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Gibson ES-335
Gibson ES-335
Gibson ES-335
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The Gibson ES-335 is a semi-hollow body semi-acoustic guitar introduced by the Gibson Guitar Corporation as part of its ES (Electric Spanish) series in 1958. It has a solid maple wood block running through the center of its body with hollow upper bouts and two violin-style f-holes cut into the top over the hollow chambers.[1] Gibson has released numerous variations and models based on the ES-335.

Key Information

The ES-335 is manufactured at the Gibson Nashville facility, as of 2024. It was also produced at Gibson Memphis from 2000 until the facility closed in 2019.[2][3]

History

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Until 1952, Gibson produced only hollow-body guitars, which are prone to feedback when amplified loudly. That year saw the introduction of their first solid-body, the Gibson Les Paul, a significantly different instrument from Les Paul's early electric guitar experiment, "The Log", which consisted of a center block with detachable chambers on both sides.[4][5] By 1958, Gibson was making a few solid-body models that had much lower feedback and better sustain but lacked the darker, warmer tone and unamplified volume of hollow bodies. The ES-335 was an attempt to find a middle ground: a warmer tone than a solid body produced with almost as little feedback. Though semi-hollow-bodies like the ES-335 are essentially a compromise of earlier designs, they are for this reason extremely flexible, as shown by the ES-335's popularity in a wide range of music, including blues, jazz, and rock. Initially offered at a basic price of $267.50, it quickly became a best-seller, and has been in continuous production since 1958.

The first major update came in mid-1962, with the most visible change being upgrading the solid dot neck markers (hence "dot neck" term for early models) with large blocks.[6]

Models

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Some models (ES-347, ES-369) have a coil split switch, which allows the humbuckers to produce a "single-coil" sound. The ES-335 Pro, ES-335TD CRS, and CRR models had Gibson "Dirty Fingers" humbuckers, which had a higher output than the standard pickups.

The company has produced a number of signature guitars as well, such as Trini Lopez-inspired model (1964–1970) with narrow diamond-shaped soundholes replacing the f-holes, a Firebird-style headstock with all the tuners on one side, and slashed-diamond inlays. In September 2007, Gibson introduced the DG-335, designed with Dave Grohl. A variation on the Trini Lopez Gibson, the Grohl model has a stopbar tailpiece and Gibson's new Burstbucker humbuckers.[7] Other signature models have included the heavily customized Alvin Lee "Big Red" 335. A $4,000 reissue of the 1963 model was a 2014 "Editor's pick" in Guitar Player magazine.[6]

Variations

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Trini Lopez

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Rusty Anderson plays a Trini Lopez Standard. Other than the custom black finish, this guitar has the same specs as the 1964-1971 version of the instrument

Two Trini Lopez signature models—the Trini Lopez Standard and the Trini Lopez Custom—were initially produced from 1964 to 1971, and reissues have been produced periodically since the initial run.

The Trini Lopez Standard has the same body shape and profile as the ES-335, with diamond-shaped holes in the place of the f-shaped holes, a Gibson Firebird headstock (of the ‘non-reverse’ style), split diamond inlays on the fingerboard, a trapeze tailpiece with a plaque with Trini Lopez's name, and a standard cherry red finish. A modified version of the Trini Lopez Standard, with a stop-tailpiece and a custom Pelham Blue finish is used by Dave Grohl as his primary stage guitar; the Gibson Custom Shop produced a market version known as the "DG-335" in 2015.

The Trini Lopez Custom came in a standard cherry sunburst finish, had a thicker body and cutout bouts with pointed tips instead of the standard rounded tips (similar to the Gibson Barney Kessel Custom guitar), a more ornate pickguard, and different locations for its two selector switches, but otherwise had the same tailpiece, fingerboard, headstock, and electronics as the Trini Lopez Standard.

ES-345

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Gibson ES-345 (left-hand model)

The Gibson ES-345 was first produced in 1958 as an upscale version of the ES-335. Although the design is very similar to the 335, the 345 featured a multi-position "Varitone" switch located just above the lead tone and volume controls, which added various combinations of inductors and capacitors to the electronic pickup circuit of the guitar in order to alter its resonant frequency and add "color" to the sound. The ES-345 also featured an optional stereophonic output jack, gold plated hardware, large split parallelogram fingerboard inlays (similar to ES 175), and a thicker three-ply edge binding than that of the ES-335.

