-
Played it at GC and was totally surprised and blown away. I've grown tired of the stress of having multiple guitars and have longed for something like the 275 that is versatile enough to handle various styles but is also a great jazz box. This one is a winner for sure! I had been eyeing a D'Angelico NYSS 3 that's been on Ebay for a while but always wishing I could play it before buying. As soon as I had the 275 in my hands I knew she's "the one". I plugged it into an amp at GC and was startled by what I heard. Perfect balance of lows, mids, and highs and incredible note separation when playing chords. With the tone knob turned up it's got that bluesy, singing tone reminiscent of Grant Green; turned down to about 3 it's more Jim Hall. Its also capable of getting that modern Kurt Rosenwinkel tone. Because of the 2" body depth I can incorporate the bridge pup to get sweet, stinging overdriven rock/blues sounds with little or no feedback. Single notes are weighty and authoritative, with lots of sustain, wonderfully balanced up and down the fretboard. Intonation is perfect. Also, it is extremely comfortable to play due to it's smaller body size and shorter-scale neck, which feels amazing, BTW. It's nice to know now, that in spite of the financial difficulties Gibson is facing, they have produced a guitar like this. It is very unique and should, hopefully, gain the reputation it deserves as a true, classic Gibson archtop that is a perfect combination of traditional and modern.
-
03-08-2018 11:13 AM
-
Congratulations on this new beauty. I love that they went from the zigzag to the parallelogram tailpiece in 2018.
-
Congrats. Beautiful burst, beautiful guitar. A modern classic.
-
Congrats El Fundo- you really can’t beat the upper fret access on this model - a real plus for sure . Do enjoy !
-
Yep, as strinswinger said: it’s a modern classic. Maybe the best feeling guitar I’ve ever had.
I’ve read that it’s like a mini L5/Super 400, but it’s also like a 335 and/or 330. But then again it could be likened to a 175. Maybe even a Les Paul. So, it’s practically the entire history of Gibson in one guitar!
Thanks to everybody for the positive responses.
-
El Fundo
Glad to hear that you’re delighted with the 275
I swapped my Es335 ‘63 RI for the latest 2018
Es275, as you’ve already recognised it is versatile
easy and comfortable to play. This latest
incarnation is an improvement on the originals
with richlite fingerboard & zigzag tailpiece now
with a rosewood fingerboard, Congats on your NGD
-
Well, the ES-275 semi arrived this morning and here are my impressions. My left hand index / pointer fingertip is still recovering from a pretty severe burn but I can limp along well enough to get some tone out of it.
Build Materials
The top and back are a semi fancy maple, much like you'd find on an Epiphone y'know that swirly large grained stuff you see on a Sheraton? But, it has a bit of flame and it's attractive and not overstated.
The back of the neck is finished impeccably as are the nibs, frets, markers and dark rosewood fingerboard. One weird nit, the heel of the neck is sprayed a very dark brown almost black like a cheapo maker would do to conceal a heel joint. This is very odd as it and the curves at the waist are the only spots on the git that are not completely transparent.
The five layer unbound black/white pickguard is nicely done.
Ergonomics
The action is the lowest I've seen out of a new Gibson in a V-E-R-Y long time, it plays very much like a Les Paul of old days.
It weighs in at 6lbs. 12 ounces and is the lightest of any full sized (15" to 16") semi I own and the same weight as my tiny Blues hawk and Vegas from Gibson. It's even lighter than my similarly shaped Eastman T165MX by a few ounces. It also balances perfectly on my leg. I bet the balance has much to do with the weight relieved center block.
Sound
The MHS pups do not disappoint. Not much else to say other than the bridge MHS as has been reported is thin but I never use it alone and with the neck pup together it gets some beautiful sounds. The electronics, switch, and pots are perfect, as are the Kluson tuners which are smooth and there is not even a hint of pinging from the nut or bridge when tuning.
It also has a bit of an acoustic voice unplugged that a 335 does not have, nice.
Fit and Finish
The dark brown case had many small wood chips in it either left there by the case maker, or Gibson QC. This is not the first new Gibson I have seen with this. The LP Supreme and Midtown custom both had wood shards in the case, but the Midtown and LP had CHUNKS / splinters over an inch long in the cases, so I "guess" this is an improvement? :-) Also there is no pink buffing compound residue to be found anywhere as has been reported a lot of late.
There are two areas I would never have thought would have imperfections and I'm disappointed to find them. The finish on the top at the end of the neck is absent and the binding in the cutaway was somehow "scrunched" (see pic) and distorted. Neither are biggies but I am REALLY surprised they are there. See pic below.
