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Vintage Gibson guitars

Gibson guitars, Gibson bass, Gibson amplifiers, Gibson catalogues

Gibson ES300
Late 1940s Gibson ES300
The Gibson plant at 225 Parsons Street, Kalamazoo, Michigan
The old Gibson plant at 225 Parsons Street, Kalamazoo, Michigan, now home of Heritage guitars
Gibson guitar information on this site is sorted into categories:
Gibson amplifiers
Gibson bass guitars
Gibson guitar catalogues
Gibson electric acoustic guitars
Gibson solid-body guitars
Gibson thinline guitars

Vintage Gibson

Vintage Gibson guitars are very special indeed, and they are held in very high regard by serious players and vintage guitar collectors alike. Especially the guitars made in the main Gibson plant, 225 Parsons Street, Kalamazoo, Michigan. The very best of these guitars were made in the 1950s and 1960s; often referred to as the CMI (Chicago Musical Instruments) period. These Gibsons are the epitomy of quality. The best guitars were hand-built. Tops were carved and tap-tuned, a job requiring great skill and experience, and the pieces were assembled and finished by skilled craftsmen, with incredible attention to detail. But even the entry-level Gibson guitars were a step above the majority of guitars available at the time; both in terms of workmanship and components.

But this was a time of big change in the guitar market. Gibson specialised in expensive electric acoustics; guitars like the L5-CES, ES-5, and ES-175, all large hollow-body guitars with superb clean tones for jazz soloing. Gibson endorsees were 'serious' musicians; often guitar virtuosos, in the jazz, pop or bluegrass genres. They would be accompanied by an upright bass, and a drummer using brushes. But the advent of rock 'n' roll changed everything. The necessary increase in volume rendered the jazz box obsolete and heralded the rise in popularity of the semi-acoustic and the solid-body.

Jack Bruce basses his sound on Gibson
Jack Bruce basses his sound on Gibson

Gibson rock guitars

In this time, and under the stewardship of Ted McCarty, Gibson introduced the majority of the iconic models that it is famous for today. The Les Paul in 1952, the ES335, Flying V and Explorer in 1958, the Melody Maker in 1959, the SG in 1961, and the Firebird in 1963. Despite being superb instruments, many of these were too far ahead of their time, and were commercial failures until re-issued years later. Only 98 Flying V guitars were shipped between 1958 and 1959, and only 22 Explorers. The low-production numbers of these models guarantees their desireability to vintage guitar collectors, and if offered for sale could fetch a five or six figure sum, depending on the state of the market.

Gibson went from strength to strength in the early 1960s, selling guitars quicker than they had time to build them. 1965 was their peak year, selling over 83000 instruments.

But by the late 1960s, the American guitar industry was in trouble. Companies were folding and changing hands, and Gibson was no exception. Norlin took charge in December 1969, and immediately introduced numerous new models.

Keith Richards with the Gibson Les Paul Custom, from the 1975 Gibson catalogue
Keith Richards with the Gibson Les Paul Custom, from the 1975 Gibson Les Paul catalogue

The Norlin period

This period is not held in as high regard as the earlier CMI period, and it is true, Gibson produced a lot of low-priced guitars at this time, but the finest instruments are every bit as good as older versions. Guitars like the Citation, L-5S, and Crest are as good as anything Gibson ever built. In 1974 Gibson opened a new plant in Nashville, and some guitar output was moved there. The Nashville plant, especially early on, was unable to compete in terms of quality with Kalamazoo, and some of the seventies bad reputation may have been due to this.

This is the decade Gibson moved away from mahogany, in favour of other woods. The archetypal Gibson solid body sound was rich and dark; it had been produced by Gibson humbuckers, a mahogany body and a glued in mahogany neck. But there was a recognition that a wider tonal range would be greatly appreciated by the guitar buying public. In the early 1970s, electronics wizard Bill Lawrence designed a number of new guitars for Gibson: the L-6S, Marauder, S-1, Grabber bass and Ripper bass; all used maple and or alder, and many were natural-finished giving a distinctly different look to preceding models. They were electronically experimental, using a number of different techniques to achieve greater tonal palettes, from very simple ideas like a moveable pickup, to more in depth multi-position varitone switches.

Gibson RD Standard bass
The Gibson RD Standard bass, circa 1978

The two Gibson plants, Nashville and Kalamazoo, were running in tandem throughout the second half of the 1970s; Nashville built a large proportion of the solid body guitars, including Les Pauls, the L-6S, 335 solids etc, whilst Kalamazoo was the home of basses, hollow bodies, and new product development. A new 'Research and Development' team set to work, their first design taking the name of the group. The all-maple RD series was one of the last instruments to be made entirely at the Kalamazoo plant. But at this time, even necks on a lot of traditionally all-mahogany instruments went maple, for example 70s Les Pauls, SGs and solid-body 335S. The RD was a colaboration between Gibson and Moog (another norlin company); again an attempt to increase tonal range but this time by creating an active instrument with built-in Moog expansion and compression circuitry. The sucess of the RD Artist lead to other guitars being fitted with the same electronics, most notably the Les Paul Artist and ES-Artist.

