The FON is the only identification number on Gibson's lower grade models (like the ES-125, ES-140, J-160E, etc.) which do not feature a paper label. Higher grade models (such as the Super 400, L-5, J-200, etc.) feature both a serial number and a FON. When both numbers are present on a higher grade model, remember.

LES PAULS 1., ( ), (), (), (). Another sweet vintage Deluxe, much like the '78 I put up recently except this one's Cherry Sunburst, instead of Tobacco.

Overall lovely condition and at 33 years, is a true closet classic. The Cherry Sunburst finish retains strong color, rather than the faded red frequently found on old Pauls. Only light wear exhibited - just check out the pics.

The worst flaws are two lacquer cracks in the top () which are in the finish only. Features of the Deluxe were basically identical to the Standard except for pickups, where the Deluxe used the mini-humbuckers and the Standard used the PAF style humbuckers. A number of players prefer the mini-hums for their brighter tone; they fall between a PAF and a P90 to my ears. With a perfect neck angle and straight neck, this guitar sets up with low action. Look around the vintage sites and you'll see few Deluxe's going under $3K, and those that are seem to be in rough shape or not original.

This is an excellent player with low action, nice sustain, and sweet, creamy tone. Like my buddy Ed says, 'old wood sounds better' and judging by this guitar, a new one just doesn't have creamy tone. Clean vintage Pauls don't come along often and I think this one is a sweet deal at $2100, Includes original Protector case with all latches and hinges intact. 2., (), (), (), (), ().

Another cool ’60 Classic with a mildly figured top, loaded with a great pair of Seymour Duncan humbuckers (SH-4 JB in bridge, SH1N ’59 in neck). The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer. The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock. Features of the '1960 Classic' are nearly identical to the Standard, with the primary difference being pickups, with the Classic is outfitted at the factory with ceramic humbuckers. Just like the Standard it features a mahogany body with maple cap. The only visual difference, other than the uncovered pickups, is the 'Classic' screened logo, “Classic” truss cover, vintage-style inked serial number, and '1960' on the pickguard.

Other features include 12' fretboard radius, light amber top-hat knobs, cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays. Two minor flaws I need to point out: lines around the tuners where a bigger footprint set of Klusons were once installed (pic), and supposedly there was a hairline crack on the headstock which appears invisible now. It was less than 1” and only on the surface. Otherwise in very nice shape with excellent frets and a comfortable, low set up. If you’re looking for a REAL Les Paul without spending a fortune, get this beauty for $1199(HOLD-Jeff T 5/24/17). Includes black Gibson case.

3., (), (), (), (). Since 1983 Gibson has offered the Studio as an affordable alternative to the Standard, with all the tone and playability, but without the fancy cosmetic appointments. Although initially it was an all-mahogany body, it soon evolved into the maple cap that made it even closer to the standard. At one point in the mid-80's they even made a 'Studio Standard' which had a bound body and neck, still retaining the dot inlays and screened logo.

A decade or so later Gibson added trapezoid fretboard inlays which makes the guitar look very much like a Standard from the audience perspective. It remains to this day and excellent and more affordable alternative to players who could care less about binding and inlaid logos. I see numerous performances on TV where the featured artist, or backup guitarist, is playing a Studio. These are guys who can afford high-end instruments, they just apparently prefer the vibe of the Studio. In ’06 these models were not chambered, as recent models are. They of course are weight-relieved, as are all other Les Pauls since 1983.

Features include solid mahogany body with maple cap, rounded 50s neck profile, rosewood fretboard, 490R and 498T Alnico II humbuckers, dual volume and tone controls with 3-way selector, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners, gloss nitrocellulose lacquer finish, and chrome hardware. Judging by the clean condition of the frets and overall appearance, this guitar has seen very little use.

No buckle scrapes, no fret wear, just a few clear coat scratches and dimples. With a new black Studio running $1499 you can save some hard earned cash on this great playing, good looking used model. $850 includes clean Gibson black case. 4., (), (), (), (). Cool looking ’60 Classic with a nicely figured plain top, if that makes sense. The '60 Classic has all the features you know and love including '60 slip taper neck, mahogany body with maple cap, all finished in a high-gloss, hand-sprayed nitrocellulose lacquer.

The classic tone comes from this marriage of maple’s clarity and definition and mahogany’s richness and depth which combine to produce a tonal complexity that no single-wood guitar has ever matched. Its resonance and sustain are only further enhanced by the deep-set quarter-sawn mahogany neck with 17-degree back-angled headstock. Features of the '1960 Classic' are nearly identical to the Standard, with the primary difference being pickups, with the Classic featuring 496R and 500T ceramic humbuckers. Just like the Standard it features a mahogany body with maple cap. The only visual difference, other than the uncovered pickups, is the 'Classic' screened logo, “Classic” truss cover, vintage-style inked serial number, and '1960' on the pickguard. Other features include 12' fretboard radius, light amber top-hat knobs (also included), cream plastic parts, inlaid pearloid logo, and aged-looking trapezoid fretboard inlays.

Other than some minor impressions in the clearcoat, this guitar is in very nice shape with excellent frets and a comfortable, low set up. Noteworthy hardware upgrade: Tonepros locking ABR-1 bridge and locking stop bar tailpiece.

This is a very nice Paul for $1399. Includes black Gibson case. 5., (), (), (), (), ().

Rare flametop Studio, this is easily a AA top and although the beauty is somewhat lost on a dark wine stain, it looks great in good lighting. This is one of the older 'heavy' Studio's, before chambering became a standard feature on all LP's around 2005. Many players are seeking these out, with the belief that a better tone is worth the extra pound or two. The Studio's remain the best value in the 'real' Les Paul line, i.e.

Gloss finish, carved maple cap over mahogany body, trapezoid inlays, 490R and 498T Alnico humbucker, Gibson deluxe tuners, etc. Maya Tamil Serial Jaya Tv. Basic construction is the same as the Standard with the exception of cosmetic appointments such as body and neck binding. Cosmetically this one has its share of scratches and dings, but there are no breaks, repairs, or other issues.

I attribute the flaws to a careless owner rather than extensive playing time as the frets are near perfect. It's a great playing Paul and for a lacquer finish Studio a nice buy, especially for the many players who are looking for a non-chambered body, which are becoming harder to find. With a new Studio in Wine selling for $1319, for the player this guitar offers substantial savings, an a lovely maple top.

Just $779 and includes Gibson brown case. Case is missing the combo latch but other latches work fine. 6., (), (), (). Sort of the LP mate to the SG above, also finished in transparent red and from the same '97 production year, a quality era for Gibson. You might remember this guitar, which was originally listed as a great player but in rough condition (, and ) with miscellaneous finish chips and wear around the edges, but no structural issues. Martin touched up the rough areas with some 'Wine' stain, lacquer over the areas, and buffed out the body.