Value
Since the pics online did not show bound "F" holes I didn't expect to see them but on a $4k git I kinda expect it. Then again Gibson must be having issues with F hole binding as they stopped putting it on at least one other up level model the ES-355.
Wood selection isn't really a big nit but if Gibson can select the best sample for their website, I expect them to at the very least get close to the golden sample in production. If companies like Eastman, D'Angelico, and even Peerless can select consistently highly graded woods, I can only guess that Gibson can too.
The git did NOT come with a truss rod tool... REALLY??? I mean WTF??? I have some here but Gibson cannot be serious selling a FOUR THOUSAND DOLLAR guitar without this little nicety? Holy Crap!
Anyway... Overall I love the tone, neck playability, standing / sitting comfort but I'm torn whether or not to keep it. On one hand it (for me) ticks every box a git should have, and I'm not a fanatic about minor non functional issues but on the other hand keeping it rewards the shortcomings of their build and "QC" efforts.
Last edited by GNAPPI; 09-17-2018 at 11:05 AM.
-
The 275 Montreux is the same. Some VERY dark areas.
Originally Posted by GNAPPI
-
The early lit says the the 275's neck is indeed a Les Paul neck. That's part of why you get 2 extra frets Originally Posted by GNAPPI
-
Gnappi,
GREAT review. Honest, unbiased and concise. A great read.
ive often said that if I was still playing out, I would choose the 275 as my tool. The look, the dimensions, sound and overall appeal make it a perfect guitar to play live with. Not to mention it’s feedback resistance.
I love the guitar. I hope it grows on you and you find it to be a goto axe.
Again, excellent review.
Joe D
-
A few years back people were slaming cheaper versions of Gibson type guitars for having flame veneer on the top and backs. Well the ES-275 as I understand it uses veneer top and backs. $4000, veneer, imperfections, and no truss rod tool. But, when I sold the Gibson ES275s, Montreal burst and red finish, no problem for the most part selling them. I bought the 2004 Gibson Howard Roberts Fusion III for $1400 from a forum member. Heaver, yes, but in a good way. IMHO, No comparsion.
-
Yeah, you're right on all counts, especially on the HRF. Originally Posted by Wildcat
My HRF and the Eastman in the pic are both tough acts to follow, but this one is as close to a perfect player as I could dream of. The more I play it, the more I like it. The neck is nearly identical to my 2000 335 and playing it is like putting on a comfortable pair of shoes.
It's a full pound lighter than the HRF or Tal Farlow and even lighter than the Eastman T165 despite the Eastman being mostly hollow. Add to that it's perfectly balanced, a rather rare feature on semis and one only my Ibanez AS-120 can claim.
Asking for a partial refund won't solve the issues which I really would not normally be considering a biggie. I don't whine about problems if I know up front and buy accordingly, so I'm going to think on it for a week or two and decide whether or not to send it back after my initial reactions have softened a bit.
-
The binding is just a bad scrape job but no finish under the fretboard is just not right. I really hope you love your new axe but would want compensation for the QC issues. Sadly Gibson Memphis is still a real dice roll.
A good luthier can easily touch up the bare wood. Congrats on your new axe. Gibson will need to step up there game if they want to survive and get the top dollar they demand. Make sure the trussrod works. Happy tunes to you.
-
Gibson is almost never without some issue. I know it shouldn't be, and we shouldn't accept it, but in the end it seems to be a reality that's been going on a very long time. Your new guitar seems to have the things most important, in order. If you can't stop playing it and it sounds right, Id say keep it and enjoy! You could get another that's cosmetically perfect, with better looking woods that plays poorly and doesn't sound as good. Might make a good photo, but probably not the best choice. Best of luck on whatever you decide.
Last edited by skiboyny; 09-19-2018 at 10:20 AM.
-
That little strip of unfinished wood at the base of the neck... Loosen the strings enough to detach the tailpiece without removing them; remove the neck pickup surround (pickup stays in place); and stain the area with a permanent marker or paint pen. Black or dark brown should do. Unless you are truly obsessive, you'll never really notice it again.
-
After a couple of years and a few dings later, none of the flaws will matter. But they do now.
-
I received my 275 last night and had the same wood chips throughout the case - annoying. I can't find any issues with the guitar, but I suppose that could be because I purchased from Sweetwater and they inspect guitars very carefully before they ship. No case candy at all except for the COA.
