Bass renamed)

∆ Fender

Gibson

The Gibson Les Paul

In the mid-1940s, Les Paul experimented with mounting pickups on a solid piece of wood. This to reduce the feedback that traditional arch top guitars with microphones suffered from. He took his 'log' to Chicago Musical Instruments (CMI), that owned Gibson. The reaction was laughter, CMI was not interested in Les Paul’s 'broomstick'. Years later Leo Fender developed a solid body guitar that later became the telecaster, and Gibson president at the time Ted McCarty could not ignore its success. Gibson now developed a solid body guitar and made a deal with Les Paul to use his name as its trademark. Les Paul and Gibson decided on a gold finish instead of the traditional sunburst. The first bridge-and-tailpiece was designed by Les himself.

("Les Paul Evolution" Photo by Anonymous, uploaded by Unknown, n.d., www.lespaulforum.com)

The Les Paul Model

Introduced mid 1952
Carved 3 piece maple top
Mahogany back and neck
2 soapbar P-90 pickups with cream-colored covers
Trapeze bridge/tailpiece combination with strings looping under bridge
Chicago capacitors (very early trapeze era)
Grey Tiger capacitors (up to middle 50s)
SIngle-bound top, binding inside cutaway same depth as binding around rest of top
Single-bound rosewood fingerboard (earliest with unbound fingerboard)
Trapezoid inlay, pearl logo, silkscreen Les Paul signature and model on peghead
Kluson 'no line' tuners
Plastic keystone tuner buttons with single ring near tuner shaft
Yellow silkscreen model name
No serial number
17 degree headstock angle
Nickel-plated hardware
Gold top finish, some with gold back and sides
A few with red top
Serial #. None
Shipping Tot. 1716

1953

Mid 1953 serial number on back of peghead
Late 1953 Stud bridge/tailpiece
Serial #. 3 xxxx
Shipping Tot. 2245
Serial #-54. 4 xxxx
Shipping Tot. 1504

1955

Mid to late 1955 Tune-o-matic bridge
1956 Bumble Bee (1gen) capacitors
Kluson Deluxe 'single line' tuners
Serial #. 5 xxxx
Shipping Tot. 862
Serial #-56. 6 xxxx
Shipping Tot. 920

1957

Mid 1957 Humbucking pickups
A few with all-mahogany body
Serial #. 7 xxxx
Shipping Tot. 598

1958

Mid 1958 Renamed Les Paul Standard
2-piece bookmatched maple top
Cherry sunburst finish
Serial #. 8 xxxx
Shipping Tot. 434

1959-60

Mid 1959 Jumbo frets by #9 0348
Late 1959 Bumble Bee (2gen) capacitors
1960 Slimmer neck
Black Beauty Sprague (3gen) capacitors
Late 1960 Astron capacitors
Late 1960 Metal caps on tone and volume knobs
Kluson Deluxe 'single line' tuners with double ring buttons
Serial #. 9 xxxx
Shipping Tot. 643
Serial # -60. 0 xxxx
Shipping Tot. 635

Les Paul 'low position' logo 1954

P-90 'soapbar' pickup

Les Paul 1954 refin Sunburst -56 specs

Neck angles 50-60-70

P.A.F pickup

P.A.F sticker

Les Paul Custom

(The Black Beauty) Introduced late 1953
Early examples have no serials
Later 1954 Yellow inked serials
1-piece mahogany body with carved top
Alnico V neck pickup
Black soapbar P-90 bridge pickup
Tune-o-matic bridge, stop tailpiece
Bigsby optional
Multiple bound top and back
Single bound ebony fingerboard
Pearl block inlays
Same size block inlays between the 16th & 17th, 18th & 19th & the 20th & 21st frets
Fretless wonder frets
Les Paul Custom truss rod cover
5 piece split diamond peghead inlay
Closed back Klusons with plastic tulip shaped tuner buttons
Gold plated hardware
Ebony finish