While it's certainly not mint, it is a very presentable guitar. The Studio's remain the best value in the 'real' Les Paul line, i.e. Gloss finish, carved maple cap over mahogany body, trapezoid inlays, 490R and 498T Alnico humbucker, Gibson deluxe tuners, etc. Basic construction is the same as the Standard with the exception of cosmetic appointments such as body and neck binding.

The original Studio's, back in the early 80's, were a more distinct model, with an all mahogany body and dot inlays. Following that came the 'Studio Standard' with binding, dots, and maple cap - and finally in the late 80's this model. It's a great playing Paul with very minor fret wear () and no structural issues, no cracks, etc., and for a lacquer finish Studio a nice buy, especially for the many players who are looking for a non-chambered Studio, which are becoming harder to find. Just $839 with Gibson deluxe gigbag or $899 with a new, excellent quality, TKL wood/Tolex hardshell case. 7., (), (), ( and ). Never retailed - unplayed condition and ships in original box. Gibson started their 'Smartwood' Series in the mid-90's, utilizing sustainable woods which are both tonally acceptable, and eco-friendly.

While many of these were exotic woods (such as Muira Piranga) we had never heard of, this is one of the newer models featuring good old Swamp Ash, a name that's been synonymous with guitars since the 50's. The Swamp Ash Les Paul is a limited edition model, although Gibson hasn't released total production numbers. The tone isn't radically different from a 'regular' mahogany/maple body, but it does seem to have more punch, more pronounced in the mid-range; Billy Gibbons comes to mind.

Most remarkably, this guitar weighs in at a remarkable 6.4 lbs., which would be light for a Strat or Tele, and unheard of for a Les Paul. Features include: satin natural finish, figured swamp ash cap over swamp ash body, rounded mahogany neck with rosewood fretboard, 490R and 498T Alnico II humbuckers, rosewood fretboard, chrome hardware, green leaf truss rod cover, dot inlays, Gibson Deluxe tuners, and satin finished Mahogany neck.

A regular black Studio is going to run you $1319 and will probably weigh around 9 pounds or more. This beauty is immaculate and at 6.4 lbs.

Is one of the lightest guitars, much less Les Pauls, you'll ever play - for just $1179. If you're looking for a Paul that you can play for 3 long sets without any shoulder fatigue, this is it.

Includes black reptile case, manual, and paperwork. 8., (), (), (). Since 1983 Gibson has offered the Studio as an affordable alternative to the Standard, with all the tone and playability, but without the fancy cosmetic appointments. Although initially it was an all-mahogany body, it soon evolved into the maple cap that made it even closer to the standard. At one point in the mid-80's they even made a 'Studio Standard' which had a bound body and neck, but still with dot inlays and screened logo. A decade or so later Gibson added trapezoid fretboard inlays which makes the guitar look very much like a Standard from the audience perspective. It remains to this day and excellent and more affordable alternative to players who could care less about binding and inlaid logos.

Features include solid mahogany body with maple cap, rounded neck profile, rosewood fretboard, 490R and 498T Alnico II humbuckers, dual volume and tone controls with 3-way selector, Tuneomatic bridge with stop bar tailpiece, Gibson Deluxe tuners, gloss lacquer finish, and chrome hardware. Judging by the clean condition of the frets and overall appearance, this guitar hasn't been played very much but at least for one night it had a careless owner with a mean belt buckle ().

If you're a player who doesn't mind a little bit of character, sort of like pre-washed jeans, this is an excellent playing Les Paul and easy on the wallet at $850. Okay, here's a model you've never had a shot at - because it's the only one in existence. Available only through Gibson's service, where your $500 membership gives you access to the rarest of the rare. For this particular guitar, Gibson commissioned noted artist as part of their ' to paint two 'bug' guitars - this Les Paul and an ES-5 ( the ES-5 subsequently sustained a damaged neck, never retailed, and was blown out in a charity auction). As much a work of art as it is a playable instrument, the 'Bugs' features a Les Paul Standard with hand-painted bugs on the top, as well as the highest quality Abalone. It's hard to capture the the beauty and intricacy of her paining in great detail but here are some attempts:,,,,,. Includes and warranty card.

This guitar was collector owned, unplayed, and mint condition other than very sight tarnish on the edges of the pickups - we can replace the pickup covers if desired. This guitar was obtained through an IRS auction where the original owner, with the finest collection imaginable, was forced to sell off dozens of highly-prized guitars, most of which remained unplayed. Cost to the original owner on this guitar was $10,000. There was not a list price, that was the actual selling price. Offered here, at my humble site, for just $7000.

One of these days I hope to contact Ms. Paulsen and, hopefully, offer it on her site as well. 10., (), (), (), (), (.). Gibson's Guitar of the Month (GOTM) for May '08. Never retailed and offered in mint condition.

Last year Gibson offered a unique collection of monthly limited editions, with production limited to just 1000/each, an idea that was previously used with their Showcase Editions () in 1988. Clean examples of Showcases go for significantly higher than their regular production counterparts and these guitars should also prove to be good investment pieces. Most of the 2008 models featured cool colors and pickup/hardware variations but this one is truly radical. The Les Paul Push Tone's defining feature are easily switchable pickups ( for a demo) and each guitar comes with a pair of BurstBucker Pro's and a pair of P-94's that attach wirelessly to the body using strong magnets. Burstbucker Pro's for the classic fat Paul sound you know and love, while the P94's are actually P90 single coils that are designed to fit in a regular humbucker slot - giving you 4 mix-and-match pickup combinations for loads of tonal flexibility. The pickups load through the back and each is complete with the pickup already attached to the mounting bracket, and each comes with a quick-connect plug. In addition to this unique pickup options this is a killer Les Paul with a lacquer finish in Antique Natural with a beautiful AAA maple top.

The flame on this one is rather unique and is definitely nicer than the average Push Tone, with thin ribbons in a chevron pattern at the bottom, becoming straight across at the middle, transitioning into reverse chevron at the top. It's a very pleasing look. Other unique options of this model include: Maple fretboard inlays, Ebony fretboard, 50's rounded neck profile, locking Grover tuners, Neutrik locking output jack, commemorative case with commemorative interior shroud, and a very 'clean' look without a pickguard, pickup rings, or selector ring.

Other specs are the same as a regular Les Paul Standard. This was one of the more expensive GOTM models with a list price of $4399, discounted to $2899. This one is better than new, totally untouched except for a killer setup by Martin, inevitably better than factory, and priced $400 less than a regular Standard Plus at just $2399. For full specs for Gibson's site.

Trades on Fender Custom Shop and PRS are desired. SG'S 1., (), (), (), ( - ), ( ). 44 year old guitars rarely look this good! This is one of those 10%’ers that has been well cared for its whole life. Oh, it’s been played, but this is how they can look when they’re adult owned and cared for.

No breaks or repairs, finish has a nice patina with minimal checking, no overspray or other funny business. Pots are all ’72 and all caps are stock as well. The only change is at some point pickups were swapped out with a ‘79/’80 set of Gibson T-Tops. They probably sounded better than the stock pickups since it would be rare for PAF’s to wear out in 7-8 years. This is, after all, an excellent sounding SG.

