Everything You Wanted to Know about the 1960 50th Anniversarry 335 But Were Afraid to Ask*

[TinyBabyBrandon]

So the day has finally, come, my dreams have been realized and my long romance with with reviews, online listings and youtube videos of any and everything 50th anniversary ES-335's is over, or perhaps only now really beginning since I am at long last a proud owner of one, and let me tell you guys, it's pretty great. For the years I've been lusting after this guitar I have spent so many hours researching, visiting message boards, trying to find a review that someone posted that would satisfy the intense urge I felt to play and to hold one of these beauties, to feel the glossy surface and to smell the lacquer as I opened the case and carefully pulled away the gray satin dust cover to reveal the sweet guitar gloriousness. I guess the thing I realized is that I would never be satisfied with anything that I read or any picture that I saw, no matter how close they were on the tortoise shell side dot markers or how clearly they revealed the mysteries of the long neck tenon. That being said, I have set out here to write the review that I always wanted to read. Something that will satisfy, to a degree, people who are as sick and twisted as I am and just keep wanting more information, more pictures and more...something than they could ever find on the internet. Well, that something is the guitar itself. Ironically, it's a little sad to finally get the guitar because I did so enjoy the ritual of scouring ebay, searching pictures, trying to find some small post on a remote message board, using google to translate websites into English, the list goes on, but the point is it was fun. It really was, but that was the journey and now that I have the guitar,so I better enjoy the destination, well, let's get to the review, shall we, because that's what this is all about anyway, right? The destination has been reached.

 

One caveat, I will post pictures later, I know that's a major bummer and I'd be very disappointed if I was stumbling upon this post in my endless quest and found zero hi res photos, but, rest assured, when I get home tonight I'll take some good ones and post them up.

 

So I got the guitar from Guitar Center, I know, number one thing I hate about guitars is Guitar Center, but I really got an amazing deal. This guitar is brand new. I'll give you a little run down, but I imagine most people have seen my thread on the 50th's New as Used post from about 2 weeks ago. What's in that post was the deal I got. For those of you who haven't read it, the synopsis is that Gibson sent Guitar Center a certain number of 50th anniversary 335's to sell as used guitars even though they were actually new. It has something to do with the whole wood debacle they're in and if you're savvy enough to track one down, these guitars can be had for an extreme discount. Seeing they go for $4199 new I got my *used* one for $2299. Now here's what it's like opening a *used* guitar:

 

The guy from guitar center ambles to the back room muttering and scratching his head when I went in to pick up the guitar. It had been shipped to my local GC from Oregon and I head received a notification from UPS that it had been delivered and signed for at 10:46 am. I went on my lunch break to go pick 'er up. I explained the situation and our 6 string hero was remarkably befuddled, but he managed to meander off to the back to check on it. About 20 minutes later he miraculously reappears awkwardly handling a large box with the Gibson Custom logo and an illustration of the custom Gibby headstock. Yep, straight from Gibson. So I open the box, pull out all the bubble wrap and finally get my paws on the case. As I pull it out I can smell something.. What is it, I wonder, what is that sweet, sweet smell? I get the case out and prepare to open. Latch by latch, each clickity gets me closer to seeing my new guitar for the first time. With each latch the smell intensifies. It is pleasant, it is familiar, it is forever etching this moment into my memory. It is nitrocellulose. I open the case only to see the outline and the contours gracefully sweeping beneath the gray silk dust cover. I slowly pull back the satiny material revealing first a gold reflector knob, the chrome top gleaming, then the bridge, suddenly the rich deep sunburst is in its full glory, and then the whole guitar is there! The smell of nitro is heavy in the air, but not unpleasantly so, it is just right and it is brand new.