1957

Mid 1957 3 P.A.F pickups
A few with 2 P.A.Fs

1959

Grover Rotomatic tuners
Early 1961 Last examples of single cutaway Customs before SG body

First reissue Les Paul Standard 1968

14 degree headstock angle
2-piece top
Soapbar pickups
Tune-o-matic bridge
Deeper binding inside cutaway (a few early ones with 50s cutaway binding)
1950s style small peghead
Stamped serial number
Chrome parts
Long neck tennon
Control cavity route before maple top glued on
Gold top finish
Kluson Deluxe 'double line' tuners with double ring buttons

1969

Early 1969 wider peghead
Control cavity routed 50s style
Early 1969 pancake body with thin maple layer close to top of body
Mid 1969 maple layer in the middle of the mahogany pieces
Dot in peghead logo disappears
Neck tenon shorter
Discontinued

1970

Les Paul Deluxe
Made in USA beneath serial number
Volute on the back of neck nut
Three piece laminate mahagony neck
Three and four piece maple top
Mini-Humbucker pickups
Gibson Deluxe 'double line' tuners with double ring buttons

Les Paul Deluxe 1972, Mini-Humbuckers.

Shipping Tot. Masses!

First reissue Les Paul Custom 1968

14 degree headstock angle
Long neck tennon
7-ply top binding
Two humbucking pickups
Amp style knobs
Control cavity route before maple top glued on
Black Beauty Sprague capacitors
Low frets
Les Paul on truss rod cover
Gold plated hardware
Black finish
Maple top
Shipping Tot. 433

1969

2 layer mahogany, thin maple layer in middle, maple top
Control cavity routed 50s style
Dot in peghead logo disappears
Neck tenon shorter
SG-era brown ceramic disc capacitors
Late 1969 Made in USA beneath serial number
Late 1969 Three piece laminate neck

1970

Neck volute

John Sykes 70's LP Custom.

Les Paul Junior

LP Jr introduced Mid 1954
Slab mahogany body
Single cutaway
1 black P-90 pickup
Stud-mounted bridge/tailpiece
Pickup close to the bridge
Tortoiseshell plastic pickguard
Gold barrel 'speed' knobs
16 frets clear of body
Unbound rosewood fingerboard
Dot inlays
Yellow silkscreen logo
Serial number color yellow inkstamp
Nickel plated hardware
Sunburst
1955 TV model avail.
1955 Bonnet knobs
1956 Post inserts increased in length and pickup moved slightly towards neck
Mid 1956 'single line' Klusons
(1954) 1956 Les Paul Jr. ¾ size, same body, shorter 22¾ scale neck, 14 frets clear of body

Mid 1958

Double cutaway with rounded horns
Sharpe body edge, single cutaway style
22 frets clear of body
Cherry red finish
Slightly different pickguard shape, some ex. early 1958
Serial number color black inkstamp, some yellow
Single ply tortoise pickguard
Some ex. black pickguard until 1960
Black bonnet knobs
Early 1959 More rounded edges
Some cherry single cutaways (rare)
Spring 1959 larger frets
Mid 1960 Silver reflector bonnet knobs
Les Paul Jr. ¾ size, double cutaway with rounded horns, 15 frets clear of body

Early 1961

SG body
Laminated pickguard
Les Paul Junior on peghead
Early ex. had slant bridges. 2gen straight tailpiece comp. 'stairstep' 'lightning bolt' wrap around
Cherry and TV finish
1962 Maestro vibrato optional
Late 1963 Renamed SG Junior
Gibson transitioned from the limed mahogany finish to the Polaris White finish on the SG Junior TV guitar around 1963

Les Paul Junior 1960

Johnny Thunders LP TV Junior.