Finished in Walnut-stained mahogany, it features the Gibson-stamped Bigsby tremolo which works very well and adds a different dimension you don’t get with most Gibsons. Original Grover tuners work perfectly with no slippage. This guitar has a perfectly straight neck and although these aren’t the tallest frets, it sets up very low with no fret outs. I have a buddy that always says “old wood is better wood” and maybe that’s part of the key to this guitars tone. It sounds and feels superb.

If you’re thinking about plunking down major cash for a recent SG Standard, why not go for a vintage model that’s probably going to sound better. $1699 takes this beauty. Includes original case and manual/warranty. 2., (), (), (), (). In the early 70's Gibson built a number of moderately priced SG's.

General construction and fit/finish was on par with their higher end models but they kept down cost with unbound necks, screened logos, front-mounted controls, dot inlays, and plain bridges/tailpieces. Even the high end models like the Custom, Deluxe, and Pro sported front-mounted controls and jack, mounted on a plastic plate, rather than the traditional method of routing the back and avoiding the need for a control plate. The budget models came in one or two pickups, beginning in '71 with the SG 100, SG 200, and SG 250, all with single coil pickups. In '72 Gibson came out with the SG I, II, and III, all with mini humbuckers.

These were short-lived models, introduced in 1972 and discontinued in 1974. The I was available in Cherry or Walnut finishes with a single mini-humbucker; the II was the same guitar but with an additional mini humbucker; the III same as the II but in Cherry Sunburst finish. While the earlier 100-series used a crude newly-designed bridge with a sheet metal cover, the I-series resorted to the 50's tried and true wraparound stud tailpiece, compensated for better intonation. This SG I features the beveled edges and silhouette that define the SG, but body is made of walnut rather than the traditional mahogany; necks is mahogany. Tuners are Kluson 'Gibson Deluxe' 3/strip with metal Keystone buttons.

Other features include raised black pickguard, black teardrop control plate with volume/tone controls and output jack, witch hat knobs, adjustable mini humbucker with black cover, and black headstock face with gold screened logo. For 40+ years this guitar is in nice shape with some clearcoat scratches or dings but no cracks or finish checking.

As is typical, the cherry finish has faded on top and is much more vibrant on the back. Set up is comfortable and it has a fairly loud acoustic tone. For players who like simplicity, nothing beats a single pickup and wraparound tailpiece. I also find string muting extremely easy with the wraparound bridge. Appears all original including electronics, with pots 29th week of '71 (). I got this without a case but I'm offering it with one of my spare vintage SG cases, pictured above, for $850(SOLD-Kevin H 7/7), or with a gigbag for $750. 3., (), (), (), ().

Very unique SG - Limited Edition Platinum with all chrome/platinum parts () including body, plastic, and hardware. All mahogany construction gives it that classic warm SG tone that has helped define the sound of rock, most notably with Angus Young. This model also features an Ebony fretboard, usually reserved for higher-end models, which gives it a little more snap on the attack than rosewood. Pickups are 490R/498T Alnico II humbuckers. You Fallout Boy fans might remember front man and guitarist Patrick Stump playing this model when they were becoming huge, before his jump to Gretsch.

If you like low action - you'll love this guitar. It's got a great neck which allowed us to set the action very low. The neck's a tad on the chunky side, much closer to a 50's rounded neck than a 60's thin taper.

Don't confuse this with the faded series. This is the gloss finish model and it sold in stores for $1049 during its last year of production 6 years ago. This one is pretty much immaculate - no scratches, dings, or fret wear, an easy 9.8 - and wouldn't look out of place hanging with brand new guitars in your local store.

Just a super gloss-finished SG that plays as nice as it looks. $799 includes original gigbag. 4., () ), (), (), (), ().

I had a number of these NOS in silver, but this is the first I've had in Red Metallic with gold hardware, which is a very elegant look to me. One of 1000 made for Gibson's 'Guitar of the Month' series in 2008. Upon quick inspection looks like a '62 SG in a custom color, but up close you can see the very unique body cut that makes this truly a unique SG.

Both the top and back have a German carve, rather than the slab top of a standard SG. This technique provides an attractive 3D effect to the guitar, while reducing weight and making it more comfortable to play. A few other changes you'll notice include a matching headstock, a simple 2-knob layout with the volume knob being closer to allow volume swells with your pinky finger, and most importantly, a 24-fret neck rather than the usual 22 frets. Features include: Burstbucker Pro 1 (neck) and Pro 2 (bridge) humbuckers, hand-carved mahogany body, mahogany neck with rounded profile, 1.687' fret width, 12' fretboard radius, Nashville bridge, Grover tuners, gold hardware, and Grover tuners.

Lastly, this model features a nitrocellulose finish, which is an expensive process due to the hand work required and the very long drying time between coats. Nitro is a very thin finish and one which Gibson has been employing since the 1800's. It allows the guitar to resonate more freely than a thick poly finish, which is one of the reasons that old Gibsons sound so good. Likewise, the paint on this guitar is very thin, and you can easily see the mahogany grain. My personal opinion of this model - some of the best sounding SG's that I've played with the fatness you want from a dual humbucker guitar, while retaining excellent not clarity and plenty of top end. The middle of the body is actually thicker than an SG Standard which gives it a neck that is much more stable than the floppy SG. Presented in near immaculate condition with no scratches and only a few miniscule impressions, the only noteworthy one being a filled-in ding on the front ().

It's all original except for stock cheap-o Tuneomatic has been swapped out with a German Schaller. The last time I recall Gibson doing monthly limited editions was the Showcase Editions in 1988 ().

These guitars have proven to be very good investment pieces, fetching 50% or more over comparable regular production models from the same year. For a bizarre demo from GearWire. The Diablo listed at $3249, selling in stores and online at discount for $2119. If you missed one of these during their run in '08, here another chance to get one, in beautiful shape with as nice a setup as you'll play in an SG.

5., (), (), (), (), (), ().Killer SG in lovely vintage condition, a classic rock icon from the 70's. Pickups are the sought after 'Super Humbuckers', designed by Bill Lawrence and easily identifiable by the black epoxy on the underside (). This guitar sounds incredible, plays fantastic, and is an excellent example of Gibson's early 70's guitars. Features include mahogany body and neck, ebony fretboard, block inlays, 22 frets, factory Gibson/Bigsby tailpiece, wide Schaller-made tune-o-matic bridge, Gibson/Schaller tuners, narrow 1-9/16' nut, and 24-3/4' scale. All original except for two pots replaced in 1983. You'll note the rounded end of the fretboard (), which is more associated with Gibson acoustics but you will see the occasional solid body. Google it and you'll find one recently sold by Elderly with the same feature.

Cosmetically, very nice vintage condition with just the usual scratches in the clear coat but nothing through to the finish. No cracks, no repairs, a very solid piece, ready for another 40+ years of jamming. Includes the proper case for a Bigsby-equipped SG, the rectangular tolex case with plush purple lining, top of the line model. Very cool SG with a factory Bigsby for $1950. 6., (), (), (), (), (). For you EMG fans out there, this one just had a new set installed, plus a set of Hipshot locking tuners. Pickups are an in the neck, which pairs perfectly with the bridge.