 

Fast forward to me getting home. Needless to say it was very difficult to finish work, I was clock watching all day just itching to get home and make nice with what I hope to be a life long partner. the minutes turn into hours and as the hours wash away the afternoon into the evening, the day becomes more and more unbearable, finally I just had to leave. I get home and I cannot wait to get into the door, I open up the guitar and I inspect it closely under bright light. I'll start at the headstock. The edges are so smooth and almost rounded, unlike that of my SG custom or my gibson acoustic, it seems that the edges are softer and as such a little more refined, and delicate. The Gibson logo and inlay are beautifully done, completely flush, no signs of outline appearing or separation from the holly, and they are dazzling in the light, bright pearl with flashes of blue, purple and yellow. Really nice. The back of the headstock is the same color down the entirety of the neck and it is a deep, rich burgundy. It's the color of the transitional part of the sunburst. And of course, no serial number. The neck itself is absolutely perfect for my tastes. It is somewhat wider than my 61 30th anniversary SG custom, but it is not deeper. In fact it's right on for what a slim taper neck should be. I have played some dots that had a much wider slim taper than this one. this neck feels fantastic all the way down and the extra width that it feels like it has is not unwelcome. It suits the guitar and kind of play that the 335 lends itself to, but more on that later. The SG neck I have is my favorite playing neck of all time, if you ever get a chance to play a 1991 30th anniversary SG custom in TV Yellow, take it. It is an absolute knock out of a guitar and the neck is perfect. Maybe that's because it's been my main guitar for over a decade, I've gotten so used to it, but I do love that neck and that neck has been the high water mark for me, against which I judge all other necks. The neck on this 335 is different, but yet instantly comfortable and familiar. The ease of play is tremendous and it is quick. The last few frets are going to take some getting used to though, as I'm so used to the SG's unencumbered upper registers. That said I do not play the same on this guitar than I do on the SG. there is just something about the 335 that makes me want to be more technical. I find myself wanting to play a lot more like Steve Howe than Jimmy Page, which makes sense, and is actually very nice.

 

I will say I do have two issues with this neck. the first is cosmetic. I know that this is fairly common, but it still annoys me nonetheless. On the top of the neck on the binding, where most of the frets meet the binding there are tiny little cracks or creases in the binding. Purely aesthetic, but it really does annoy me. I have seen this on plenty of new Gibsons and I don't know if this a shipping temperature change thing or this is some kind of production flaw, but I am not happy about it. Especially since one of the things I am most excited about with this guitar are the tortoise shell side dot inlays. Every time I'm checking out my sweet tort markers I have to see those hairline cracks. Not making this guy happy, let me tell ya. Also just to note, there are small filing marks on the fret board here and there, which I imagine will fade over time and I guess that's just part of getting a new guitar, but I would have liked for there to be ZERO file marks.

 

The next issue is curious and I don't know if its just me or if it is the guitar. I have noticed the little E string pulling of the fretboard especially during trills or rapid playing. this is something that I have never had a problem with on my SG, acoustic or any other guitar I've ever owned. Is this a set up problem or is this something that is permanent to the guitar, or is it something I will just have to work at in my playing to not do. Is it a getting to know your guitar type thing or an actual problem? any feedback on this would be great.

 

Now for the body on this puppy. I got the gloss version of this guitar rather than the VOS, because really that's what was available. However, I love the gloss. It shimmers, it reflects and most importantly it makes the sunburst absolutely glow. And for the sunburst itself, it is, for me, the ultimate sunburst. It has the nice fade from black to deep rich burgundy to orange and then a deep golden in the middle. Some sunbursts go just from black to yellow or have that teardrop shape on the back, in my opinion I'm not a huge fan of those. This one is just right, it really is a goldylocks sunburst with all the elements really turning out perfectly. As for the binding and construction, it all top notch. tight, smooth and sleek all over, even the insides of the F holes have been sanded out and have no extraneous material hanging off. The build quality is superb on the body. In addition, let's say the contours, the hills and valleys of the slightly sloping top and back are just gorgeous. Like a curvacious lady of and 8th grader's dreams or a 60's corvette, its just a pleasure to behold and a little mysterious as to how it got that way.