The popularity of the electric guitar was declining somewhat in the early 1980s, but with two plants up and running, Gibson had no shortage of production capacity. So Gibson proceeded with the first of several attempts to create a line of products placed somewhere between it's Japanese built Epiphone 'copies' and it's regular Gibson guitars - see the article on non-Gibson Gibsons here. The Gibson Sonex was a range of entry to intermediate level guitars produced at the Nashville plant, using an innovative wood/particle board (resonwood) composite body. The cheapest, the Sonex-180 Deluxe was built in the USA, but actually fitted with imported Japanese pickups and hardware, allowing for an incredibly low launch price. Other models in the series actually used standard Gibson hardware, and the Sonex Artist even had the Moog expansion/compression circuitry of the RD series.

The Gibson Victory series was again all maple with state-of-the-art electronics, this time by Tim Shaw, but still aimed at expanding the range of sounds available from a Gibson. They were passive, save the Artist bass, and even that had a switchable passive mode. These guitars were designed at Kalamazoo, and a few early examples were built there, before production of this line moved to Nashville, at the end of 1981.

Finally in 1984 the Kalamazoo plant closed, and all electric guitar production moved to Nashville. In January 1986 Gibson was sold to it's current owners.

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1981 Gibson Rosetti catalogue (UK)
1981 Gibson Gibson Rosetti catalogue (UK) 20 pages, black and white with color front cover. In the middle of 1981, Rosetti took over distribution of the Gibson line in the UK. Rosetti were a very big name in Britain, having distributed Epiphone since at least 1963, as well as Hagstrom and others. This catalogue was produced at the tail end of 1981, and introduces a number of models to the UK, such as the MV-II, MV-X guitars and the Victory basses, the GGC-700 and the Flying V bass. Some of these models were so short-lived that they were actually never included in US brochures. The cover image (reproduced in part here) showed some of the earliest demonstration models, including a Victory with a highly unusual white scratchplate.
1981 Gibson Victory MV-II electric guitar
1981 Gibson Victory MV-II electric guitar A closer look at a 1981 Gibson Victory MV-II electric guitar. The Gibson Victory MV, or 'Multi-Voice' guitars had very wide tonal palettes; with coil-tapped humbuckers they could produce typical Gibson tones, but were also designed to 'out-Fender' Fender. Two models were launched in the summer of 1981. Whilst the MVX, was designed to do everything a Stratocaster could do, the MVII was 'primarily for the discerning country player' - placing it squarely against the Telecaster.
1982 Gibson loose-leaf publicity sheets
1982 Gibson loose-leaf publicity sheets Gibson produced a series of single sheet flyers in 1982, promoting some of their newer models (Victory bass and Multi-Voice guitars, Chet Atkins Classic Electric and the already best-selling Sonex-180 Deluxe), and a few classic reissues (30th anniversary Les Paul Standard and Heritage Flying V) - all of which were received with some applause at the 1982 Atlanta NAMM show. These flyers all contained one or more side-panel, that folded out with model specifications, but were also designed to be reproduced in guitar magazines of the time without the extra fold out.
1966 Selmer guitar catalogue
1966 Selmer guitar catalogue The 1965/1966 Selmer guitar catalogue contained guitars by a number of different makers imported for the UK market, the most numerous being German-made Hofner electrics, acoustics and basses. There is also a fairly large Gibson section, but it by no means contains all instruments produced under that brand at the time. Other instruments featured include guitars and basses by Hagstrom and Futurama, and Brazilian acoustic guitars by Giannini. 44 pages, with UK pricing in guineas.
1980 Gibson Sonex-180 Pre-Owners Manual
1981 Gibson Sonex pre-owners manual The Gibson Sonex series pre-owners 'manual' was produced for circulation in early summer 1981, along with nine other manuals representing different segments available from Gibson at that time. Rather than a manual in the conventional sense, it is actually a mini folder with three loose-leaf inserts with catalogue-style image and description, one each for the 180 Deluxe, 180 Custom, and a new model, the Sonex Artist. The Sonex-180 Standard was not included, having been dropped from the Gibson line earlier in 1981.

Vintage Gibson guitars for sale

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1960 reissue 2000 Gibson Les Paul Classic Honey Burst *FREE SHIPPING

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Current price: £295.00
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Current price: £16999.00

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Gibson 1959 ES-125T (Pre-Owned)

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Gibson Les Paul Classic 1960 Reissue Gold Top LP Goldtop

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Gibson 1958 Custom Shop Les Paul R8 (2001 Reissue) - Bargain - Can Deliver !!

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Gibson Sg 1961 Reissue plus original hardcase

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Gibson Les Paul 1958 reissue LPR8 R8 made in 2014 with original hardcase

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gibson 1959 reissue ROSIE

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There are 3 comments on this article so far. Add your comment
joe chaisson Comment left 3rd March 2012 10:10:59
i have a 1980 les paul gold top standard and i would like to know what it would be worth?
Lio Comment left 8th November 2013 10:10:16
I have a old Gibson L 3. The lable inside is not very clear but I think it has patented Feb 1st March 30, '06 also number 535/??. It was made in Kalamasoo Mich. The body is in perfect condition with all original parts. The turtle hand guard is so brittle and falling apart is the only part that is not good. The rest of the guitar has no scratch or wear. It has its original hard case in great condition. Just wondering about the price. I want to sell it. This was a gift I received from my late father-in-law. five years ago. I certainly need the money so I am trying to sell it. I will greatly appreciate your help. Thanks.
Jamie Moore Comment left 10th February 2014 06:06:32
This is great BUT no mention of Gibson Howard Roberts Custom. Would you have any info about how much one is worth or where to find out how much it's worth? Single pick-up, oval sound hole, great condition circa 1975 with Gibson hard shell case. Can you help??

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