ES345

I've got one i bought new in i think 2000, brown tolex, 5 way switch, two cabinets. I'll sell it, but like to do it locally because the cabinets are real heavy. Great amp especially with the 5 way switch, mixing both channels great amp. Mint condition like my 1962 ES 345

I have two, I'll have to take a couple of pictures. My original GA6 (around 1955 or 56) And a GA RVS 30 head with two cabinets ( 2x10 open back on the top ) and ( two 2 x 12's on the bottom ), closed back, all speakers are Vintage 30's with the 5 way foot switch. I bought these direct from Gibson, don't even see these on you tube, too bad great amp and cabs. Great amp and cabinets, but a bit heavy.

I have a GA 6 that my parents bought for me in the 50's, still sounds great. I also have the Gold Tone head and two cabinets, i bought them in 2000, trace elliot, made in the UK. 4 EL 84 power tubes, this amp is one of the best amps made, two channels, separate eq's including separate reverb settings, parallel and serial loops, with vol controls on each, with the 5 way foot switch controlling boost, loop, channel, reverb, and mixing the two channels. It is also one of quietest amps at idle. The cabinets have vintage 30 speakers, 2 10's open back and 2 12's closed back. the tone can be from pushed Marshall to a pristine vox and just about anything in between. Personally, it does jazz so good, K. Burrell, Wes tone etc. If you can get your hands on a combo or head do it.

Dramco A lot of Chinese, Korean guitars quality and craftsmanship is getting much better, so if it plays and sounds good, then you got 300 dollars worth and didn't really get totally ripped off. My problem is that they are ripping off Gibson, by putting the Gibson trademark headstock and name on it. And it is not a copy of any Gibson model that i am familiar with, not really close. If they put there own name on it they might build there own following, too bad, illegal and shortsightedness.

jazzlvr, unfortunately i think you are correct, i have used gibson flatwires for years, and have only about 5 or 6 sets left, but i also use d'addario chromes on several guitars around 51 - 52 to 12 on them with success, so try a 12 on the top E and normally these strings, ( the B and E ) are plain steel, you might experiment with nickle for them in an approptiate gauge.

While the web site is not completed yet, they may have discontinued the 336/356. Too bad for those that haven't had the opportunity to get one of these unique build guitars. Mine is from 2002, i ordered it after seeing it on the Gibson web site, at that time it was only offered in the red finish and that was okay since just about everything else i own is sunburst. This is the same color and set up (bigsby) that was shown on the web site. The bigsby only has a small movement only providing a very subtle affect, probably why it stays so in tune so well, 11 or 12 to 51 flatwounds. This one is from 2002, an interesting coincidence is that the serial number is the same as the model number of helicopter and tail number of that aircraft that i was flying. There was a TV show on years ago, and the helicopter was a Bell 222, the name given to the helicopter was Airwolf, the tail number is one that is either assigned by or requested from the FAA, it consisted of two numbers that followed the 222 of my serial number and also matched my serial number. Just trivia by a fairly remarkable coincidence, especially since i had it delivered to me at work, where i was working a 24 hour shift, i played it acoustically for most of the evening.

Congratulation with the HR III, i have one also. i wish i could be of more help to you, but i can't say i know much about the tailpiece, i keep mine cranked down a bit to keep the feel of the strings a little tight. i use 12 - 52 flat wounds on it and has a good feel and tone for jazz. i think loosening the tailpiece gives it a spongier feel on the strings, maybe less sustain. but as you know this guitar with the pups and the center block has probably the most sustain of any arch top, and reduced feedback. i think it is a very undiscovered guitar for jazz, blues, fusion etc. i always lay a polishing cloth underneath the tailpiece when i change strings to prevent the fingers from moving around and contacting the top. not that you need it but if you adjust the fingers recheck your intonation, because it will slightly affect it. mine is sunburst. best of luck and enjoy it. if you discover anything new post it. jlc