Les Paul Special

Introduced 1955
Flat top slab single cut
2 black soapbar P-90s
Neck pickup wery close to fingerboard
Stud bridge/tailpiece
Laminate beveled edge PG
Switch on upper bout
Single bound rosewood board
Dot inlays
Pearl logo + yellow silkscreen model name
Nickel plated hardware
Limed mahogany finish
A few early ex. with natural finish (rare)
1956 Post inserts increased in length
1958 Larger switch hole with rubber washers on some ex.
1959 Les Paul Special ¾ size, same body as double cutaway Les Paul Special, shorter scale, 15 frets clear of body, cherry finish

Mid 1958-1959

Double cutaway with rounded horns
Switch away from bridge
22 frets clear of body
Cherry red finish, 'TV' beige finish optional
Mid 1959 Neck pickup space to fingerboard
Switch moves near bridge
Late 1959 Renamed SG Special (some ex. Les Paul Special on head into -60)
Late 1959 Les Paul Special ¾ size renamed SG Special ¾
Late 1959/1960 'Les Paul Special' removed from peghead and left blank on some ex.

1961

Some 1961 double cutaway/rounded horns and 1961 serial (1 xxxx) (rare)
Some 1961 double cutaway/rounded horns and 1961 new serial scheme (early numbers) (rare)
Transition to SG body
Les Paul Special reissued in 1976 'Caveat Emptor'

SG Polaris White (TV) Junior 1965

Gibson SG

Gibson introduced the SG in 1960, a successor to the Les Paul. The SG had a modern, streamlined look with sharp edges and angles, making it easier to reach higher frets. The acronym SG stands for Solid Guitar, distinguishing it from the Les Paul design.

SG/LP Standard

Very late 1960 SG body shape
Les Paul Model on peghead
Side pull Deluxe Gibson vibrato
Cherry finish
2 P.A.F. pickups
3 layer black beveled small pickguard
Nickel plated parts
Thin neck shape
Mid 1961 Les Paul on truss rod cover
Crown peghead inlay
1962 Some with pearl inlaid ebony tailblock (rare)
Late 1963 Renamed SG Standard
Kluson Deluxe 'single line' tuners with double ring buttons

1963

Late 1963 Renamed SG Standard
Maestro vibrato with lyre + coverplate logo
Pat. # humbucking pickups
No Les Paul on truss rod cover
Neck shape slightly larger
Increased neck tenon size

1965

Transition period mixed specs
Chrome parts
14 degree neck angle
Larger pickguard, no pickup frames
Narrow nut width
Kluson Deluxe 'double line' tuners with double ring buttons
1966 Indian rosewood fingerboard
1971 Replaced by SG Deluxe. Standard reintroduced 1972
Gibson Deluxe 'double line' tuners with double ring buttons

Angus Young Late 60's SG Standard.

Gibson ES-335 (345, 355, 330)

With the ES-335 Gibson surely took inspiration from ’The Log’ Les Paul’s early attempts to produce a solid body guitar. In 1958 Gibson under Ted McCarty came up with a guitar that was different from other ES models. The 335 was the first semi-solid guitar that had a central wooden block hidden beneath what looked like an ordinary ES arch top thin line guitar.

ES-335 TD

Introduced spring 1958
Semi-hollowbody electric arch top
2 humbucking pickups
Tune-o-matic bridge, stop tailpiece
Bigsby vibrato optional
Laminated beveled-edge pickguard extends below bridge
Single-bound top and back
Neck-body joint at 19th fret
Single-bound rosewood fingerboard
Dot inlays
Crown peghead inlay (early with unbound fingerboard and no peghead ornament)
Sunburst or natural finish
Plastic strap buttons
17 degree headstock angle
Serial #. A 26820 (Jan 6) A 27816 (Jul 1) A 28576 (Dec 1) A 28880
Shipping Tot. 267 TD
Shipping Tot. 50 TDN

1959

Late 1959 Cherry finish optional
Serial #. A 28881 (Jan 9) A 30569 (Jul 13) A 31844 (Dec 2) A 32284
Shipping Tot. 521 TD
Shipping Tot. 71 TDN

