Blast From The Past With A Twist

[Marty Grass]

It took decades to do this, but I'm starting over in a way.

I got a Gibson ES-345 in 9th grade with no real knowledge of what it was. A good friend of mine told me of some old man (probably 40) who was selling a Gibson. I came over to see it, opened the case, and was dazzled. The cherry finish was gorgeous. It even had a Bigsby, which was considered a plus then. This was probably a 1968 or 1969. I had a parttime job and some money saved. I don't remember what I paid, probably $300-400. It looked new. Almost certainly it had been a Gibson employee purchase since those were common in Kalamazoo. I got it.

Over the next few years I put a ton of practice on it and gigged with it many times. I didn't think too much about other guitars. But then I became interested in jazz. That led to a chain of buys and sells for years. The first one was a Kalamazoo made Epiphone Howard Roberts Artist, also a Gibson employee purchase.

The last decade I thought of that ES-345 because it just felt comfortable back in the day. What I didn't like was the Bigsby, the Varitone, and the stereo. What I did like was the familiarity of staring at the parallelogram inlays, not that they were impressive since they are not MOP but because they were like a north star.

Recent Gibson semihollows seemed decent in quality, at least since 2020. The necks are consistent. The woods are good. They are a bit lighter than the old ones. Aesthetically, what used to bother me was the "clash" of maple and mahogany where the neck joins. Also, the look of ebony on the fretboard seemed better than rosewood. I'm past that now and appreciate the richness of the appearance of rosewood and the contrast of maple and mahogany grains. The cherry finish tamps down the contrast to something more subtle.

I ordered a 2022 ES-345 that was built like a ES-335, also a nice guitar, but with the inlays and binding upgrades. It's used but looks fine.

This one has Phat Cats in it, but the original pickups are included. I've redone harnesses on thinner semi-hollows, Heritages specifically. It's a little bit of a pain but not too bad. Besides, I've used Phat Cats before and liked them. We'll see.

I know this is a jazz guitar forum. Over the years I have become won over by the Tele and semi-hollow sound used in chord melody and jazz styles as great options to the traditional archtop. Each has its place.

This is the land of opinions and personal tastes. As an example I searched reviews of Phat Cats prior to this purchase, even though I've had experience with them. The comments went from vulgar and horrid to them capturing the best of single coil tone.

Assuming this ES-345 arrives with the feel of recent Gibson ES-335s and ES-345s, I'll be happy.

[DawgBone]

It took decades to do this, but I'm starting over in a way.

I got a Gibson ES-345 in 9th grade with no real knowledge of what it was. A good friend of mine told me of some old man (probably 40) who was selling a Gibson. I came over to see it, opened the case, and was dazzled. The cherry finish was gorgeous. It even had a Bigsby, which was considered a plus then. This was probably a 1968 or 1969. I had a parttime job and some money saved. I don't remember what I paid, probably $300-400. It looked new. Almost certainly it had been a Gibson employee purchase since those were common in Kalamazoo. I got it.

Over the next few years I put a ton of practice on it and gigged with it many times. I didn't think too much about other guitars. But then I became interested in jazz. That led to a chain of buys and sells for years. The first one was a Kalamazoo made Epiphone Howard Roberts Artist, also a Gibson employee purchase.

The last decade I thought of that ES-345 because it just felt comfortable back in the day. What I didn't like was the Bigsby, the Varitone, and the stereo. What I did like was the familiarity of staring at the parallelogram inlays, not that they were impressive since they are not MOP but because they were like a north star.

Recent Gibson semihollows seemed decent in quality, at least since 2020. The necks are consistent. The woods are good. They are a bit lighter than the old ones. Aesthetically, what used to bother me was the "clash" of maple and mahogany where the neck joins. Also, the look of ebony on the fretboard seemed better than rosewood. I'm past that now and appreciate the richness of the appearance of rosewood and the contrast of maple and mahogany grains. The cherry finish tamps down the contrast to something more subtle.

I ordered a 2022 ES-345 that was built like a ES-335, also a nice guitar, but with the inlays and binding upgrades. It's used but looks fine.

This one has Phat Cats in it, but the original pickups are included. I've redone harnesses on thinner semi-hollows, Heritages specifically. It's a little bit of a pain but not too bad. Besides, I've used Phat Cats before and liked them. We'll see.

I know this is a jazz guitar forum. Over the years I have become won over by the Tele and semi-hollow sound used in chord melody and jazz styles as great options to the traditional archtop. Each has its place.

This is the land of opinions and personal tastes. As an example I searched reviews of Phat Cats prior to this purchase, even though I've had experience with them. The comments went from vulgar and horrid to them capturing the best of single coil tone.

Assuming this ES-345 arrives with the feel of recent Gibson ES-335s and ES-345s, I'll be happy.

Beautiful. I'm a fellow ES lover but I have never been able to make P90 type pickups work for me. I have had a couple different ES' with 57 classics and for me they are a go-to because they just work so well. I bought a Japanese LP just so I could do easy pickup swaps as kind of a test platform for researching different pickups for possible later use in an ES. Working on finding some hotter pickups that still do blues, light OD, edge of breakup, and clean tones well. Enjoy your new guitar, it's darn tough to find a nicer looking finish than a cherry ES.

[nevershouldhavesoldit]

Fantastic! You’ll love it.