Beautiful guitar, pretty rare, how does it play? One that i would hold on to. peace

dodgytoo, Beautiful, enjoy. peace

JazzGtr, My avatar is actually my 356, i bought in 2002. I am going to change it to my 345 one of these days. My 356 is very versatile, like the 335/45/55, and as you know with the PJ very comfortable to play. The bigsby works fine, i think on this guitar as well as, Les pauls it is just a subtle affect. the neck is just a little fuller than my '62 345, a little larger than slim taper, but very comfortable, and it stays in tune pretty well, tuning is not an issue, working with a female singer i tune/check tuning between each song anyway. Nice having an L5. As you age sometimes a large body jazz guitar can cause a little discomfort in your shoulder, at least that is what happened to me. i am good for one 45 minute set, so that is really why i started seeking out narrower semi/hollow bodies. A nice Eastman 16 in 2 1/2 deep, the Guild X 175 i bought in '78, beautiful but 3 1/2 deep, a nice prs spruce top hollow body, the 356, pat martino, howard roberts fusion iii etc. for me the 345 is the grail, but it has increased so much in value that i only record for the family in my home studio with it and my weekly gig is done with one of the above guitars, not normally guild. If i was younger and had the money back then i would have gotten and L5 CT, i think that is narrow body, just way too expensive at my age. I have always liked the byrdland, but i am really finished buying, but i still enjoy looking. peace

JazzGtr your avatar, the pj jr. is beautiful guitar, i always liked that guitar, the parallelograms from the first fret, the size etc. Paul Jackson Jr. is a great player and while i don't see him play his signature model much anymore, (seems to have switched to prs's) on idol or remember the lyrics show, he works a lot and is a great player. He did play it every once and awhile on the show 3 or 4 years ago. i have a relatively new dvd of Larry Coreyell, and he has a few guest players on it, one young guy plays a pj. jr model. I had considered either a pj or pat martino, i had made up my mind that which ever one became available i would get. then a pm became available and i bought it, another nice guitar. peace

When i use just one amp I have a $1.98 radio shack or switchcraft adapter that i plug the stero chord ends into, it combines them to a single quater inch standard plug that i then plug into a normal single input jack on the amp. in the old days i just plugged both chord ends into one amp, i know it worked fine one pup may have had less output i really can't remember way back then, this was a little gibson 6A amp. the only difference in the middle position that i have noted is that when in that position to achieve max volume i actually have to roll the bridge pup back from 10 to about 9 or 9.5, i think it has always been like this. then if you were to select the bridge pup you have to turn it back to 10 to get max vol. peace

zojo, i think adding a bigsby to the guitar would lessen its value, i am not an expert but different pups, that are easily replaced, even tone pots, and abr's all can easily be taken back to original, but a bigsby means drilling some holes and i wouldn't do it to that guitar. while not highly sought after, in time it will certainly hold its value and probably increase due to its scarcity. Bottom line it is yours and you can do as you please. But major mods that cause routing or drilling are considered exteme, maybe perfect for you but not a potential buyer. peace

Steve sorry for your loss, put the word out on what ever forums you know of ie Les Paul forum, visited by a lot of gibson aficianados. also a pic to the local police. vintage guitar magazine is read by a lot of collectors and players and they will publish this info as well. Shimmer, that is a beautiful 347, it has some of the best features, great asthetics, coil tap (i think), tp6, is good, traditionalist want the abr, but for function it is better, inlays, headstock, definitely a keeper, add to you collection don't trade it away unless you don't like the way it plays, but i wouldn't let it go. peace

Mark I am glad you are satisfied with the work the tech did, i wouldn't worry about the P90 type pups unless they give you a problem, squeal, or harsh or you don't like the tone, if you do they are fine. gibson has to save some money so when you buy an epi, the pups are other than what gibson uses in its guitars, maybe as good many be not, you can decide how they sound. also on strings, your tech put 11-49's, i think that is a good compromise, it is a little heaveir than the 10's and you can evaluate them for your self, tone and feel, tone is normally a tad bit better, but don't forget feel each guitar doesn't feel the same with the same gauge string, most of my jazz guitars and even a few others have 11-48's flat wounds, they all feel different but have a nice mellow flat wound tone, this tone isn't for everybody. on other guitars, less pauls i have 10-46 brite wires and ernie ball slinkys, so this becomes a trial and error thing and as time goes on you will settle on what feels and sounds good to you. on several set of strings i bump up the high e, say i 'm using 11 - 48's on a few guitars i will put a 12 on the e, for a little more body/tone, but again trial and error, personal taste. enjoy the search for what fits your style. peace