The 89 has the bonus feature of being splitable via push/pull pot which gives it the ability to deliver Strat-type sounds, or traditional fat humbucker tones. EMG's sound great in an all mahogany guitar and this is definitely better sounding than any Special I've had. Drivers License Renewal Lake County Florida here. Also upgraded were the tuners, which now feature a new set of Hipshot locking type. All work was done by my man Martin, so you know it's done right. Lastly, pickguard was changed to a white with beveled edge, which is gives it a cool tuxedo appearance.

Cosmetically this guitar has its share of scratches and dings but as the frets are perfect, I'll chalk that up to a non-meticulous owner who gigged with it for a brief period. The set up is fantastic and with excellent sustain, this guitar is definitely a winner. If you're not looking for the flash of a Standard, but are more concerned with tone, this is a sweet axe for $679. Includes original brown case with non-working combo latch and missing the latch from another latch - no problem, it stays closed just fine. 7., (), (), (), ().The SG Special provides the classic SG tone, but without the cosmetic features of a Standard, it's a better bargain. It features an un-bound neck, dot inlays, screened logo, and uncovered pickups, but is otherwise the same guitar.

Its all mahogany construction with unmistakable beveled edges gives it that classic warm SG tone that has helped define the sound of rock, most notably with Angus Young. The light weight, thin body, and deep cutaways make it one of the most comfortable guitars to play. Pickups are 490R/490T Alnico humbuckers. The neck is well rounded and on the chunky side, but not as chunky as a 50's style.Don't confuse this with the faded series, which are good guitars in their own right, but this is the gloss finish model which sells new for a $1K. For more info for Gibson's site.

A new Special in black or cherry is going to set you back $999 but this one's in excellent condition with a great set up for just $679 with the older & better Gibson wedge-shaped gigbag. GIBSON OR USA EPI SEMI-HOLLOW & ARCHTOPS:, () (), (), (), (), (), ().

From Gibson's Golden and lovely condition, especially for 60+ years old. The ES-125's were near the bottom of the price list for Gibson archtops of this era, but that only means minimal cosmetics appointments. It received the same care in manufacture as the higher end models. The 125 has a laminated 16 1/4' body with maple top and mahogany back and sides, with mahogany neck and Brazilian fretboard () and bridge, finished in nitrocellulose lacquer.

Although they made a thinner version (125T), this is the original full depth model, 3.5' deep. Other features include 24.75' scale, single P90 pickup in neck position with volume and tone controls, tortoise grain pickguard, Kluson strip tuners, nickel trapeze tailpiece, bound body top and back, pearloid dot fingerboard inlays, silkscreen logo, Sunburst finish only.

Early features () include half-clear/half-gold knobs, and rounded P90 cover. The pickup has 6 adjustable poles between two Alnico 5 bar magnets, which is fairly mellow, not as harsh as some P90's were in the 50's.

The tone is well suited for Jazz, or even Delta blues. Cosmetically, it's in beautiful shape with minimal finish checking, little to no player's wear, no cracks or repairs; just a very nice example of this model. Only noteworthy flaw is a bit of finish peeling on the back, bottom edge (), probably from a wooden stand. The set up is low and comfortable. These have gone up considerably over the past 15 years but this one is still and excellent buy for an early 50's in this condition. $1699 includes a quality hardshell case., ( ), (), (), ( ), (), ( ).

’52 must have been a big year as I recently got in this ES-150, and ES-125, and Fender Deluxe 8-string, all from 1952. This ES-150 is in beautiful shape, with no issues or excuses, and all original other than replacement Gibson tuners. The ES-150 was clearly above the ES-125 during this era, with a wider 17” body, bound neck, trapezoid inlays, and multi-layer pickguard. By appointments, it was close to an ES-175, except for headstock ornamentation. Specs include laminated 17” body, 3.5” deep, with maple top and mahogany back and sides, with mahogany neck and Brazilian fretboard and bridge, finished in nitrocellulose lacquer, 24.75' scale, single P90 pickup in neck position with volume and tone controls, multi-layer black pickguard, nickel trapeze tailpiece, bound body top and back, pearloid trapazoid fingerboard inlays, bound neck, silkscreen logo, Sunburst finish only. Early features include half-clear/half-gold knobs, and rounded P90 cover. The pickup has 6 adjustable poles between two Alnico 5 bar magnets, which is fairly mellow, not as harsh as some P90's were in the 50's.

The tone is well suited for Jazz, or even Delta blues. Cosmetically, it's in beautiful shape with minimal finish checking, little to no player's wear, no cracks or repairs; just a very nice example of this model. Set up is low and comfortable.

These have gone up considerably over the past 15 years but this one is still and excellent buy for an early 50's in this condition. $2100 includes a quality hardshell case., (). One-owner guitar, uncirculated, and a desirable pre-'70 Super. The Super 400CES was Gibson's top of the line archtop and this one has the finest quilted maple I've ever seen on this model. As soon as I opened the case and flipped it over, I heard Martin catch his breath. It was for him, quite literally, breath-taking.

(), (), (), (). This is one of those finds that collectors wait for - a one owner guitar, bought new in 1969, and rarely saw the light of day since new.

It has never been circulated and is being sold only because of the owner's inability to play any longer. I've only owned a few Super 400's, but I've seen plenty and this is the finest of the fine. The worst flaw is very typical - deterioration of the pickguard. High quality repro's are available from a number of sources but the original is included, along with the bracket. Other flaws on this guitar are minimal () and include light wear to some of the gold plating on pickups and tailpiece, and very minor rubs on edge of headstock.

You have to look hard to find any flaws on this guitar but held in perfect light, you can see a slight clear-coat impression on the back where the guitar rested on the pickguard inside the case () but, again, it must be viewed at the perfect angle, and very closely, to see. Includes with accessories - manual, strap, cable, pickguard and bracket. There are no loose braces or other detractors that require maintenance. It's hard to place a value on a guitar like this. If an example with typically 'good' flame is worth $X, how much more for perhaps the nicest quilt imaginable.

To a collector looking for the finest uncirculated example I've personally seen, I consider this one very reasonably priced at $10,000. This is the most incredible Gibson archtop I've ever held and I'm sure the new owner will feel likewise., (), (), ( ), (), (), (), (). Excellent quality Gibson-made Epi from the Kalamazoo MI factory.

During the 60’s Epiphones were made by Gibson through 1970, when production shifted to Japan. Most Epi’s have a similar Gibson counterpoint and in the case of the E360TD, it is the Gibson ES-335TD, with the same woods, dimensions, finishes, etc., with the most outward difference being the parallelogram inlays on the Epi, while Gibson used blocks on the late 60’s ES-335. Additionally, the Gibson used PAF size humbuckers, while the Epi used the newer Mini-humbuckers, which in this case have the PAF sticker on the underside.