Your 345 history is the same as mine. My first real electric was a well worn early (‘58 or ‘59 - we neither knew nor cared about such details back then) ‘burst SDSV with Bigsby that I got in 9th grade. I traded in the LG1 with DeArmond soundhole p/u on which I played my first year of gigs along with the cash I’d earned with it. That 345 must have been a gigging pro’s instrument to have picked up so much patina in only a year or two, but the frets were good and everything worked (including the Varitone that I left in its fullest, flattest range setting).

I really wanted a 175, but my dealer found the 345 for me at a price I could afford and thought it was a great instrument for me. He was right, but I was too dumb and inexperienced to understand why. He found me a used 175 within a year, traded me even for the 345, and I was thrilled. But now I wish I’d had the sense to realize how good and how much more versatile the 345 was for a kid playing jazz, blues, rock and pop with only one guitar.

We grow old too soon and smart too late

[Marty Grass]

I learned how to change pickups in semi-hollows. The concepts are simple but the performance can be tricky. After you've done it once, it's much easier.

Worst case scenario, the original pickups go back in or I get Fralin P92s.

[gitman]

This story sounds so familiar ....
This 1963 ES-345 has been with me since 1982 and will stay come what may. The Collings (from 2017 I think) is a brand new purchase , a chance that I could not resist and while I'm still getting to know it I can honestly say that this guitar is pretty much perfect re fit and finish, weight, tonal balance, neck size and shape, cool looks and while it sounds different from the 345 it could be called a sister or maybe a daughter.... The 345 has a somewhat sweeter tone while the Soco sings with near endless sustain, despite being a little lighter weight. The Soco is all solid mahogany with a somewhat modified center-block and the acoustic sound alone has a lot of authority, it's clear as a bell, quite astounding. Granted, the Gibson feels like home in my hands after 46 years (!!!!!) in my possession while the Collings has been here not even a week. It will get gig-tested in a few days and that will be interesting ...

[jads57]

The newer Gibson ES models are really excellent! I’ve owned both Historic and Standard 335,345 models. The T Type pickups are also excellent, but don’t expect Gretsch Filtron tone.

If weight wasn’t an issue for my shoulder problems,I’d still be playing one. I’m now playing Carvin Holdsworth guitars since they’re in the 6-7 lbs range.
You’ll be very please if getting a great semi Gibson is your goal!

[bluejaybill]

In the early '80's, I used to peruse the classified ad paper that came out each week, hoping to find some cool vintage items. One day I saw a listing for an ES345. It was out in Brooklyn at a place called Bath Music, IIRC. A mom and pop place and I think the owners lived upstairs. It didn't say what year, so I took a train out to see it.

It was a 1960, in an unusual finish called Argentine Grey sunburst. Played and sounded great, Bigsby, and the thinner '60 neck profile. Two great PAF's, and between $500-750 as I recall! Needless to say I bought it on the spot. It was one of my main gigging guitars for 20 years, and I finally let it go- I don't even remember why, probably the thin neck.

Here's the kicker to the story. As I was leaving, the owner said, "Well, if you like these old things, look what I have in this closet". He opened it and sitting there was a mint 1960 tweed Bassman! I mean it looked brand new, not a scratch on it. $500! Of course I nabbed that too. For several years back then my stage rig was the '60 Bassman, a stripped '59 bassman, ($200), and a Roland RE501 Chorus Echo between them (tape delay). With the ES and a '63 strat, and a '66 Custom Telecaster. Not sure I've ever had a better tone since, it was great for just about any style (though jazz wasn't what I performed with that rig usually). Fun times.

I don't have a front view for some reason, but here's a back view of the sunburst. I think the odd finish was why no one had bought it.

[wintermoon]

In the early '80's, I used to peruse the classified ad paper that came out each week, hoping to find some cool vintage items. One day I saw a listing for an ES345. It was out in Brooklyn at a place called Bath Music, IIRC. A mom and pop place and I think the owners lived upstairs. It didn't say what year, so I took a train out to see it.

It was a 1960, in an unusual finish called Argentine Grey sunburst. Played and sounded great, Bigsby, and the thinner '60 neck profile. Two great PAF's, and between $500-750 as I recall! Needless to say I bought it on the spot. It was one of my main gigging guitars for 20 years, and I finally let it go- I don't even remember why, probably the thin neck.

Here's the kicker to the story. As I was leaving, the owner said, "Well, if you like these old things, look what I have in this closet". He opened it and sitting there was a mint 1960 tweed Bassman! I mean it looked brand new, not a scratch on it. $500! Of course I nabbed that too. For several years back then my stage rig was the '60 Bassman, a stripped '59 bassman, ($200), and a Roland RE501 Chorus Echo between them (tape delay). With the ES and a '63 strat, and a '66 Custom Telecaster. Not sure I've ever had a better tone since, it was great for just about any style (though jazz wasn't what I performed with that rig usually). Fun times.

I don't have a front view for some reason, but here's a back view of the sunburst. I think the odd finish was why no one had bought it.

I hope you got good value when you sold it, a fried just sold a 335 w/ that finish for 60K

[bebopblues]

Hi Marty,

Thanks for posting this. Pretty guitar! Just wondering what you ultimately thought about the Phat Cats (as one always curious about pickup options).

Cheers,

bebopblues

[Marty Grass]

Seymour Duncan Vintage Phat Cat Silencer | Seymour Duncan

They are definitely in the P-90 family. They hum a bit when a single pickup is used. Above is a link for the humless ones.

I have an instrument with Fralin P-92s, one of my favorite pickups. It sounds like the Phat Cats.