Notable users include Chuck Berry, B.B. King, Freddie King, Bill Nelson, Jorma Kaukonen, Fred Frith, Porl Thompson of The Cure, Steve Howe, Bob Welch, Elvin Bishop and the character of Marty McFly in the 1985 comedy film Back to the Future.[8][9] British guitar player John McLaughlin owns a Sunburst ES-345 modified with a Bigsby tailpiece and a scalloped fingerboard. [10] He played this guitar in the One Truth Band and Trio of Doom.

The ES-345 was discontinued in 1981, one year after the Gibson Lucille, which is based on the ES-355 (see below), was launched. The differences between the two models are:

  • The headstock inlay on ES-345 is a "small crown" rather than the "split-diamond" custom inlay on the ES-355.
  • The position markers on ES-345 are "split parallelogram" rather than the "block" inlays used on the ES-355. Also, the first fret on the ES-345 is not inlaid.
  • The stereo output wiring and the Varitone was factory-installed on the ES-345 and ES-355TD-SV, but not on the unmodified ES-355TD (mono version).
  • The vibrato unit (Vibrola or Bigsby) was an option on the ES-345; In contrast, it was factory-installed on most ES-355s (except for the earlier models in the 1950s, final models after 1979,[11] and Lucille).

As of 2020, The ES-345 is back in production. Instead of the Varitone switch and stereo output, this new version differentiates from the ES-335 mostly in its traditional aesthetics, but does feature a thermally-engineered maple centerblock and quartersawn adirondack spruce bracing.[12]

ES-355

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Alex Lifeson of Rush playing an ES-355

The Gibson ES-355 (Thinline semi-hollow, Double pickups) was at the top of Gibson's range of thinline semi-hollowbody electric guitars. It was manufactured from 1958 to 1982,[13][14] fitted with the Varitone Stereo option (SV), as the ES-355TD-SV released in 1959. This guitar is now available in reissues from Gibson's main line or custom shop.

The headstock has a split-diamond inlay rather than the smaller crown inlay on the 335/345, in addition to a multiple-layered binding. The fingerboard inlays are inlaid mother-of-pearl blocks, beginning at the first position of the fretboard. In addition to the headstock, binding is also applied to the fretboard and both the front and the back edges of the body. Rather than the rosewood fretboard on a 335 or 345, both variations of the 355 have an ebony fingerboard for a 'smoother' sound. Reissues use a richlite fingerboard. Early models of Epiphone's limited edition budget version had an ebony fingerboard but the later issues had a rosewood board.

The ES-355 was available with a Vibrola vibrato unit or a Bigsby vibrato tailpiece. It was also available with a stereo output and Varitone tone filter circuitry. When fitted with the optional stereo wiring and Varitone, the model was known as the ES-355TD-SV.

Lucille (B.B. King signature model)

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B.B. King with Lucille

The best-known user of the ES-355 is probably B.B. King, whose trademark guitar, Lucille, was the basis for a 1981 signature model.[15] It has the optional stereo wiring and Varitone circuitry as standard.[16] It differs from the ES-355 by having a maple neck instead of mahogany, the name "Lucille" on the headstock, and the lack of an F-hole on its top.[17]

EB-2 and EB-2D

[edit]
Gibson EB-2

The EB-2 was first produced in 1958 as the bass version of the ES-335. Having the same body as the ES-335, it held a 30.5" scale neck and hardware borrowed directly from the Gibson EB-0.The pickup was actually a single coil with the polepieces on the lower edge of the black cover until mid 1959.The humbucking pickup has the poles in the center of a black cover. In 1959, a "baritone-switch" was added to filter the output from the neck humbucker and give it more of a guitar-like sound. The EB-2 was discontinued at the end of 1961, being replaced by the EB-3.[18] Due to a boom in the use of the EB-2 and its sibling, the Epiphone Rivoli, in the Merseybeat in England in the early sixties, production restarted in 1964, with a 2-pickup version called the EB-2D being added to the line in 1966. In 1972 the EB-2 line was discontinued.[19]

CS Series

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The CS-336 is a smaller version of the ES-335. The back and sides of this guitar are constructed from a single piece of carved mahogany, and its reduced size is closer to that of the Les Paul. Also available, the CS-356 has gold plated hardware and multiple binding on the body, neck and headstock. In 2007, Gibson introduced the ES-339 with the size of the CS-336 and the laminate construction of the ES-335.

DG-335

[edit]
Dave Grohl displaying his signature Gibson DG-335 guitar, a custom model based on the 1964-1971 Gibson Trini Lopez Standard.