1960

Slimmer neck
Metal caps on tone and volume knobs (shallow post hole)
Mid 1961 and later knobs has deeper post hole
Plastic tuner buttons with double ring
Early 1961 Shorter pickguard does not extend below bridge
1961 White switch tip
1961 Metal strap buttons
1961 Serial number pressed on peghead and on orange label
Mid-late 1961 A cut in the block for 345 Varitone is seen on 335s, by 1965 most bodies do
Serial # -60. A 32285 (Jan 4) A 34068 (Jul 1) A 35252 (Dec 1) A 35645
Serial # -61. A 35646 (Jan 3) A 35943 (Feb 1) A 36147 (Feb 21, Last A number)
Serial # -61. 1 xxxx (very rare). 100-41199 (42440)
Shipping Tot. -60. 405 TD
Shipping Tot. -60. 88 TDN
Shipping Tot. -60. 21 TDC
Shipping Tot. -61. 466 TD
Shipping Tot. -61. 420 TDC

ES-335 Blockneck

Mid 1962 Small pearloid block inlays
Late 1962 Neck shape starts to increase in size
Late1962 Patent number sticker pickups
~1963 'Mickey Mouse' ears shifts to a slightly pointier shape
Serial # -62. (42441) 41200-61180, 71041-96600

1965

Late 1964 Trapeze tailpiece (some with stop tailpiece in 1965)
Lover position of the crown inlay post 1965
335-12 string in sunburst and cherry avail. 1965-70
1966 14 degree headstock angle
1966 Small nut width
1966 Indian rosewood replaces Brazilian rosewood
1966 Bevel on pickguard less noticible
Some with single-parallelogram inlay: 1963, 1967, 1969
Kluson Deluxe 'double line' tuners with double ring buttons

Late 60's and beyond

Walnut finish optional: 1969
1968 increased nut width
1969-1974 Gibson Deluxe 'double line' tuners with double ring buttons
Center block extends only from tailpiece to endpin: Dec. 1972–Aug. 1975
Coil-tap switch on upper treble bout: 1977

ES-330

Introduced 1959
Full hollow body
Double rounded cutaways 'Mickey Mouse'
Neck/body joint at 17th
2 black plastic-cover P-90s
Tune o matic bridge
Trapeze tailpiece
Single bound top + back
Bound fingerboard
Dot inlays
Pearl logo, no peghead ornament
Sunburst or natural
ES-330T Single P-90 in middle position (naturals very low in shipment totals)

1962

Sunburst or Cherry finish, natural discontinued
Nickel plated plastics pickup covers (rare) then nickle plated metal covers
Block inlays
Ears become more pointy
ES-330T Single P-90 in middle position, sunburst or cherry (cherrys low in shipment totals)

1963

ES-330T Single P-90 version discontinued (still with 'Mickey Mouse' ears)
1965 Chrome parts (including pickup covers)
1967-69 Sparkling burgundy optional
1968 Walnut optional
1968 Neck/body joint at 19th
ES-330TD discontinued 1972

ES-345 TD

Introduced 1959
Stereo electronics Y-chord
Black ring varitone selector
Pickguard extends below bridge
Triple bound top + bound back
Neck body joint at 19th
Double parallelogram inlays
Crown peghead inlay
Gold plated hardware
Sunburst or natural
Late 1959 Cherry finish optional

1960

Gold ring varitone
Natural discontinued
Mid 1960 Shorter PG

1965

Late 1964 Trapeze tailpiece
1969 Walnut optional
Late -60s Gibson Deluxe style tuners

ES-355 TD

Introduced 1958 (10 ex.)
Mono circuitry
Bigsby vibrato. Some ex. without vibrato (rare)
Sidways vibrato optional
PG extends below bridge
Multiple bound top + triple bound back
Unbound f-holes, some with bound f-holes
Neck body joint at 19th
Ebony fingerboard
Large block inlays
Multiple bound peghead
Split diamond peghead inlay
Grovers
Cherry finish