Last owner, who had this guitar for 10 years, never noticed this but it has an old headstock repair ( ), which we spotted only after viewing a pic with a flash which upon closer inspection was a very clean crack repair. It was a good job both cosmetically and integrally, and does not pose an issue. In addition, looks like a SSN engraved at the base of the neck (). This is a lightweight guitar that plays easily and sounds very good, even with some higher amp gain.

It is a single-bound, 16” wide, 1 ¾” thick laminated maple body with a maple center block. The one-piece mahogany neck has a nut width of 1 9/16”, with a standard Gibson 24 3/4” scale length and a comfortable medium neck profile. It has the black-faced 'long' headstock with overlay and inlaid pearl 'Epiphone' script logo and pearl vertical 'cloud' inlay. Serial number '89516' is stamped in black on the label. Kluson-style no-line tuners with keystone plastic buttons appear to be replacements. Also, I’ve seen a number of these with Bigsby vibrolas but I don’t think any left the factory that way so it’s likely a replacement as well.

Originally it probably had the trapeze tailpiece. The cherry finish is very vibrant with minimal fading. Included is a quality Canadian TKL case with arched top. The most unique aspect of this guitar, of course, is the name “Wayne” professionally engraved on the upper treble bout. I don’t have a pickguard for the guitar but an OEM model would cover most of it. Better yet, let the world know you are the owner of Wayne and display it proudly.

Clean original examples of this guitar are going $3K-$4K but if you’re a player looking for a solid, nice gigging axe with a cool vibe, I think $1700 is a great price for a ’67 Riviera. GIBSON ACOUSTICS: 1., (), (), ( ), (), (). These are getting hard to find.

The SST was one of the first solidbody acoustic models, designed especially for stage use, i.e. To allow for higher volume before feedback. First introduced as a nylon string model (Chet Atkins CE or CEC) in 1981, the steel string SST joined the line in 1987, gaining instant popularity among pro players such as Dave Matthews who played an SST as his main stage guitar from '92 to '99.

The SST was a simple but very well designed guitar. It features a solid Spruce top, Mahogany back with Chromyte (as used on ES-335's) reinforcement, Ebony bridge, and Mahogany slim-taper neck with Ebony fretboard.

Cosmetic appointments include inlaid logo and star inlay, star fretboard markers, bridge with star inlays and Ebony pins with pearloid dots, multi-ply body binding, and gold hardware. Electronics are simple and are located, unobtrusively, on the side of the bass upper bout and include volume, bass, and treble. Again, this model is very resistant to feedback and these simple controls seem to handle it well.

This guitar features a long 25.5' scale (3/4' longer than normal Gibson scale), 1 11/16” nut, and 21 medium jumbo frets. Cosmetically, you can see that this one has been lovingly played for years, exhibiting a fingernail wear spot on the treble side and a few minor dings near the bass edge. It exhibits some fret wear but nothing that interferes with a very comfortable set up with no string buzz. The back is in much cleaner shape and there are no structural issues such as cracks or repairs. For all the spec's on this model check out. After a long run of 19 years, the SST was discontinued in '06 and considering the popularity of this guitar they have become harder to find as the years go.

If you're looking for an excellent stage guitar, there are few better in terms of comfort, tone, and playability than the SST and at $799, it's truly a pro model for a modest price. Includes well padded Levys gigbag. 2., (), (), (), (), (). Cool little 12-string for back porch strumming in incredibly clean condition. Gibson's LG-series were their budget acoustics with no fancy ornamentation, screened logo, dot inlays, etc. I remember back in the 90's we used to pick up LG's for well $400 but in recent years players have recognized that, at 40+ years old, they're become excellent sounding guitars and prices have doubled or tripled. The LG-12 was the 12-string in the LG line, with the same small body (14.25' lower bout), but with a full scale length.

The LG-12 features a solid spruce top, mahogany back and sides, mahogany neck with rosewood fretboard, 18-fret neck with 12 clear of the body, belly bridge with adjustable saddle, teardrop pickguard in '70, bound top, natural top finish, light mahogany finish back and sides, Kluson deluxe strip tuners, screened logo, and pearl dot inlays. Although not the lowest action (), it's very comfortable for playing cowboy chords and you can get by okay on barre chords - but if you want it to play like a Taylor, it really would want a neck reset. The light satin type finish, along with the aged mahogany body wood, give this guitar a nice warm sound with a mid-range that will stand out in the mix. They say old wood is good wood, and at over 40 years this one has developed a very pleasing voice. As you can see in the pics, this guitar is in beautiful condition with no flaws to speak of. Original case for this model with a heavy semi-hard with plush red lining and this one's in nice shape.

If you're looking for lovely vintage 12-string to strum on, this one's hard to beat at $599. 3., (), (), (), (). Made during the early part of the folk boom in the 60's, the B-25-12 is appointed like a budget model with dot inlays and no ornamentation on the headstock, and unbound neck, although it does have a double-bound body. This is a nice old 00-size small bodied (14 1/2' lower bout) Gibson flattop, with a solid Spruce top, solid mahogany back, and laminated sides. Other features include multi-ply binding on top, bound back, ebony bridge, long tortoise pickguard, 2' nut width, 24 3/4' scale, and Kluson strip tuners.

This one has seen an average amount of playing time I would guess, but was taken care of by any previous owners. The only glaring flaw is a small chip out of the front corner of the headstock (). It does indeed look like a 50+ year-old guitar with plenty of finish checking and a slightly dull finish which we can buff out at no cost - but no cracks or repairs.

The tone is just what you'd expect from a small Mahogany body - very warm tone with plenty of mid-range - but surprisingly crisp and bright. Its a fun guitar to play, especially comfortable when sitting around the living room and like an old parlor guitar, doesn't look out of place with the decor. Later in the 60's Gibson went to a small bridge with a trapeze tailpiece but this is the more desirable model with standard bridge with acoustic string pins. The only non-original aspect of this guitar is a replacement bridge, but it's the proper belly bridge - plus a compensated saddle replaces the wooden one. Most of the bridges from this era look identical, but have adjustment screws for the saddle height, plus 2 pearloid plugs that cover the hold-down screws that Gibson used on their bridges (I've never figured out why Gibson couldn't glue down their bridges properly without the use of these screws.) Since most players accused he adjustable bridge in this era as being a 'tone robber', it wasn't uncommon for players to do away with this feature. Bottom line though, is this guitar is loud with good sustain, and that may be in part due to the removal of the adjustable saddle.

This guitar has a good neck angle and a straight neck so the set up is very comfortable for a 12-string, even with barre chords. This is a great example of affordable vintage, priced way under what a reissue would sell for, should they ever make one. It's guaranteed to go up as the years pass but unlike a stock or CD, it's something you can enjoy. Gbase prices for 60's B-25-12's, even the trapeze models, are running $2K-$2900. This one might be a little more played than the high-priced models, but I think at $1099, it's a steal for an early 60's Gibson acoustic that plays and sounds well.