Dave Grohl received an early 60s 335 from Axl Rose as a gift, which was handpicked by Slash. Grohl called it the “nicest I have ever played in my life”.[20] His own version, the DG-335 is based on the Trini Lopez Standard specs, but in a different color and with a stop tailpiece instead of the Trini Lopez's trapeze tailpiece.[21]

Chris Cornell ES-335

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Chris Cornell 335s are based on the Gibson ES-335. The Chris Cornell ES-335 Tribute was designed by Gibson and Chris himself based on the guitars he played in the 80's and 90's, mostly Gretsch Jet models, but in Gibson's own 335 style, using the same construction of a typical 335 with the 3ply maple top, maple center block, mahogany neck, rosewood fretboard, but with Lollartron™ pickups in the neck and bridge, resembling the classic look on the Filter'tron™ pickups, used extensively by Gretsch. Also they feature one model (Olive Dab Green) with a Bigsby B7 vibrato tailpiece and another (Satin Ebony) with a Tune O Matic tailpiece.[22]

Epiphone

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Epiphone Dot (Left-Handed model shown)
Epiphone Sheraton II
Epiphone Riviera

Gibson also markets a much less expensive version of the ES-335 under its Epiphone brand, called the Dot (referring to its dot-style inlay). Other Epiphone semi-hollowbody style models include the Sheraton (a fancier version of the co-developed ES-335, released the same week, it can make equal claim as the first semi-hollowbody), the Riviera, and the Dot Studio, though some of those are modeled after other guitars in the ES series.

From 1958 to 1970, Epiphone guitars were produced in Gibson's Kalamazoo, MI factory, and shared the similar design, materials and electronics as their Gibson counterparts. The Riviera, Sheraton, Rivoli and Newport models shared similarities with the Gibson ES-335, EB-2 and EB-0 models, respectively. In 1970, Epiphone production ceased in the Kalamazoo plants and Epiphones were made at the Matsumoku factory in Japan. Later Epiphones were constructed under contract with Samick in Korea. Since 2002, almost all Epiphones have been made in the 'Gibson' Qingdao plant in China.[23]

As of 2012, Epiphone also produces the ES-335 PRO, ES-339 PRO, ES-345 Stereo, ES-355, and the Lucille. The ES-335 Pro and ES-339 both feature coil-tapped humbuckers, activated by pull-push volume knobs; the ES-355, gold hardware and a Bigsby tremolo, while the ES-345 Stereo has a Bigsby and VariTone control. The Lucille meanwhile, also features a VariTone control and, in keeping with BB King's Gibson signature model, no f-holes and a fine tuning stop bar tailpiece.

Other

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See also: Gibson ES Series
Johnny A model
Gibson ES-330TD

Other models based on the 335 include the ES-333, the ES-340 (the toggle switch has settings of the pickups in-phase, pickups out-of-phase and standby), the ES-347 (includes a coil tap, block markers on an ebony fretboard, fine tuning tailpiece and, on earlier models, a brass nut, and a greater sustain block), the ES-339, essentially a 335 with the body reduced to Les Paul size; and the Gibson Les Paul signature bass.

Although the ES-330 resembles the 335, it is actually fully hollow (as opposed to semi-hollow) and features two P-90 pickups (as opposed to 2 humbucking pickups), and it was designed as the successor to the Gibson ES-225.

See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Gibson ES-335

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from Grokipedia
The Gibson ES-335 is a semi-hollowbody introduced by Gibson in , renowned for its innovative design that incorporates a solid center block within a laminated /poplar/ body to reduce feedback while preserving the warm, resonant tone of traditional archtop guitars. This thinline model, measuring 16 inches wide with rounded "Mickey Mouse ear" cutaways, was conceived in 1957 by Gibson president as a hybrid bridging solidbody sustain and hollowbody airiness, debuting at the Summer in and entering production in April 1958 with an initial output of 317 units. Equipped with two "Patent Applied For" humbucking pickups, a bridge, and a Stop Bar tailpiece, the ES-335 offered enhanced clarity and reduced hum compared to earlier hollowbody models, making it ideal for amplified performances across genres like , , and rock. Its neck with a rounded C profile and fretboard provided comfortable playability, while the pressed-laminate top and back contributed to its durability and iconic aesthetic, available initially in or finishes priced at $267.50 and $282.50, respectively. Over the decades, the model evolved with changes such as the addition of neck binding in 1958, a shift to trapeze tailpieces in 1965, and various upscale variants like the ES-345 (with stereo wiring) and ES-355 (with elaborate appointments), but the core semi-hollow design has remained a cornerstone of Gibson's lineup. The ES-335's versatility propelled its adoption by influential musicians, including for his rock 'n' roll riffs, for blues expression, during his era, and in , cementing its status as one of the most enduring and imitated electric guitars in history. Production peaked at over 5,700 units in 1967, and today, modern reissues faithfully replicate the original specifications while incorporating contemporary refinements for reliability.

