Norlin 355

[Andre S]

Other than a 3 piece neck and 5 piece headstock, what are some of the other changes that a Norlin Era 355 would over compared to a not-Norlin 355?

[L5Larry]

The only things I can think of are the Headstock volute and the witchhat knobs (versus the tophats). I own or have owned two Norlin era Gibsons, an LP Standard and an ES-335. They were/are both very fine instruments (I still have the LP). I also own or have owned three pre-Norlin Gibsons, and two "Henry" era Gibsons. I have been playing ES models since about 1980, and love the design, versatility, playability, tone, and just about everything about the Gibson ES thinlines.

 

The general design of the 355 body/neck/hardware/electronics has not changed since the guitar went stereo with vibrola. As was/is normal with Gibson high-end guitars, you're never quite sure what tuners your going to get, the guitars might get fitted with Kluson, Grover or Schaller, probably whatever gold ones they had in stock at the time. The pickups also changed over time to whatever the "current" model humbucker was. During the mid/late sixties and seventies there were no "options" in Gibson humbuckers, there were no "Classic 57's", or "Burstbuckers", etc. A Gibson humbucker was a Gibson humbucker.

 

As for the Varitone on the 355, some love it, some hate it. Many 345/355's have had the Varitone systems disabled, as well as had the Meastro (355) or trapeze (345) replaced with a stopbar. These are all personal taste, for there are no "design flaws" with any of these systems, some people just prefer different things. I love the Varitone on my 345, although I find only three of the six settings actually usable in a performance situation, I still like the "instant" options of tone coloring. My 2000 345 is a "Historic '59" stopbar model, with I prefer over the Maestro because I've never been a whammy bar kind of guy (I even have the trems "blocked" on my Strats), and I also prefer the stopbar on my 345 over the trapeze that was on my 335, but again, that's just my personal preference. I also prefer the 70's laminated maple necks to the current one-piece mahogany for some reason. My 2000 345 has the mahogany, the '75 335 I used to own had the maple, as does my '75 LP Standard.

 

The Norlin era gets a bad rap for quality control, model changes and goofy designs, and some of that is deserved, but as with any instrument you must evaluate each one on it's own merit, regardless of when it was built or by whom. Gibson has always turned out some dogs, and from what I read and see they're having many quality control issues today. Norlin did not buy Gibson to change the company, but to save it. They did not make many design changes, and in fact reintroduced many "classic" models such as the Les Paul Standard, Reverse Body Firebird and others. They did make some cosmetic changes, especially to the SG line, that were not well received, but also introduced many new models, some hit, some miss. What Norlin did (and had to), was streamline the manufacturing process to increase production. There was such a increase in demand at the time, that to keep up, and protect their market share, they had to produce boatloads of guitars very quickly. As with ANY manufacturing process, the first thing that is affected by a major production increase is quality control. They were just building them too fast.

 

I guess this is all just to say don't disregard all Norlin made Gibsons just because of the era, many of them were as good as any guitars Gibson has built at any time.

[Andre S]

The only things I can think of are the Headstock volute and the witchhat knobs (versus the tophats). I own or have owned two Norlin era Gibsons' date=' an LP Standard and an ES-335. They were/are both very fine instruments (I still have the LP). I also own or have owned three pre-Norlin Gibsons, and two "Henry" era Gibsons. I have been playing ES models since about 1980, and love the design, versatility, playability, tone, and just about everything about the Gibson ES thinlines.

 

The general design of the 355 body/neck/hardware/electronics has not changed since the guitar went stereo with vibrola. As was/is normal with Gibson high-end guitars, you're never quite sure what tuners your going to get, the guitars might get fitted with Kluson, Grover or Schaller, probably whatever gold ones they had in stock at the time. The pickups also changed over time to whatever the "current" model humbucker was. During the mid/late sixties and seventies there were no "options" in Gibson humbuckers, there were no "Classic 57's", or "Burstbuckers", etc. A Gibson humbucker was a Gibson humbucker.

 

As for the Varitone on the 355, some love it, some hate it. Many 345/355's have had the Varitone systems disabled, as well as had the Meastro (355) or trapeze (345) replaced with a stopbar. These are all personal taste, for there are no "design flaws" with any of these systems, some people just prefer different things. I love the Varitone on my 345, although I find only three of the six settings actually usable in a performance situation, I still like the "instant" options of tone coloring. My 2000 345 is a "Historic '59" stopbar model, with I prefer over the Maestro because I've never been a whammy bar kind of guy (I even have the trems "blocked" on my Strats), and I also prefer the stopbar on my 345 over the trapeze that was on my 335, but again, that's just my personal preference. I also prefer the 70's laminated maple necks to the current one-piece mahogany for some reason. My 2000 345 has the mahogany, the '75 335 I used to own had the maple, as does my '75 LP Standard.