 

Now for the tone. Acoustically, it is fantastic, just what a 335 should and does sound like. Its a little woody, a little smooth but it has a nice bite to it. It has that liquidy wood sound to it that is hard to describe, yet instantly recognizable. It is resonant and it is good for strumming, but strumming is really the last thing I want to do on this guitar. It begs for delicate thoughtful, intricate playing whether it be jazz chord melodies or interesting sweeping arpeggios, it really makes you want to play at the height of your abilities. Plugged in the tone is really an extension of the guitar's natural tone. that thing is there, the liquidy wood thing and it is most evident on the middle position. This has been my favorite spot this far and with the tone rolled down to about 7 it is absolute heaven. the neck pick up sounds rich, woody and full and the bridge is surprisingly bright, almost harsh, but with a little tone nuancing it gets sweet fast. another noticable thing on this guitar is that my middle position tone is hooked in with my neck pickup tone. On my SG the middle is hooked in with the bridge tone, but that might be the difference between a two pickup and a three pickup guitar. Just interesting. The tone controls are also very versatile, more so than any other guitar I've played. Normally I'm all or nothing and don't find the middle settings on the tone very useful, but with the 335 it's my favorite setting that are middle tones. There is a much wider scope of sounds you can get which is great. Also the sustain on this is never ending. Cranked through my 1968 fender champ this thing just sang and I mean really hold a note, walk away come back cliche. It was like wow! Blew away my SG.

 

So there it is, I'm sure I left some stuff out, but I'll add it later and be sure to come back for the pictures tonight. thanks for reading!

[j45nick]

Congratulations on your new friend!

 

RE: "new" vs "used"

 

I think you may have stumbled onto the reason your "new" guitar us being sold as a "used" guitar: The binding cracking at the fret ends. I suspect it has nothing to do with Gibson's wood legality issues, despite what someone told you. That story made no sense at all.

 

The cracked binding may simply be a cosmetic flaw that prevents selling the guitar as a new instrument with warranty. In the old days, a guitar with this "flaw" might have been marked with a "2" on the back of the headstock, and sold at a reduced price as a "second". Unfortunately, those guitars always had some stigma attached, and on the vintage market, they are usually sold at a discount because of the "2" brand, even though after many years the "second" could be in as good or better condition than a guitar without that mark.

 

This strikes me as pretty smart marketing on Gibson's part. Functionally, the guitar is every bit as good as a cosmetically-perfect guitar. Over time, many bound fretboards develop this problem. In the case of your guitar, it happened when the guitar was new, for whatever reason.

 

RE: high E string

 

The strings on your guitar should have the same (or almost the same) center-to-center measurement for each string across the board. Likewise, the saddles should be center-cut, within close tolerances. The simplest thing to do is check the distance from the CENTER of the high and low E strings to the edge of the board. Small variances in string spacing can be corrected by cutting new saddles, or in extreme cases, replacing the nut as well.

 

If you find yourself over-bending strings, you might consider stepping up a string gauge. I use Vintage Reissue lights (10-46 gauge) on my '59 Historic ES 335, but others may have different recommendations.

 

Enjoy your new guitar. Ignore any cosmetic flaws, and immerse yourself in the wonderful music it creates.

[TinyBabyBrandon]

Congratulations on your new friend!

 

RE: "new" vs "used"

 

I think you may have stumbled onto the reason your "new" guitar us being sold as a "used" guitar: The binding cracking at the fret ends. I suspect it has nothing to do with Gibson's wood legality issues, despite what someone told you. That story made no sense at all.

 

The cracked binding may simply be a cosmetic flaw that prevents selling the guitar as a new instrument with warranty. In the old days, a guitar with this "flaw" might have been marked with a "2" on the back of the headstock, and sold at a reduced price as a "second". Unfortunately, those guitars always had some stigma attached, and on the vintage market, they are usually sold at a discount because of the "2" brand, even though after many years the "second" could be in as good or better condition than a guitar without that mark.

 

This strikes me as pretty smart marketing on Gibson's part. Functionally, the guitar is every bit as good as a cosmetically-perfect guitar. Over time, many bound fretboards develop this problem. In the case of your guitar, it happened when the guitar was new, for whatever reason.