Overview and Design

Core Design Principles

The Gibson ES-335 represents a pivotal advancement in design, introducing a semi-hollowbody that merges the of traditional archtops with the feedback control required for modern amplification. This hybrid approach was engineered to overcome the limitations of earlier fully hollowbody models in the ES series, which often suffered from uncontrolled feedback at higher volumes, by incorporating structural elements that dampen excessive vibration while preserving tonal warmth. Central to the ES-335's construction is its semi-hollowbody featuring a solid center block that bisects the body, effectively reducing feedback by minimizing the guitar's overall to amplified sound waves, surrounded by hollow wings that contribute to a rich, open acoustic character. The body utilizes laminated for the top, back, and sides—typically a three-ply maple/poplar/ configuration—to provide , enhanced sustain, and resistance to warping under string tension. Complementing this, the joins the body at the 16th with a set-neck joint, fitted to a and a 24.75-inch scale length for optimal playability and even tonal response across the fretboard. Electronics further refine the design's versatility, with the original models equipped with dual Patent Applied For (P.A.F.) humbucking pickups that cancel electromagnetic hum inherent in single-coil designs, yielding a clear, dynamic output ideal for both clean tones and overdriven rock applications. The body's approximate dimensions—16 inches wide, 20 inches long, and 2 inches deep—accommodate ergonomic handling, while single-ply cream binding adorns the body edges, , and for refined aesthetics and added rigidity. The bridge system employs an ABR-1 for adjustable intonation and action, typically paired with a stop tailpiece for secure string grounding, though trapeze tailpieces appeared in later iterations to allow greater top vibration.

Key Specifications and Features

The Gibson ES-335 features a semi-hollow body construction with a solid center block that enhances sustain and reduces feedback, providing a balanced tone suitable for both clean and overdriven sounds. This design incorporates a three-ply /poplar/ top and back, paired with a neck and fretboard. The standard pickup configuration consists of two humbucking pickups, typically calibrated humbuckers in current production models, with the pickup offering a rhythm-oriented voicing and the bridge a lead-focused one. Some variants include coil-splitting via push/pull tone pots to access single-coil tones. Electronics are straightforward in the base model, with two controls, two tone controls, and a three-way toggle switch for pickup selection, excluding advanced options like the Varitone circuit. Playability elements include a nut width of 1.687 inches (1 11/16 inches), a 24.75-inch scale length, and 22 medium frets, with acrylic dot inlays on standard configurations and small block inlays on some higher-end models for improved visibility. The ABR-1 bridge and stopbar tailpiece contribute to precise intonation and string stability. Finish options emphasize the iconic cherry red nitrocellulose lacquer, with variants including vintage sunburst and natural finishes applied over the semi-hollow body. Due to its laminated construction and center block, the ES-335 typically weighs between 7.5 and 8.5 pounds, offering a lightweight feel compared to solidbody guitars.

Historical Development

Origins and Introduction

The Gibson ES-335 was designed by Gibson president in the late 1950s to address the feedback problems inherent in full-hollowbody electric guitars, such as the ES-175, which were prone to unwanted when amplified at higher volumes. McCarty sought to create a semi-hollowbody instrument that combined the warm, resonant tone of traditional archtops with the sustain and reduced feedback of solidbody designs, incorporating a solid center block within a laminated body to achieve this balance. This innovative approach emerged from Gibson's ongoing experimentation with thinline models, like the 1955 Byrdland, amid growing demands from musicians for versatile amplified performance. The ES-335 made its debut at the 1958 in , marking the introduction of Gibson's first production semi-hollowbody guitar, with the initial manufacturing run commencing in April 1958. Serial numbers for these early models began with the "A8" prefix, denoting ES series instruments from that year, and were ink-stamped on labels inside the f-holes. Influenced by the jazz tradition while anticipating the rising popularity of rock and in the late 1950s, the guitar was positioned as a bridge between acoustic warmth and electric clarity, appealing to players navigating the shift toward louder, band-based performances. Originally priced at $267.50, it targeted professional musicians seeking an upgrade from fully hollow designs. Initial advertising highlighted the ES-335's "thinline" semi-acoustic qualities, promoting its clear, sparkling, and sustaining tone for amplified settings without the howling feedback of earlier hollowbodies. Early prototypes were by Gibson-endorsed artists, helping refine the model's playability and tonal characteristics before full production. This launch solidified the ES-335 as a pivotal innovation in Gibson's lineup, setting the stage for its enduring role across genres.