1959

Stereo electronics (ES-355TDSV) optional
1960 Shorter PG
Sunburst and natural available
1961 Sideways vibrato standard
Mono electronics (rare)
1961 Kluson tuners
Some ex. with round varitone knob (rare)

1963

Gibson vibrato with lyre on coverplate
1967 Grover tuners
1969 Walnut finish optional
1969 Bigsby
1970 Non-stereo, non-Vari-tone (ES-355TD) version discontinued

Super-400 CES

Introduced 1951
Electric version of the Super 400C archtop
Rounded venitian cutaway
Solid carved spruce top, carved maple back, maple sides
2 P-90 pickups
Multiple bound top, back, f-holes, peghead, fingerboard (ebony)
Split block fingerboard inlays
5 piece split diamond inlay on peghead
Sunburst or natural

1954

Alnico V pickups
Late 1957 Humbucking pickups

1961

Pointed florentine cutaway
1-piece laminated maple back, some ex. 2 piece laminated back
1969 Back to rounded venitian cutaway
Solid 2 piece back
Only 200 florentine cutaway sunbursts was produced from 1961 to 1968 according to A.R Duchossoir, naturals less than 100

Modernistic Guitars "Out of this World" in 1958

In 1958, Gibson introduced a series of guitars known as the Modernistic guitars, (Prototype or prototypes displayed at the 1957 NAMM Show (Explorer with a v-shape split head stock later known as the Futura)). These guitars were part of Gibson's effort to push the boundaries of guitar aesthetics. The Modernistic guitars featured avant-garde shapes that deviated from traditional guitar designs. Flying V: Known for its distinctive V-shaped body. Explorer: With unique angular design. Moderne: The Unproduced Model (one prototype was fully completed and documented), this model is often discussed among guitar collectors due to its intriguing mystery surrounding its non-production. The V and Explorer (Korina/Limba) are extremely low in production numbers and ceased production in 1959, with some produced in the early 60s using leftover parts. The V was reissued with a slightly different design (Mahogany + Cherry) in 1966. The Explorer was reissued in 1975 (Ebony, Natural, and White).

Flying V

Explorer

Moderne

Firebird Series

Four reverse Firebirds with different appointments but the same build constructions and two matching Thunderbird basses were introduced mid-1963. Neck-through body construction with side wings. Mini-humbucking pickups with metal cover and metal mounting ring, no adjustable poles. 3-ply white pickguard, large Kluson banjo-style tuners, nickel-plated or gold-plated parts, sunburst finish, custom colors optional. 1963 has no engraved Firebird on the pickguard. 1964 and later, red engraved Firebird on the pickguard. Transition Firebirds during the summer of 1965 with mixed reverse and non-reverse features. Non-reverse style and P-90 pups in 1965, custom colors available. Discontinued in 1969.

Firebird I

Firebird III

Firebird V

Firebird VII

Thunderbird II

Thunderbird IV

Non-reverse Firebird

Melody Maker

Introduced 1959
Slab body
Single rounded cutaway (LP Jr. shape but thinner)
Oblong pickup black plastic cover no visible poles
Wraparound bridge/tailpiece
Knobs mounted on PG
Unbound rosewood board
Dot inlays
Narrow peghead
Decal logo
Sunburst

1960

Narrow pickup width
Melody Maker-D 2 pickups available 1960–70
1961 Symmetrical double cutaway with rounded horns, slightly rounded body edges
1962 Maestro vibrato optional
1963 Cherry finish body with horns point farther away

1966

SG body
White pickup covers
Enlarged white PG
Knobs mounted on top
Gibson vibrato standard
Fire engine red or pelham blue
1967 Melody Maker-D Sparkling burgundy optional
Fire engine red color discontinued replaced with sparkling burgundy
1967 Melody Maker-12 string avail. 2 pickups, no vibrato
Melody Maker-3 avail. 3 pickups
1968 Walnut optional
1969 Walnut finish only, wider peghead

EDS "Double 12"