The funny thing is, I also received a figured 335, which is also from Gibson Memphis and cost slightly less. It has a better case with no wood chips, a Gibson multi-tool which includes a truss rod wrench, a strap, and a leather Gibson key chain. No idea, why they are so stingy with the 275.
I haven't had a chance to really play either yet, but so far I am very happy. One thing that surprised me was that the ES-275 is very thin. I know they call it a thinline, but it is a lot thinner than my other hollowbody 275's.
-
I'm glad yours has a better story, no surprise about the case chips, but inspect into the padded folds of the case with your fingertips (slowly so you don't catch a splinter under a fingernail) because I found most of the larger ones hidden there. Originally Posted by djelley
Mine was from Sweetwater also so I imagine their visual criteria is less than perfect :-) The truth be told, after I got the git I enlarged the pic they had online and that finish issue at the end of the neck was plain to see.
Be sure to apprise the forum on any impressions you have on the playability and sound?Last edited by GNAPPI; 09-19-2018 at 02:51 PM.
-
That would be stamped factory Second in the old days...Hope you get a nice discount from SW for that. It should have been disclosed in the blurb. I hope you call your sales "engineer" and ask for a rebate on what you paid. It affects resale. Originally Posted by GNAPPI
-
They didn't put binding on 355 f-holes in the classic years.....from its inception, up until some time in the 70s, they had unbound f-holes. I believe most 355s are now reissues, so it stands to reason...no f holes. Originally Posted by GNAPPI
-
Well every one I saw from 80 before had bound holes.
-
Well I'm recovering from my failed GB10 run.
My interest has turned to the ES-275. I would love to here from folks who own or have played one.
What do you like about the guitar as a "Jazz" guitar, and what you not like about the guitar?
Are some features preferred for jazz over others like stop bar vs traditional tailpiece?
-
Hi Ken,
I tried out two ES-275s last winter. Both hollow, no stop bar.
LOVED the size and sound. I mean really loved the concept.
Un-loved the remarkably poor workmanship. I mean, i can ignore the endless cut corners on aesthetics with no problem - so let’s ignore the general sloppiness.
But one had a brace barely glued in - except for a few places. And both had the FB edges rolled to a remarkably sloppy extent and resultant practical nut width more like a little under 1 10/16. Very narrow in my view.
I liked the guitars so much that I contemplated trying to fix the issue. But as a practical matter it would require re-binding the FB at a minimum, and on one of them a total re-fret would have been needed to get string spacing consistent with a 1 11/16 nut width.
So in one person’s opinion - Great concept, great sounds, abominably sloppy workmanship. And when this sloppiness extends to the fingerboard edges, it becomes a practical problem with a cost to fix that gets to be too much.
If you are happy with string spacing consistent with a 1 10/16 nut width and do not mind the extra “rolled” plastic and wood on the edges of the FB, then I think you will be another VERY satisfied 275 player.
Many players happily look past the slovenly artifacts in the details, and play far better than I do on the narrow string spacing.
If that is you, then I think you will love it.
Chris
-
It would behoove you to do a search, since this model has already been discussed a lot:
Gibson ES-275 All that and a "bag of chips" ??
-
I am VERY happy with mine, a Montreux. To some extent, I agree with PT - about the fretboard width. Slightly narrow feel at the edges. However, it still seems wider than my PRS C24, especially down near the nut.
That said, I know from years of playing, that some playing time on any new instrument will often cure any initial unfamiliarity or "different" feel. After a couple of weeks on it I felt right at home. The other thing that feels different at first is the "length" of the neck with two extra frets clear of the body. But as I already mentioned, that becomes normal and familiar after a few practice sessions.
The concept is EXACTLY what I've wanted from Gibson for years. Smaller, narrower, fully hollow body, 24.75 Gibson scale (25 would be fine too), yet still with the classic Gibson archtop look, especially the round cutaway. The extra two frets clear access is just an unexpected bonus.
I am completely satisfied with the workmanship on my piece. Granted, I do not normally get out a mirror or scope to inspect the insides of my guitars. Maybe the top line Montreux received more attention to detail than the less expensive models? I would hope not, but who knows.
One thing I need to add. It sounds fabulous. I haven't owned another Gibson since around the late 80's now, so I am very impressed with these pickups/electronics. Wonderful jazzy tone from the neck pickup, and a great middle funk with both pickups engaged.
Last edited by Woody Sound; 10-24-2018 at 01:45 PM.
Reply With Quote
Big band music alive and well in Japan
Today, 06:27 PM in Everything Else