Evolution Through the Decades

In the , the Gibson ES-335 saw key structural enhancements for improved durability and manufacturing efficiency. By mid-1969, Gibson transitioned to a headstock design to reinforce the neck joint and reduce breakage risks associated with the model's slender profile. The original PAF humbuckers, prized for their warm, dynamic tone, were phased out by 1965 and replaced with patent number variants, followed by T-Top humbuckers in 1967, which offered greater output consistency through updated coil winding and magnet specifications. The 1970s and 1980s marked the Norlin era (1970–1986), characterized by cost-cutting measures amid economic pressures that led to brief production slowdowns for the ES-335 due to declining demand and factory transitions, including the 1984 closure of the Kalamazoo plant. Gibson shifted to three-piece laminated necks, headstock overlays, and cheaper hardware such as coil-tapped pickups and the TP-6 tailpiece, while some semi-hollow models incorporated centers to lower material costs without fully compromising the semi-solid core. Production revived fully in 1984 with enhanced at the new Nashville facility, including the reintroduction of traditional nitrocellulose lacquer finishes on 1982 Dot reissues to restore the model's vintage resonance and appearance. During the 1990s and 2000s, under Henry Juszkiewicz's leadership following his 1986 acquisition of Gibson, refinements emphasized historical fidelity through the Historic Reissue series, launched in the early 1990s and expanded by 1993 to replicate 1958–1962 ES-335 specifications, including one-piece necks, ABR-1 bridges, and Custombucker pickups mimicking early PAFs. These efforts prioritized premium maple laminates and hand-shaped components to preserve the model's balanced semi-hollow tone. From the 2010s onward, Gibson introduced the Murphy Lab in 2018, applying specialized aging processes—such as relic distressing, chemical , and wear simulation—to ES-335 reissues for authentic aesthetics and playability, available in levels from light to ultra-heavy to evoke decades of use. In the 2020s, following the 2018 ownership change to a group led by private equity firm Kohlberg Kravis Roberts, Gibson has integrated initiatives, incorporating recycled materials such as ocean plastics into some products to reduce environmental impact while maintaining nitrocellulose finish traditions on core models like the ES-335. In January 2025, new Custom Color finishes, including , , and , were introduced for the ES-335, expanding aesthetic options. These evolutions underscore the ES-335's base design's lasting influence on versatile, resonant tone across eras.

Core Production Models

ES-335 Standard

The Gibson ES-335 Standard serves as the core semi-hollowbody model in Gibson's ES series lineup, featuring a single-cutaway design that provides excellent access to the upper frets without the deluxe appointments found in higher-tier variants. This baseline production model emphasizes core semi-acoustic construction with a laminated body, a central block for feedback control, and dual pickups, positioning it as an accessible entry into Gibson's ES series for musicians seeking versatile electric tones. Renowned for its warm, woody midrange and clear highs, the ES-335 Standard delivers an organic, mid-focused tone that resists feedback while offering rich sustain, making it ideal for , , and rock genres. Notable users include icon , who has long favored the model for its articulate response in recordings like Steely Dan's "Kid Charlemagne," and rock pioneer , who employed a cherry red ES-335 on hits such as "Nadine" to define early rock 'n' roll riffs. Over the decades, evolutionary changes in hardware, such as updated bridge and pickup designs, have refined its playability while preserving the classic semi-hollow character. As of 2025, USA-made ES-335 Standard models typically retail for around $2,800 to $3,000, reflecting its status as a premium yet straightforward production guitar. Since its introduction in , the model has seen continuous production exceeding 100,000 units, with annual output fluctuating based on market demand—peaking at over 5,700 shipments in alone before stabilizing in later eras. Recent reissues incorporate accessibility features like the SlimTaper neck profile, which enhances faster playability and comfort for extended sessions across diverse musical styles.