 

Thanks Nick. I have seen, however, many ES guitars being sold as new with the exact same problem and some of them have been pretty high end, so I wonder if that's actually what it was. I'm going to hit up Gibson now that I have the guitar and see what they can tell me about it, and I'll keep everyone posted. I will also check the distance of the little e string in comparison to the big e. Just from eyeballing it last night it looks like it has enough space from the edge of the fretboard. I was also thinking it might have something to do with the frets themselves as they are much thinner than those of any of my other guitars and are sloped at the edges. Could this have something to do with it?

Thanks again!

[j45nick]

Thanks Nick. I have seen, however, many ES guitars being sold as new with the exact same problem and some of them have been pretty high end, so I wonder if that's actually what it was. I'm going to hit up Gibson now that I have the guitar and see what they can tell me about it, and I'll keep everyone posted. I will also check the distance of the little e string in comparison to the big e. Just from eyeballing it last night it looks like it has enough space from the edge of the fretboard. I was also thinking it might have something to do with the frets themselves as they are much thinner than those of any of my other guitars and are sloped at the edges. Could this have something to do with it?

Thanks again!

 

Gibson has used a lot of different fret profiles over the years, and if the ones on your new ES 335 are different from what you are used to, that may be part of the problem you are having. The frets on my '68 ES 335-12 are the low-profile "jumbo" wide frets that Gibson was using at that time, and they have a much smaller chamfer at the fret ends than the narrower frets on my 2009 '59 Historic ES 335. I'm not sure if the narrower frets are actually taller: they may just seem to be because they are relatively narrow compared to the others. I have four Gibsons, and no two have the same fret profile.

 

I suspect you'll find that your playing style will adapt pretty quickly to your new guitar.

 

Personally, I wouldn't pay full price for a "new" guitar with warranty that had cracked fretboard binding. But it sounds like you got a really good deal on your guitar, so cracked binding is really a very small price to pay if you are otherwise happy with the guitar.

 

Think of it as "pre-aging". There are hard spots and/or minute cracks at about half the fret ends on my '68, the result of almost 45 years of being exposed to changing temperature and humidity. At this point, it's just part of the guitar's charm. No reason to accelerate the process, but no reason to "fret" over it, either.

[cjmwrx]

The High E issue

 

I have experienced this issue with a few Gibson's I've played lately. From what I have seen, the chamfer on the fret end angle is way to exaggerated. I have seen it on bound guitar where the binding was cahmfered all the way into the fret end. My Studio Deluxe was like this when I first bought it (though not bound, with frets that seemed high enough to be sky scrapers). I had mine leveled and re-crowned by a luthier to .042 and it plays much smoother now, with none of the high E slippage I was experiencing before. They were initially measured at .058. With a pretty pronounced chamfer.

 

On my ES, the chamfer is only on the binding, the fret end buts perfectly against the binding, and no slippage issues.

[Sunburst PB]

Just curious, was the guitar built in Memphis or Nashville? Memphis, I would assume.

[TinyBabyBrandon]

Yeppo! the guitar is Memphis as were all of the 50th anniversary 1960's. Apparently Nashville does a bit of a better job of the little details that we all tend to notice so much of. I guess if it is indeed the chamfer on the fret ends I'd have to get them leveled. Problem is that I like the frets where they are and I hope that leveling them and bringing them down somewhat does not decrease their life expectancy. Fret jobs are muy expensioso and a pain in the keester!I will post some really detailed close up pics of the fret ends on the little e side tonight and you guys can tell me what you think.

[Sunburst PB]

I figured so. Only the Historics and custom orders are done in Nashville. Memphis is not really setup to do small runs or custom work. While its called Custom Shop, its really just where the semi-hollow body and non-carved hollow body guitars are made, with the exception of the Alpine White Les Paul Custom. All carved arch tops like the L5 are made in Nashville.

 

After dreaming for over 40 years, last fall I custom ordered an ES355. It was made in Nashville and was delivered a few weeks ago. Michael Mcguire truly runs a first class operation in Nashville.