EDS-1275 12+6
Originally introduced in 1958, with various production runs until present (SG body style in 1962)
One 6-string and one 12-string

EBS

EBS-1250 4+6
1962-1968, with a brief reissue in 1977-1978 (2ex)
Blend of SG and an EB bass
Earlier models (known as EBSF-1250) included an onboard fuzz effect
Fewer than 30 units manufactured

EMS

EMS-1235 6+6
Introduced in the late 1950s and continued into the 1960s
6-string guitar neck and a mandolin neck
The EMS has variants, different body styles and appointments

Archtops

Gibson Suffixes (1940s–1960s) – Quick Guide
* ES = Electric Spanish (standard electric guitar, not lap steel)
* P = Premier (early designation for a cutaway model, e.g. ES-350P)
* T = Thinline (thinner body)
* D = Dual pickups (two pickups)
* C = Cutaway (single cutaway body)
* CES = Cutaway Electric Spanish
Examples
* ES-350P = Electric Spanish 350, Premier (cutaway)
* ES-350T = Thinline version
* ES-350TD = Thinline, Dual pickups
* ES-125D = Dual pickups
* ES-125TDC = Thinline, Dual pickups, Cutaway
* Super 400 CES = Cutaway Electric Spanish
Over time, Gibson moved from using P (Premier) to the more explicit C (Cutaway), and suffixes gradually became a shorthand specification system describing a guitar’s construction and electronics.

L-5

Lloyd Loar, an acoustic engineer and designer, worked for the Gibson Guitar Corporation in Kalamazoo, Michigan. He revolutionized guitar design by creating the Gibson L-5, the first F-hole guitar. Introduced in 1923 and still in production today, the L-5 marked a significant departure from traditional guitar designs. Drawing inspiration from the cello family of instruments, it introduced innovative design principles that transformed the guitar landscape. Initially offered as an acoustic instrument, the L-5 didn’t become available with electric models until the 1940s.

Gibson electric archtops in the 50s and 60s

Some of the most sought-after guitars for jazz players and rock pioneers are Gibson’s electric archtops. Although Gibson had been producing electric archtops since the 1930s, it was during the post-war era that they truly reached their zenith of innovation and popularity. During this period, some of the most iconic models were introduced, including:

ES-350

It boasted gold-plated hardware, a single Venetian cutaway, and two or three P-90 pickups. Jazz legends like Tal Farlow and Barney Kessel, as well as rock icon Chuck Berry, favored these guitars.

Chuck Berry and 'The ES-350' from 1955. (”Chuck Berry” Photo by Anonymous, uploaded by Unknown, n.d., www.lespaulforum.com)

The ES-350 was introduced in 1947 as the ES-350P, a cutaway version of the ES-300. The ES-350 enjoyed its moment in the sun as Gibson’s premier electric archtop until 1949 and the arrival of the ES-5.

ES-300

ES-5 "Switchmaster"

The ES-5, released as a triple-P-90-loaded version of the L-5C. Built for optimum performance as an electric instrument. Laminated maple body, a solid spruce top, and Venetian cutaway. Notably, it was one of the pioneering guitars to incorporate a four-way switch, allowing for diverse pickup combinations. Plywood construction.

The L-5 CES and Super 400 CES

Launched in 1951, these electric versions of Gibson’s top-of-the-line acoustics boasted solid carved tops and backs, dual P-90 or Alnico V pickups, and luxurious appointments such as pearl inlays, multi-ply binding, and gold-plated hardware. Legends like Wes Montgomery, Kenny Burrell, Herb Ellis, and Scotty Moore graced the stage with these instruments.

