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01-20-2022 12:47 PM
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Originally Posted by RnB
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Originally Posted by Christian Miller
Last edited by citizenk74; 01-20-2022 at 03:12 PM.
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This thread has made me nostalgic for the 335s, 345s and the one 355 I owned in pre-jazz days. Contrary to the above, I have never owned a trapeze version. Part of the attraction was the sheer looks of the thing, and I particularly was attracted to the very dark cherry, almost wine colour, that some old cherry 335s would "mature" into. Here's the only pic I have; an early 60s block inlay. Don't know what year, it seemed less important decades ago..
ps that pink paint is long gone..
Last edited by Franz 1997; 01-20-2022 at 04:01 PM.
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Originally Posted by RnB
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Originally Posted by maplebaby
(The ‘330’ is a kit I assembled and finished btw)
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I wish I had an ES335......
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Originally Posted by Franz 1997
i am a clutz tho
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Originally Posted by Franz 1997
I concur with Franz 1997,
I acquired my used 1959 superb 335 in 1963, and foolishly sold it in 1978, purely because the gigs had dried up
since then i've had many derivations, 345 , 355 and finally a C356 custom circa 2004 which is a smaller
version of the ES355, all of the models mentioned are versatile instruments easily able to cope with many
styles as my friend above has stated. This Forum persuaded me to follow the Archtop path, but, in the unlikely
event of gigging, an Es335 or a derivative,is a safer bet IMHO
silverfoxxLast edited by silverfoxx; 01-20-2022 at 05:22 PM.
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Originally Posted by Little Jay
Keith
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Originally Posted by Christian Miller
a sweet, sustaining tone with a beautiful note-bloom, a smooth and singing neck pup tone, with both pups on it is a great Funk/Soul rhythm machine (> Johnny Guitar Watson)
and the lead pickup (with the tone rolled down some) let's you wail with the classic Carlton/Ford tones.
I first dreamed of owning one when I discovered BB King (I was about 14 I guess), got my first 345 with 16 and was never without one ever since.
Right about that time I discovered "The Crusaders" (with Larry Carlton), Ritenour, Robben Ford (> Miles of Isles with Joni Mitchell + The LA Express) , the classic
recordings of Carlton with Joni, Steely Dan, Michael Franks, and so on ... so this unique sound of the semihollow Gibson is forever ingrained in my ear :-)
I'm not a small person so the size was never an issue but as it was mentioned before, a good strap helps.
As far as those now scarce and pricy 60's models are concerned : if your fingers are not really big and round then the smaller necks on the post-64 models
are absolutely playable and those guitars are still not quite as expensive. A 67/68/early 69 could be the ticket: great pickups, one(later3)-piece mahogany neck,
small but deeply carved neck shape and if the guitar has an added stop tailpiece it's not an issue - IMHO it helps the sustain and the depth of the tone.
One viable alternative would be the Epiphone Riviera with the mini humbuckers - except for the pickups it's essentially the same guitar but more affordable. At the moment ....
Epiphone Riviera E360TD 1967 Cherry | Gear Garage | Reverb
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Originally Posted by omphalopsychos
I have almost identical guitars from Collings.
Last edited by maplebaby; 01-21-2022 at 11:05 AM.
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Sorry for your loss. Not an ES technically but a close cousin. Sounds great for jazz and has an airy-telesque tone too. Best of all worlds.
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Originally Posted by jzucker
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Originally Posted by northernbreed
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Originally Posted by floatingpickup
But there is a way around: the modern wiring schematic with treble bleeds (100-150K resistor parallel with a .001uf cap on the volume pot) brings a nice gradual volume change and comes much closer to how my ES-125 works and feels. That would have probably made your 335 much more usable…..
The pots in my ES-333 were perfect btw and they seem factory.
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Originally Posted by jzucker
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Originally Posted by Little Jay
Keith
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hmmm...Just for a counterpoint. I hate the modern treble bleed circuits. Yes, they do give you brightness as you turn the volume down but to me, it's not done in a way that sounds like what I'm used to hearing in jazz, blues or rock recordings. What happens is that when you turn the guitar volume down, the high end jumps across the capacitor but not the low end so (to me) it ends up sounding plinky and thin. I like the original circuits. If you want to turn down and not lose the top end response, you'll get much better results using an active volume pedal like this:
This doesn't lose any treble when you back it off. They are expensive but maintain your guitar tone without sounding plinky.
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Originally Posted by Christian Miller
Other than that, go for red. You don't have a red guitar yet.
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Originally Posted by Little Jay
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So sorry for you loss OP. Cherish that guitar, what an amazing gift from his family.
I will add my 335 to the mix. It's also a Memphis from 2014 with a figured top thats very subtle in this lighting
Last edited by Paulie2; 01-21-2022 at 12:08 PM.
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Originally Posted by RnB
It came with different humbuckers (490R and 498T, but mine already had those changed for Classic 57s), satin finish, no pickguard and it has a compartment on the back to reach the electronics (very practical!).
I buffed the finish, put a pickguard and with the Classic 57s it already had it’s essentially an ES-335 for about 1/3 the price ;-) (at least when I got it in 2010 or so).
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Originally Posted by John A.
* My first real good guitar experience was with a Bigsby-laden ES-345 in sunburst belonging to a friend whose band rehearsed at my rented farmhouse. Played through his Fender Dual Showman Reverb** it was quite something. The band had a Hammond B-3 player and rehearsal night were something else, I can tell you. My then- very young children got the then-fledgeling Sesame Street and Mr. Rogers by day and live R & B in the evenings. They turned out very well, I think.
** Which amp I would many years later come to own. Circle of life, etc. A jazz pal of mine had that ES-345 and offered it to me at a nice price, but... Bigsby! No sale!
Gibson Les Paul '50s Tribute
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