 

Having looked at an ES335 in GC before ordering, the finish and quality was noticeably better than what I saw in the store.

 

I love my new ES355.

[TinyBabyBrandon]

Right, Nashville has that reputation. I'm glad you're digging your 355. Don't get me wrong here though guys, this post is meant to be celebratory. I have read enough about the Gibson shops to know what's up and I've had my fair share of Gibsons over the years, and while the two issues I have with this guitar are a little disappointing they are nowhere near the level of making me disappointed. In fact quite the opposite. I am in love with this guitar and in so many ways it is heads and shoulders better than any of the regular 335 dots I've played. In fact I almost picked up a dot last year for only 1500 bucks, but passed on it because it didn't have that magic. This guitar has that magic, it feeds me, makes me play better and fuels the creative process, all things that great instrument should do. It is an absolute dream to behold and a pleasure to play. I love it, and once the little e string issue gets rectified it'll be that much better. The memphis shop did a pretty amazing job on this guitar and it is certainly a high end, custom shop guitar. the MSRP is $5880 clams, which is pretty close to the Historics out in Nashville for those keeping track.

[j45nick]

Right, Nashville has that reputation. I'm glad you're digging your 355. Don't get me wrong here though guys, this post is meant to be celebratory. I have read enough about the Gibson shops to know what's up and I've had my fair share of Gibsons over the years, and while the two issues I have with this guitar are a little disappointing they are nowhere near the level of making me disappointed. In fact quite the opposite. I am in love with this guitar and in so many ways it is heads and shoulders better than any of the regular 335 dots I've played. In fact I almost picked up a dot last year for only 1500 bucks, but passed on it because it didn't have that magic. This guitar has that magic, it feeds me, makes me play better and fuels the creative process, all things that great instrument should do. It is an absolute dream to behold and a pleasure to play. I love it, and once the little e string issue gets rectified it'll be that much better. The memphis shop did a pretty amazing job on this guitar and it is certainly a high end, custom shop guitar. the MSRP is $5880 clams, which is pretty close to the Historics out in Nashville for those keeping track.

 

 

You got a very, very good deal on that guitar. Don't let anyone tell you otherwise. My Nashville-built ES 335 has exactly the same fret configuration as your guitar, so that has nothing to do with where the guitar was built. It happens not to be an issue with my playing style.

[badbluesplayer]

Sounds like a good find.

 

The cracked binding is usually caused by the fretboard drying out and shrinking across the grain after the guitar is built. It's usually because the guitar is stored in a warehouse that's too dry. Guitar Center is well known for shipping guitars with dried fretboards.

 

In this case, the issue may be related to Gibson's problems with wood issues. It is possible that the rosewood was not dried enough when the guitar was built and now that it has dried out it has shrunk. Who knows.

[ajaxajax2000]

[TinyBabyBrandon]

 

I hear you! I took a bunch but I cannot upload them, It keeps telling me that they're too big to upload but I've even resized them as small as they will go, and nothing. Any help would be awesome.

[j45nick]

I hear you! I took a bunch but I cannot upload them, It keeps telling me that they're too big to upload but I've even resized them as small as they will go, and nothing. Any help would be awesome.

TBB, go to the "forum feedback" subform. There is a highlighted thread at the top on how to post photos. Most people here use one of the online photo storage services like photobucket. That's the one I use. It's free and user-friendly.

[TinyBabyBrandon]

TBB, go to the "forum feedback" subform. There is a highlighted thread at the top on how to post photos. Most people here use one of the online photo storage services like photobucket. That's the one I use. It's free and user-friendly.

 

Cool Nick, Thanks. I'm going to check it out. Hopefully some pics will soon be up.

[ajaxajax2000]

TBB, go to the "forum feedback" subform. There is a highlighted thread at the top on how to post photos. Most people here use one of the online photo storage services like photobucket. That's the one I use. It's free and user-friendly.

 

Me too. Upload your pic's to Photobucket "http://photobucket.com/" (e.g.), then click on the "direct link" under the pic on PB, then paste that link into the "insert image" field on the post your'e writing here. Piece of cake.....