L-5 CES

Super-400 CES

The Super-400 CES, introduced in 1951 alongside the L-5 CES, epitomized Gibson’s craftsmanship at its peak. Spanning 18 inches across, this grand archtop boasted impressive features, including large, intricate inlays, multiple-ply binding, and gold-plated hardware from top to bottom. It stood as the largest of Gibson’s archtop models, available in either Sunburst or Natural finishes. The Natural variant, with an ’N’ suffix (Super-400 CESN), is particularly sought after. Crafted with a carved spruce top and solid maple back and sides, the Super-400 CES shared a similar construction to the L-5 CES. Both models underwent pickup changes, transitioning from P-90 units to Alnico units in late 1953 and later to PAFs in 1958. Notably, in 1960, the cutaway was redesigned to a Florentine style before reverting to the original Venetian design in 1969.

Elvis '68 Comeback Special, with Scotty Moores S-400 from 1963. (”Elvis 68 Comeback Special” Photo by Anonymous, uploaded by Unknown, n.d., www.lespaulforum.com)

The Byrdland

The Byrdland, a guitar model crafted by Gibson in collaboration with the legendary musicians Billy Byrd and Hank Garland, shares a striking resemblance to the L-5CES. However, it boasts a thinner body and a shorter scale length. This guitar is the first in Gibson’s Thinline series. The Byrdland was equipped with PAF humbuckers at the end of 1957, which were later replaced by Patent number humbuckers in 1962. Four prototype instruments were crafted and registered in April 1955, bearing the designation ’L5-CES spec. thin model’.

Ted Nugent's 'Free for All' cover. Byrdland N florentine cutaway from the 60s. (1/130 ca. tot.)

ES-175

In production since 1949. The original ES-175, featured a single P-90 pickup, In the 1950s two P-90 pickups, In the late 1950s PAF pickups. Sunburst finish, dark brown to a lighter yellow/amber. ES-175 (One Pickup), ES-175N (Natural), ES-175D (Two Pickup), ES-175DN (Two Pickup, Natural).

ES-295

Produced during the years 1952 to 1958, with a total of 1770 units made. Gold. Reintroduced in 2010.

Archtop Cheat Sheet/Quick Reference

Flower pot and Blocks: L4/L-5 CES and Thin Byrdland.
Squashed Frog and Paralellograms: ES-175/295/300/350. (L-7).
Squashed Frog and Blocks: ES-5 Switchmaster.
Diamond and Split-block inlays: S-400.

Other Gibson Artist models
1961: Johnny Smith
1961: Barney Kessel
1962: Tal Farlow
1964: Trini Lopez
1969: Les Paul Personal & Professional
1971: Les Paul Recording

Bass
1953: EB(1)
1958: EB2
1959: EB0
1959: Explorer bass (One example known to exist)
1960: EB6
1961: EB0F (Fuzztone)
1961: EB3
1963: Thunderbird
1966: EB2D
1966: Melody Maker
1966: Thunderbird (Non-reverse)
1969: Les Paul Bass

EB0 1966

Gibson mid 70s

L-6S

The concept was to create a new solid body line apart from the SGs and Les Pauls with what were considered more up-to-date features at the time. The L-6S has a wide but thin-rimmed contoured body of laminated maple and a slim 3-piece maple neck with a dot-inlaid ebony fingerboard. The headstock is a subtle variation on the 1920s "Snakehead" design instead of the traditional Gibson style, fitted with Schaller/Gibson tuners. The two pickups are Ceramic-magnet humbuckers with no polepieces, mated to a 6-way rotary selector giving different phase and parallel/series combinations, an obsession at the time. This model was the first collaboration between Gibson and Bill Lawrence, who designed these newer humbucking pickups.

L-6S

1973-1975
Single-cut solid body, 2 humbucking pickups, 6 position rotary switch, stop tailpiece.
Renamed L-6S Custom in -75.

L-6S Custom

1975-1980
2 humbucking pickups... stop tailpiece.
-78 Silverburst option

L-6S Deluxe

1975-1981
Single-cut solid body, 2 humbucking pickups, no rotary switch, string thru body design.
Ended in -81, reissued in 2011.

Other Gibson solid body mid 70s models
1973: L-5S
1974: Marauder
1974: Midnight Special
1975: S-1
1977: RD

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