ES-345

The Gibson ES-345, introduced in 1959 as a mid-tier variant in the ES-3x5 series, shares the semi-hollow body construction of the standard but incorporates enhanced electronics for greater tonal versatility. It features a six-position Varitone rotary switch that enables capacitor-based filtering for diverse tone shaping, ranging from subtle high-frequency cuts to pronounced midrange emphasis and phase effects. This circuit, combined with stereo output capability through separate jacks for the bridge and neck pickups, allows the guitar to drive two amplifiers independently, expanding its sonic palette beyond mono configurations. Aesthetically, the ES-345 distinguishes itself with a green/white/ split-diamond and triple binding on both the body and , providing a more ornate appearance than the base model while remaining less elaborate than the flagship ES-355. The factory was a common option, appearing on the majority of units produced in the model's first two years (1959–1960) and more frequently than on the ES-335 overall. Production of the original ES-345 ran from 1959 to 1983, with reissues continuing to the present including limited editions in 2025; total original output was lower than that of the ES-335, estimated at fewer than 10,000 units across the run. In tonal applications, the model's electronics have been favored for experimental sounds in , notably by guitarist , who leveraged the Varitone for intricate, effects-laden phrasing in his work with .

ES-355

The was introduced in 1958 as the top-tier model in the ES-335 family, positioned for the luxury segment of the semi-hollowbody market. Designed with premium appointments to to professional musicians seeking enhanced and advanced , it debuted alongside the standard ES-335 and quickly established itself as a instrument. From its launch, the ES-355 emphasized ornate detailing, including multi-ply binding around the body, , and , as well as mother-of-pearl block inlays on the with distinctive parallelogram markers for a sophisticated look. Early models featured an , contributing to a smooth playing surface and bright tonal response that set it apart from the rosewood-equipped ES-335. A hallmark of the ES-355 was its advanced stereo wiring system, implemented starting in mid-1959 with the ES-355TDSV variant, which included separate output jacks for the neck and bridge pickups to enable true output when connected to compatible amplifiers. This setup allowed for spatial sound imaging, a rarity at the time, and was paired with the six-position Varitone switch for tonal versatility, drawing from the circuit introduced in the ES-345. Optional factory-installed vibrato systems, such as the Bigsby B7 tailpiece (standard on early 1958–1961 models) or the sideways Vibrola, further enhanced its appeal for players desiring controlled pitch modulation without compromising the semi-hollowbody's resonance. These features made the ES-355 ideal for studio and stage use, where its full stereo functionality could be leveraged for richer, more immersive performances. Production of the ES-355 remained limited, targeting the high-end market with an original of $375 for the mono model and $550 for stereo variants, reflecting its deluxe status over the base ES-335; total original production was around 5,500 units. It was favored by influential and rock artists, including , who incorporated the model's semi-hollow tone and stereo capabilities into his signature left-handed playing style during the late and . Gibson discontinued regular production in 1982 amid shifting market demands, though the model saw sporadic reissues through the Custom Shop, such as the 1959 reissue series. As of 2025, modern reissues command prices exceeding $4,000, often reaching $6,999 for variants like the Mod Collection edition, underscoring the enduring value of its luxury heritage.

Signature and Limited Editions

Trini Lopez Model

The Trini Lopez Model, introduced in late 1964 as a signature variant of the ES-335 for American guitarist and singer , represented a stylized take on the semi-hollowbody design tailored to his preferences. Based on the ES-335 platform, it featured distinctive diamond-shaped soundholes and matching diamond cutaways, along with fancier appointments such as parallelogram inlays, a non-reverse Firebird-style with six-on-a-side tuners, and binding inspired by the ES-355. Standard models included gold hardware, a cherry finish over a figured top, and a trapeze tailpiece, while the Deluxe variant offered a full-depth body with even more ornate details like cream binding and a higher price point. These elements gave the guitar a bold, angular aesthetic that stood out from standard ES-335 production. Production of the Trini Lopez Model ran from 1964 to 1970, with the Standard version totaling 1,966 units and the rarer Deluxe at 307 units, making it one of Gibson's more prolific artist models of the era despite its limited overall run. The model was discontinued around 1971 primarily due to its high production costs and shifting market dynamics, including a corporate takeover at Gibson's parent company and Lopez's waning chart success after his early-1960s hits like "If I Had a Hammer." In 2015, Gibson reissued the Trini Lopez Standard through its Memphis division as a limited-edition run, faithfully recreating the original specifications with period-correct features like Burstbucker pickups and VOS (Vintage Original Specification) finishing to capture the vibe. Culturally, the Trini Lopez Model epitomized 1960s mod aesthetics, blending rock 'n' roll flair with folk influences that aligned with Lopez's "rockin' folk" style and his endorsement during the peak of his singles career. Its unique diamond motifs and gold accents influenced later designs and appealed to players seeking a visually striking semi-hollow guitar. As of 2025, vintage examples command strong collector interest, with well-preserved Standards often fetching $10,000 to $15,000 and exceptional or rare Deluxe models exceeding $20,000 at auctions and specialty sales.