 

The Norlin era gets a bad rap for quality control, model changes and goofy designs, and some of that is deserved, but as with any instrument you must evaluate each one on it's own merit, regardless of when it was built or by whom. Gibson has always turned out some dogs, and from what I read and see they're having many quality control issues today. Norlin did not buy Gibson to change the company, but to save it. They did not make many design changes, and in fact reintroduced many "classic" models such as the Les Paul Standard, Reverse Body Firebird and others. They did make some cosmetic changes, especially to the SG line, that were not well received, but also introduced many new models, some hit, some miss. What Norlin did (and had to), was streamline the manufacturing process to increase production. There was such a increase in demand at the time, that to keep up, and protect their market share, they had to produce boatloads of guitars very quickly. As with ANY manufacturing process, the first thing that is affected by a major production increase is quality control. They were just building them too fast.

 

I guess this is all just to say don't disregard all Norlin made Gibsons just because of the era, many of them were as good as any guitars Gibson has built at any time.[/quote']

 

Thanks! I found a beautiful 1971 Gibson ES 355 in a very astounding walnut finish with gold embossed pickups and maestro, the grain shows through beautifully. It appears in mint condition, as soon as I can, it will be mine.

[sok66]

In that era walnut was actually the high volume seller, was actually a bit harder to move the red ones. L5Larry is correct, Norlins aren't universally bad instruments, some were just great. The Norlin era management just made a lot of dumb product & cost decisions that really hurt the Gibson brand long term. ES355s of that era suffered the same fate as their Les Paul Custom brothers in that they were fitted with the low "fretless wonder" frets that made bending very difficult.

[Andre S]

In that era walnut was actually the high volume seller' date=' was actually a bit harder to move the red ones. L5Larry is correct, Norlins aren't universally bad instruments, some were just great. The Norlin era management just made a lot of dumb product & cost decisions that really hurt the Gibson brand long term. ES355s of that era suffered the same fate as their Les Paul Custom brothers in that they were fitted with the low "fretless wonder" frets that made bending very difficult. [/quote']

 

hmm, what would think of ordering one online, unseen, unplayed other than pictures? 1971 355

[Danny W.]

Many of the ES-355's from that period have ultra-narrow necks that are very deep in profile--most players today do not like these.

 

My 1971 had a 1.5" wide nut! I could not play that guitar today.

 

This photo is from 1971:

 

 

Danny W.

[Andre S]

Many of the ES-355's from that period have ultra-narrow necks that are very deep in profile--most players today do not like these.

 

My 1971 had a 1.5" wide nut! I could not play that guitar today.

 

This photo is from 1971:

 

 

Danny W.

 

I'll try to find out this before I buy it. What do you think that the price for a Walnut 1971 ES 355 with Maestro should be?

[AlanC]

Danny W - What's the archtop with the flower pot on the head in front of the couch?

[charlie brown]

I had a lovely 1969 (Beginning of the Norlin Era) Cherry Red ES-355TDS, that was a fantastic guitar. I WISH I'd never sold it, but...at the time I did, I sold Everything I had, and stopped playing for 30 years. ;>b So...??? But, it was a great guitar, all around. Terrific neck, slim and fast. I did have "big frets" put on it, because, as stated previously, they came "stock," with low "fretless wonder" type frets. Man...I'd LOVE to still have that guitar!!!

 

CB

[Danny W.]

Danny W - What's the archtop with the flower pot on the head in front of the couch?

 

 

That's a 1960, PAF-equipped Byrdland in a rather unusual cherry-sunburst finish.

 

Danny W.

[charlie brown]

So THERE is where my ES-355 went! LOL! (Just kidding)...but, it's identical, to the one I had,

in '69, and sold...unfortunately!!! You didn't buy it, from Lawrence Music (Lawrence, Kansas)

from old "Stomper," did you? LOL ;>)

 

CB

[L5Larry]

hmm' date=' what would think of ordering one online, unseen, unplayed other than pictures? 1971 355[/quote']

 

At the right price (whatever that is), and having done your research, I would feel comfortable and safe buying one unseen/unplayed online. A 7 day (or something reasonable) return option would be even better. Maybe I have been lucky, but I have bought a few vintage instruments off e-bay and been very satisfied, maybe even over-satisfied. I also have a vintage guitar dealer friend that picks up requested pieces for me, and his scrutiny may be worse than mine, so those purchases have also been good, I have never "declined" a guitar he has found for me.

 

The biggest things to ask about are "all original parts?" and "any repairs?". The wrong answer to either of these questions greatly affects the value of the instrument.

[Andre S]

At the right price (whatever that is)' date=' and having done your research, I would feel comfortable and safe buying one unseen/unplayed online. A 7 day (or something reasonable) return option would be even better. Maybe I have been lucky, but I have bought a few vintage instruments off e-bay and been very satisfied, maybe even over-satisfied. I also have a vintage guitar dealer friend that picks up requested pieces for me, and his scrutiny may be worse than mine, so those purchases have also been good, I have never "declined" a guitar he has found for me.

 

The biggest things to ask about are "all original parts?" and "any repairs?". The wrong answer to either of these questions greatly affects the value of the instrument.[/quote']

 

According to the dealer, the guitar is all original except, it may have had nylon saddles. If it did, then those are the only thing that was changed.

 

The machine heads look very similar to the design of the stewmac waffle back tuners.