Here’s an original – a 1944 Gibson J-45, built during the first year of production. Drawing heavily on the design of the just-discontinued J-35, the J-45 mostly differs with stiffer X bracing, tall, thin and scalloped top bracing, a fatter, non-V neck profile, and only being available with a sunburst finish.
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Here is a very well preserved 1978 Fender Jazz Bass in a custom colour. Officially, this colour was designated ‘Walnut’, but many people call it ‘Mocha’ – which was never an official colour.
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The Gibson Byrdland features a unique blend of large and small; a full 17 inch wide body with a 2.5 inch depth, and a rather short 23.5 inch scale length that’s intended to allow players to grab big chords and play fast.
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The Gibson ES-175D first appeared in 1953, as a two P-90 pickup version of the single pickup ES-175 introduced in 1949. In 1957, Gibson added their all-new humbucking pickups to the ES-175, along with much of the rest of their lineup. Over the years, the Gibson ES-175D has become known as just the ES-175.
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This 1965 Edgar Monch Classical Guitar is from just before his Toronto period, one of the last from Munich. It has a clear, commanding voice with a full, rich tone and is suitable for the hands of an advanced or professional guitarist. It has a clear, commanding voice with a full, rich tone. It’s had some top cracks repaired, and is structurally in good condition. Of a similar design to Hauser guitars of the period, It features a spruce top, Indian rosewood back and sides and bridge, an ebony fingerboard with 650mm scale length and 50mm nut width.
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Introduced in 1958, the Gibson ES-335 Dot was an immediate success and while details have changed over the years, it’s been in production ever since. The tonal versatility of the design has taken it into many different styles, from jazz to pop, from blues to hard rock.
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