Lucille (B.B. King Signature)

The Gibson B.B. King Lucille signature model was introduced in 1980 as the first official production guitar bearing the blues legend's name, initially offered in Standard and Custom variants before being renamed Lucille in 1981. The name "Lucille" originates from a dramatic incident in the winter of 1949, when performed at a nightclub in Twist, ; a fight between two men over a woman named Lucille knocked over a , igniting a fire that forced King to run back into the collapsing building to rescue his guitar, nearly costing him his life. He named the instrument after her as a personal reminder "not to do anything that silly anymore," a tradition that extended to all his subsequent guitars. Developed in close collaboration with King, the Lucille draws from prototypes based on the that he began using around 1968, evolving into a semi-hollow design without f-holes to minimize feedback during high-volume performances while retaining the resonant warmth of its ES-335 . Signature elements include a mother-of-pearl "Lucille" inlay on the banner, bound tortoiseshell pickguard, and an fretboard with split-block pearl inlays for visual elegance and playability. The model features a standard 24.75-inch scale length on a set neck joined to a laminated body with a center block, providing comfortable suited to extended sessions. Electronically, it is equipped with two Custombucker humbuckers, individual volume and tone controls, and a six-position mono Varitone switch for tonal versatility, often finished in Transparent with hardware to evoke King's iconic stage presence. Production of the Lucille has continued uninterrupted since its debut, transitioning from Kalamazoo and Nashville facilities to the Gibson Custom Shop for premium iterations that maintain the model's high standards. As a cornerstone of heritage, the Lucille symbolizes B.B. King's enduring influence, embodying the soulful sustain and expressive dynamics that defined his career and inspired generations of guitarists.

Chris Cornell ES-335

The Gibson Chris Cornell Tribute ES-335 is a limited-edition model released by the Gibson Custom Shop in 2019, following the death of and frontman in 2017, to commemorate his influential career and affinity for the ES-335 platform. Limited to just 250 units worldwide, the guitar draws inspiration from Cornell's personal collaboration with Gibson on his original ES-335, incorporating modern specifications tailored to his rock playing style while retaining the classic semi-hollow body design introduced in 1958. Key features include a three-ply /poplar/ semi-hollow body with a center block and bracing, finished in a distinctive Drab satin for a subdued, stage-ready aesthetic. The mahogany neck features a rounded "C" profile with a 12-inch rosewood fingerboard radius, medium jumbo frets, and a bone nut, paired with aged Lollartron humbucking pickups that deliver higher output and articulate tones ideal for grunge, hard rock, and versatile riffing. Additional appointments comprise a Tune-O-Matic bridge with Bigsby vibrato tailpiece, clear "no number" top hat knobs, VOS nickel hardware, and a mother-of-pearl "Chris Cornell" signature inlay on the headstock, emphasizing its tribute status. Priced at $3,999 upon release, the model quickly became sought after by collectors and players seeking a tonal profile that echoes Cornell's dynamic sound, from the raw edge of Soundgarden's albums to the supergroup energy of tours where he prominently featured ES-335 guitars. Its higher-output pickups and satin-finished body contribute to a responsive feel suited for aggressive bending and feedback-resistant sustain, bridging Cornell's legacy in with the ES-335's enduring versatility.