Includes aftermarket hardshell case. OTHER USA GIBSONS: MELODY MAKERS, NIGHTHAWKS, FIRBIRDS, EXPLORERS, V'S, ETC.: 1., (), (), ().

Excellent playing gloss finish Explorer that shows no player's wear but has a finish touch-up on the back of the lower horn and on the end of the long point (). These in-store dings are the only signs of use on a guitar that is otherwise perfect with no pick or button scratches, frets like new, etc. The Explorer became a true classic from Gibson.eventually. It was one of the failed futuristic guitars that Gibson unveiled in the late 50's, which were discontinued until the timing was right, and they started reissuing them around ca. Like the Flying V, and ill-fated Moderne, the Explorer features set-neck construction, with a mahogany neck set in to a mahogany body, with dual humbuckers (496R and 500T) and unbound body and neck. It has an exaggerated 'Z' shaped body, the original 'hockey stick' headstock with 6/line Grover mini tuners, vol-vol-tone knobs in line, with a 3-way selector on the upper treble bout.

A cool guitar for the Metallica/Skynard/etc. Fan, or anybody who wants to delve into one of the original metal axes, designed nearly 20 years before metal was even invented.

For players who do a lot of lead work on the low strings in the upper register, no guitar provides easier access. Set up with super low action and a fat, warm tone.

If you don't mind 2 touch-ups on a guitar that's barely been played, this one's $550 less than a new one ($1399 new) at $850. Includes quality gigbag. 2., (), (), ( ), (), ( ). The guy I got this from called me with a correction – this is a 2003, not a 2013 as originally listed. Pot codes agree, 22 nd week of ’03. This is one of 50 of these made by the custom shop creating the unique marriage of a Flying V and ’59 Les Paul Standard.

Les Paul features include the flamed maple top/mahogany back body, bound neck/body, trapezoid inlays, control knob layout with dual volume/tone controls and LP selector ring, and bell-shaped truss rod cover. This is about as breathtaking as it gets for a Flying V and to entice you even further, it weighs in at under 6 lbs. Features include Washed Cherry Sunburst flamed maple top with 2-piece mahogany back, single ply cream binding on body and neck, Nickel hardware with ABR-1 bridge, 1-piece mahogany neck with rosewood fretboard and trapezoid inlays, early 50’s rounded neck, vintage tulip tip tuners, Burst Bucker ½ pickups, dual volume and tone controls with 3-way selector, inlaid Gibson logo with Flying V screened on headstock.

This model went into regular custom shop production in 2015, identical except for the “Flying V” name is no longer screened on the headstock. It’s in exceptional condition other than two slightly faded spots on headstock () from a guitar hanger. List on the current model is $7449 and you’ll see them at American’s favorite online non-chain store discounted to $5299.

That’s expensive, we agree, so how about $2000 cheaper for the first run model, just $3299 for this beauty. 3., (), (), (), (). Very cool upgrades which make this guitar, essentially, a single cut LP Special with all-mahogany construction and a pair of P90 pickups. Originally equipped with small single coils, Martin routed the pickup cavities and installed a pair of Seymour Duncan Phat Cats (), which are P90 single coils.

The tone is big and fat, using two Alnico 2 magnets for more sustain and softer attack, which the metal covers provide more shielding and noise reduction than standard soapbar covers. The neck pickup is RW/RP for noise-canceling operation in the middle selector position. Additionally, the tuners were upgraded from the vintage Kluson style to a set of nickel-plated Schaller/Grovers which stay in tune much better than the stock tuners. Lastly, a pair of gold chrome dome knobs with pointers were installed for that early 60's look.

For the pickup selector we used a mini-toggle switch between the knobs. Lastly, we used oversize strap pins; for your locking strap guys, we can swap out to Dunlop or Schaller locking type at no cost. The stock bridge on this model is the good old wraparound tailpiece, the ultimate in simplicity and, I feel, the most comfortable and effective for palm damping techniques - or we can change to a Quan-style bridge with saddles that intonate (). Other specs include '59 rounded neck profile that's not at all chunky, standard 24 3/4' scale, 1.695' nut width, 22 frets, and '59 authentic single-ply black pickguard. This is a very lightweight guitar, less than 6 lbs., due to the body size, which is slightly thinner than a Junior/Special. The tone is anything but 'light - it's big and fat, with excellent sustain and very lively overall, thanks in part to the very thin satin finish which lets the guitar vibrate better than a thicker, hard finish. This one has around $300 in upgrades, and for the pro player, a totally gigworthy workhorse guitar for just $550.

Includes well-padded gigbag (). 4., (), (), (), (), (), (). With it's plain Cherry finish, dot inlays, screened logo, single pickup, and simple wraparound stud tailpiece, the Olympic is a no-frills guitar but for many players, me among them, that makes for the perfect guitar. I had one of these a year or two ago but it had the optional vibrola. For most players, this model has a better feel, stays in tuner better, and is way cooler.

These solid mahogany guitars are generally lightweight and, get this, 5.0 lbs. One of the unique design aspects is the neck joining the body at, literally, the top fret, which allows the easiest possible playing in the upper register. Overall very nice vintage condition, with original finish with consistent finish checking all over - front, back, neck, and headstock.

It's 100% original with no cracks, repairs, or overspray. Like Gibsons with this finish, these nitro finishes are prone to losing their color and turning brown but a look under the guard shows how vibrant the cherry finish remains, and it's nearly as vibrant as the color under the pickguard. All electronics are original including solder joints with pots dated '64, original nickel Kluson tuners with plastic buttons, black radio style knobs with metal pointer rings around the pot shaft.

Great looking Brazilian fretboard that Martin reconditioned while he had it on his bench (), and he also polished the frets so bends feel smooth as silk. These guitars are real sleepers on the vintage market, as are most USA Epiphone's, and sell at a fraction of a comparable SG Juniors, made by Gibson's 'other' company. Tone-wise, it has the clarity of a single coil pickup mixed with the warmth of mahogany, a combination that I enjoy. Although not as hot as a P90, the tone isn't unlike an SG Junior from this era. If you're looking for a guitar that's fun to play, super lightweight and at 50 years old has no where to go but up in value, I highly recommend Olympics. Just a really nice, original Gibson-made Epi for $1499.

I got this without a case but I recommend a new aluminum flight case (,) complete with ATA recessed latches, for just $100 more. 5., (), (), (), (). Another one of Gibson's 'innovative' models from the Norlin years.

The Sonex, which came in 4 models (Deluxe, Standard, Custom and Artist) at various times during their 4-year run, featured a bolt-on neck, which was very unusual for Gibson. The main innovation from this guitar was the 'Multi-Phonic' body, which consisted of a wood core (usually mahogany), with a man-made resin outer layer. In this fashion you still had the wood-wood contact in the neck pocket, but with a resin body that was inexpensive to make and more impervious to climate change. The Sonex was replaced by Marauder and S-1 models bolt-on models, although made of an all-wood body. The Deluxe model retailed for $419 when the line was discontinued in '84 after a 4-year run.