[TinyBabyBrandon]

 

 

 

 

 

 

Here are a couple shots of the frets in reference tot he little e string issue. See what you think....

 

 

 

And the little lines from the frets on the binding:

 

[ajaxajax2000]

Gorgeous!!! And good photo work.

[badbluesplayer]

O.K. The little cracks at the ends of the frets are not exactly the kind of cracks that I'm familiar with that I was talking about when I said your board might be dry. The cracks in the binding on your guitar look cleaner than the cracks I've seen. Looks like it's probably a manufacturing defect.

 

That's probably why it didn't make it through inspection.

[Guest EastEnder]

Congratulations on your new guitar. It's a great feeling when you get the one that just feels right.

 

As for the high E being too close to the edge of the fretboard (if I'm reading your concern correctly), you might consider a new, un-notched set of bridge saddles and have the grooves cut in them which would move the whole six-string set closer to the bass side. This might address your "fret end slippage" concern. I actually prefer more space between high E and fretboard edge than at the low E, but that's just preference to accommodate playing style. Gibson string/fingerboard alignment tends to vary from guitar to guitar.

 

As for the chamfering at fret ends, a shot of my 355 to illustrate how I find it's usually done:

 

[TinyBabyBrandon]

Congratulations on your new guitar. It's a great feeling when you get the one that just feels right.

 

As for the high E being too close to the edge of the fretboard (if I'm reading your concern correctly), you might consider a new, un-notched set of bridge saddles and have the grooves cut in them which would move the whole six-string set closer to the bass side. This might address your "fret end slippage" concern. I actually prefer more space between high E and fretboard edge than at the low E, but that's just preference to accommodate playing style. Gibson string/fingerboard alignment tends to vary from guitar to guitar.

 

As for the chamfering at fret ends, a shot of my 355 to illustrate how I find it's usually done:

 

Yep, the fret chamfering on your 355 is definitely different from that of my 335. That pesky little e is a real trouble maker and it is starting to bug me. I'm going to have to take it in to get it figured, but that means having to part with that guitar for probably at least a couple of weeks. A major bummer if there ever was one. It may be that it's just a bit too far over and needs a renotched saddle. I really hope it's not a fret issue.

[jt335]

TinyBabyBrandon, I have the same issue with the high E on my 335, which I bought new in 2010. I liked the guitar so much i decided to live with it. I've seen it on every 335 and 339 that I've played to varying degrees. I believe it is caused by 2 things: The way the fret ends are finished and the shorter scale as compared to a Fender making the strings have more slack in them. Using an .011 for the high E string will help a little and won't effect string bending because of the short scale of the guitar. I also find that the more I play it, I don't notice it as much, but if I play my Strat for awhile and go back to the 335 I notice it again. The chamfer on my frets is a lot more severe than the picture that EastEnder posted. EastEnder looks like you got a good one there.

Keep us posted if you find a solution that works.

[Guest EastEnder]

The chamfer on my frets is a lot more severe than the picture that EastEnder posted. EastEnder looks like you got a good one there.

 

Thanks, but all of my Gibson fingerboards are consistent with the 355 with respect to chamfering. I must be lucky.

[TinyBabyBrandon]

Just a little bump on an old thread, but I got the guitar set up at Westwood music in LA and it now plays great. They notched the saddle on the high e a little further up and it took care of the high e issue of slipping off the side of the fretboard. They also screwed the tailpiece all the way down to the body which improved the resonance, although I don't notice a difference, but it tightened up the strings a bit. Before it was a very loose feeling, which actually felt pretty good. I'm thinking about finding a happy medium. You guys have any thoughts on the tailpiece positioning?

[roadhog96]

I found setting the tailpiece height so that the break angle matches the nut headstock angle works the best. I played with all kinds of settings and I couldn't detect anything beneficial by cranking it down to the body. You have to set it up to what feels and sounds best to you. Doesn't matter what everyone's else does. You'll get all kinds of preferences, yours is what's important.