Features include a pair of Gibson 'Velvet Brick' humbuckers, maple neck with 22 medium frets, ABR-1 tuneomatic bridge, large pickguard (covers 3/4 of body face), rosewood fretboard, Grover tuners with metal Keystone buttons and 'The Gibson Guitar Company' logo. Cosmetically this one is in typical condition for a Sonex with scratches and scrapes in the resin core as well as the typical cracks in the resin core (not a problem, just the nature of the beast). It has had a strap button relocated to the back near the neck plate. It has a very comfortable setup and a good quality tone from a pair of nice sounding humbuckers. A good value in an old USA guitar at $450. 6., (), (), (), (.). Gibson's Guitar of the Month (GOTM) for August '08.

Never retailed and offered in mint condition. Last year Gibson offered a unique collection of monthly limited editions, with production limited to just 1000/each, an idea that was previously used with their Showcase Editions () in 1988.

Clean examples of Showcases go for significantly higher than their regular production counterparts and these guitars should also prove to be good investment pieces. The original Flying V, first released in 1958, wasn't well received by the public and production was discontinued within a year. It was later resurrected in 1967 where it has stayed in production since that time, eventually finding its niche as one of the premier rock/metal axes. With this in mind, Gibson has created the definitive metal V with the Shred V, with features such as a pair of EMG 85 pickups, perfect for aggressive hard rock and metal, and a Kahler 2215K tremolo to withstand aggressive playing and dive bombs tricks. In place of a locking nut, Gibson opted for Grover locking tuners, which keep the guitar in tune nicely, without the hassle of locking the strings down. Other features include all-mahogany construction, black chrome hardware, Ebony finish that enhances the futuristic vibe - and metal look, one-piece mahogany with '50s rounded contour, Ebony fingerboard with black acrylic dot inlays unique only to the Shred-V, wide 1 11/16' nut, flat 12' fretboard radius, master volume and tone, and standard 3-way pickup selector.

The Shred V carried a list price of $3499, selling at discount for $2299. This one is better than new, totally untouched except for a killer setup by Martin, inevitably better than factory, and nicely priced at just $1899. For full specs for Gibson's site. Trades on Fender Custom Shop and PRS are desired. 7., (), (), (), (), (). Speaking of rare custom finishes, check out this beauty.

I've had a few of the Designer Series before but this is the first of the black&gold Explorers that I've seen. The thought that immediately strikes you is, 'that's one elegant looking Explorer.'

Pics don't do it justice but the overall look is very striking, especially with the gold hardware in such clean shape. Gibson called this graphic a 'Style 20' as shown in the flyer above, offered as were all custom finishes, at an upcharge over standard finishes.

Specs are the same as Gibson's standard Explorer with the exception of the finish - plus this one was built with optional factory locking tremolo system which works very well. This guitar is extremely clean and appears to lived in the case much of it's 30+ year life, easily a 9+ condition.

Even the gold hardware retains most of it's plating with little to no gold-wear or pitting. Set-up is spectacular and it has the fat tone you'd expect on a dual humbucker mahogany Gibson. Custom finishes have always proven to be good investments. What may have been only 5-10% upcharge at the time of original sale can translate to 200% or more as evidenced by a Fiesta Red Strat vs. A Sunburst - or in the Gibson line, a Golden Mist Poly over a sunburst. For a guitar in this condition, rarity, and just plain coolness, this is a super buy at $1799.

(This guitar was lost by UPSstill hoping for good news). USED EPIPHONES Ask about our 'hot rod' job to install new pickups, Sperzel tuners, etc., prior to shipping For around $200 (INCLUDING labor) you can get a pair of Gibson, or other similar quality pickups and a set of Sperzel/Grover/Gibson/Hipshot tuners. These upgrades will likely run you over $350 at your local store. 1., (), (), (). Probably our best seller among hollow/semi-hollowbody guitars is the Epi Sheraton II.

It's solidly built, generally sets up very well, and sounds much better than it's price tag would lead you to believe. Sheraton's proud history goes back to '59, when, owned by Gibson, Epi started producing the Sheraton, which was a model unique to that company, rather than an Epi version of a Gibson, which was the fashion in the early Gibson days Today, models that are unique to the Epiphone line, including the Sheraton, Zephyr, Riviera and Emperor, seem to be built to higher standards than their Gibson copy line (Les Paul, SG, Dot, Hummingbird, etc.). The Sheraton does share design features with the Gibson ES-335, but the cosmetic appointments are much higher on the Sheraton. The original Sheraton was outfitted with a Frequensator tailpiece but didn't gain much popularity until Epi changed to a stop bar and Tuneomatic bridge, i.e. The Sheraton II. Like the Gibson ES-335, the Sheraton has a laminated maple body, top, back and sides, which, with its bright tone, works well with the darker tone of PAF humbuckers.

Unlike the Dot's mahogany neck, the Sheraton features a maple neck, for increased stability, capped with a rosewood fretboard. High-end cosmetics include gold hardware, multi-layer binding on all edges including body, fretboard, neck, and headstock; abalone block & triangle fretboard inlays, headstock overlay with inlaid logo and vine inlay, and multi-ply tortoise pickguard with raised 'e' logo. Players as diverse as Oasis guitarist, Noel Gallagher and blues legend John Lee Hooker both have signature model Sheratons, which is testimony to the versatility of these guitars. It's capable of high gain without feedback, which makes it attractive to rock players, but sounds equally good on more mellow jazz or blues. Cosmetically, it’s in great condition having been buffed out beautifully by Martin, and he also gave it an excellent setup with very comfortable action throughout the neck. For killer looks it's hard to beat black and gold. This is a lot of guitar for the money in my opinion.

Add a clean MBT gigbag for $19 (). 2., (, (), (), (), (). Excellent quality import from the Unsung (Korean) factory. The Gothic Les Paul Studio is a barebones rock/metal axe, offered in either a stop tail or, this version, with a quality Floyd Rose trem. This is a very good quality Floyd, and appears to be identical to the 'Original Floyd Rose', although stamped with the 'Epiphone' brand. There have been a few changes to this guitar, most importantly, the generic non-covered black humbuckers have been replaced with a great sounding pair of Seymour Duncans - the Alnico Pro II Bridge and Alnico Pro II Neck - as used by 'Slash' and many other top name players. Cosmetically, some stick on fretboard cross inlays have been added, and 'BLS' (Black Label Society) stickers added to the front and back.

I think they look pretty cool but we can remove prior to shipping if desired. Also, it's been buffed out nicely, so it looks more like a gloss finish than the factory satin finish. This guitar is like the original 50's Black Beauty Les Pauls in that it's 100% mahogany, with a carved mahogany top. It's fatter sounding than the maple top versions and with these Duncans, has a classic 'Burst tone which lets your playing style shine through rather than a scorching high-output sound. The set up is super comfortable, the Floyd stays in tune especially well, and it's an excellent guitar, especially in this price range.

With around a $200 pickup upgrade, a super nice buy on a Korean LP at $399 with gigbag. 3., (), (), ().

Killer player; desirable crafted in Korea model. If you're looking for low action, the kind of guitar that almost plays itself, you don't have to pay $700 or more, all you need is a straight neck with the nut cut properly and a pro setup. This came in as a mediocre player, the kind you'll find among a 'full wall' at your super store. Martin did some of his magic and, boy, what a difference.

It now plays as nice as good as a Gibson LP Standard and even stock Alnico humbuckers sound good. Also features vintage Kluson style tuners, inlaid logo, trapezoid inlays, bound body and neck, and chrome hardware. Although this guitar presents very well from the front, there are some touch-ups with a Gibson touch-up pen around the edges (), but the frets are perfect and overall it's in nice shape for a used guitar. As a plus model this has a nicely flamed top and, quite by accident, one of the best looking fretboards I've seen on an Epi - looks like the fretboard wood they use on Gibson's Historic series. The new Epi LP's are made in China and they dropped the list around $100 from the Korean Standard Plus.

If you're a player who is looking for the best playing Paul for your money and don't mind a few minor flaws, you can get this great MIK model for $200 less than a new Chinese Plus. Just $349 for this one. New deluxe gigbags available for $25. This guitar is located on my Gibson page but I just got in a mint pair of EMG-81/85 () which we offer as an upgrade on this model when I have the pickups in stock. It's pictured with the stock EMG HZ's, which are very good pickups in their own right, but for the real Zakk tone, you have to have the active EMG's.

For Harmony-Central reviews where they score a remarkable 9.8 avg. Mark in tone with 16 reviews. This guitar sells new for $799 with the stock pickup setup.

The one I'm offering was never retailed and virtually flawless, although it is a cosmetic 2nd for a flaw that we can't find. It's offered at $629 in stock condition but we can upgrade it to the 81/85 set and sell at $799. Mid-70's and a very good quality made in Japan classical.

Features Spruce top with Mahogany back and sides, Rosewood fretboard, nickel silver frets, scrolled gold-plated tuners, and Ivoroid tuner buttons. This guitar has a pleasing tone and cosmetically, in stunning condition. Very thin finish is near immaculate and you'll find it hard to believe that it's 30 years old. Good quality for low bucks, just $159(Tentative - Bob A 9/30). 6., one of the discontinued E-series, it's basically an SG Special with slim taper neck, upgraded E-series open coil humbuckers, and E-Dovewing headstock and logo. Very clean shape and nice setup - for $165.

7., Advance Jumbo model is a throwback to the early days of Epi and Gibson, with round-shoulder dreadnought design, bound spruce top, mahogany back and sides, nice player with a nice tone for something in this price range. Stamped Used but in essence new and with a list of $299, better than new as it’s set-up to optimum playability for just $165 8., good quality set-neck Paul at a killer price, Heritage Cherry Sunburst, features of a LP Standard except for black pickguard and binding and slightly slimmer body - same great playability and tone and an absolute feather weight. Very clean shape with no major flaws and fairly rare. Get the tone and vibe of an LP at a better price, $325 w/gigbag.

Like a fingerprint or a social security number, the series of digits inked or impressed on the back of a Gibson headstock can go a long way toward identifying a guitar. But, with more than 75 years of shipping records in the Gibson books, and dozens of variations on numerical schemes used over the years, sometimes do little to shed light on the origin of a mysterious Gibson. “Serial numbers can be extremely tricky,” says Gibson Customer Service Manager Jason Davidson, whose team fields calls and emails regarding every Gibson division. “Some can tell you a lot about a guitar, and some don’t really tell you anything.

Gibson has had so many different schemes over the years, and now we’re using reissue serial numbers that look like the old serial numbers.” Inside a locked closet just outside Davidson’s office are some of Gibson’s most enduring written materials—shipping records dating from 1936 to 1970. With vintage Gibsons selling at auction for as much as half a million dollars, Davidson will sometimes roll up his sleeves and poke around in the ledgers, but only as time allows. The earliest volumes contain hundreds of yellowed pages covered front and back with rows of handwritten numbers. It can take Davidson several hours to locate a specific serial number, if he can find it at all. Even then, there may be four other guitars—of all different models—with the same number sequence. When faced with a question about a guitar’s date, Davidson most always refers to his beyond-dogeared copy of. “At least a quarter of the calls that Gibson’s Customer Service team gets are related to the dating and IDing of guitars,” Davidson says.

“We make sure all the guys have a copy of Gruhn’s Guide.” Davidson also recommends the. Another resource for IDing and dating guitars is Gibson’s computer database, which catalogues scores of serial numbers from 1987 on through the present. “It doesn’t always date the guitar,” says Davidson. “A lot of people think you can just dump these formats into a database where you can pull up the date, but there’s so much more to it. Serial numbers can pull up multiple guitars from multiple years.” To illustrate his point, Davidson types in a serial number from memory and it quickly pulls up three different guitars—an, a, and a. “Sometimes I’ll literally pull up 10 guitars, and five of them will be so similar you’re not going to know what the customer has.

The ship date can help us, but if it’s a weird serial number, we’ll ask for photos.” Today, Gibson USA takes great pains not to recycle serial numbers. To combat the problem, the company upped its serial number sequence last year from eight digits to nine. “We added another digit to reflect the batch of the day,” says Support Coordinator Eric Marlow. “We were getting close to having so many guitars come through the factory that the serial number would probably lapse in a day and then start repeating itself so we added that extra digit.” With consumers and collectors as attentive as Gibson’s, even miniscule changes in design and manufacturing can translate into a chorus of ringing phones in Gibson’s Customer Service department. That’s exactly what happened following a recent modification in the font size of the serial numbers used on the new.

“We’re always trying to get things more accurate,” explains Marlow, “so we changed the Les Paul Classic font because we found a stamp as close to the ’60s version as we could.” Davidson is quick to point out that consumers have good reason to be alarmed by real or perceived discrepancies on Gibson models. “We get calls from pawn shops and used music stores every day, and a lot of the guitars that people ask us about end up being fake Gibsons,” he says. “A lot of the counterfeiters are using the standard eight-digit series.

For the most part, it looks real. But there are some obvious indicators—if it starts with a five, for instance. We don’t start any eight-digit serial numbers with a five. Or it might be an eight-digit serial number that indicates it was built on the 700th day of the year.

In a case like that, we’re clearly dealing with a fake guitar.” Davidson is referring to Gibson’s system—in effect since 1977—of including a guitar’s build date within the serial number sequence. On today’s new models from Gibson USA, Memphis, and Acoustic, the first and fifth number in the sequence signify the year a guitar was built, and the second, third, and forth number identify the day of the year. “You get the hang of it, where you can see the date immediately,” says Davidson. “It may be confusing at first, but the reason we do our serial numbers this way is tradition. Our customers want serial numbers to be formatted a certain way—like they used to be.” For more information on Gibson's serial numbers, refer to our online guide.