EB-2 and EB-2D

The Gibson EB-2, introduced in 1958 as a semi-hollow electric bass companion to the ES-335, featuring a maple laminate body with a solid maple center block to reduce feedback while maintaining acoustic resonance. It utilized a short 30.5-inch scale length, which contributed to its distinctive thumpy, rounded tone suitable for genres like rockabilly, and was equipped with a single pickup in the neck position (initially single-coil in 1958, humbucking from 1959) optimized for deep bass frequencies. Production continued until 1972, with a brief hiatus from 1962 to 1963, during which over 8,000 units were produced, establishing it as a niche but influential model in early electric bass history. The EB-2D variant, launched in 1966, expanded the model's tonal versatility by adding a pickup in the bridge position, alongside the original neck , with independent volume and tone controls for blending sounds from warm lows to punchier mids. This configuration, similar to that of the EB-3 bass, allowed for greater flexibility in performance settings, and the model shared the EB-2's semi-hollow for comparable sustain and feedback resistance. Notable users included , who played an EB-2 backstage during ' 1964 tours, highlighting its appeal in rock contexts despite the band's primary use of other basses in recordings. Differing from guitar-oriented ES-335 models primarily through its four-string configuration, 30.5-inch scale, and bass-specific pickups with higher output for low-end emphasis, the EB-2 series featured a bound body and f-holes akin to the ES-335 but adapted for upright-like playability on stage. In 2025, EB-2 and EB-2D examples in good condition typically command values between $3,000 and $5,000 at , reflecting their collectibility among enthusiasts of Gibson instruments.

CS Series

The Gibson Custom Shop CS series represents the pinnacle of the company's efforts to recreate the ES-335 with unparalleled historical fidelity, evolving from standard production reissues introduced in the early to offer collectors and players instruments that capture the nuances of and originals. Launched as part of the Historic Collection in , the CS line emphasizes premium materials and construction techniques to evoke the era's craftsmanship. The CS-336, introduced in 2001, serves as a slimmer alternative to the traditional ES-335, featuring a compact 13-inch body with tonally carved construction from a single piece of for the back, sides, and center block, paired with a carved top for enhanced and reduced feedback. Full CS-335 reissues followed closely, with models from 1994 onward incorporating figured tops to replicate the premium of examples, alongside laminated bodies, solid center blocks, and necks joined via long tenons secured with hide glue for superior sustain and stability. These guitars employ hand-applied finishes, often in VOS (Vintage Original Specification) variants that undergo light chemical aging to mimic the of aged originals, including recreations of early prototype in natural finishes. Limited editions within the CS series, such as the 1959 VOS, prioritize authenticity with rounded cutaways, dot inlays, and Custom Shop Burstbucker or '57 Classic humbuckers designed as precise clones of the original PAF pickups, delivering the warm, dynamic tone associated with icons. Priced in the $5,000 to $7,000 range, these models target discerning collectors and performers seeking the playability and visual appeal of ES-335s without the premiums of unrestored instruments. A key innovation in the CS series arrived with the Murphy Lab in 2019, introducing chemically aged relic finishes that replicate the wear patterns of specific vintage years, such as subtle nitro lacquer and fretboard compression on select 1959 and 1963 reissues, achieved through hand-distressing and UV exposure to ensure each guitar tells a unique "story" while maintaining structural integrity. This approach elevates the CS ES-335 beyond mere reproduction, blending archival research with artisanal techniques for instruments that perform and age like their forebears.

DG-335 and Modern Custom Shop Variants

The Gibson Custom Shop introduced the DG-335 in 2007 as a signature model for of the , drawing inspiration from his favored 1960s ES-335 variant. This semi-hollowbody guitar features a laminated body with a Pelham Blue finish, bound diamond-shaped f-holes, and a distinctive Trini Lopez-style with split-diamond inlay. Equipped with Gibson USA Burstbucker 1 and 2 humbucking pickups wired to CTS potentiometers and Orange Drop capacitors, it delivers versatile tones ranging from warm jazz to aggressive rock overdrive, making it a staple in Grohl's live setups. Production continued until 2014, with limited runs emphasizing handcrafted details like a one-piece neck and fretboard for enhanced playability and resonance. In the 2020s, under leadership focused on refinement and , the Gibson Custom Shop has expanded the ES-335 lineup with premium variants like the ES-335 Figured, showcasing highly figured flamed tops for superior visual appeal and acoustic projection, including new 2025 finishes such as Custom Color Watermelon and collaborations like the ES-335 '60s Block in striking new colors. These models incorporate sustainable wood sourcing practices, utilizing (FSC)-certified and mahogany to minimize environmental impact while maintaining the semi-hollowbody's signature warmth and sustain. Hardware upgrades, such as Graph Tech TUSQ XL nuts for improved tuning stability and intonation, further elevate the boutique quality, with prices typically starting at $4,500 for standard reissues and exceeding $7,000 for aged or custom options. Limited-run Custom Shop ES-335s in recent years highlight experimental enhancements, including the 2023 Historic Reissue series, for instance, commemorates the model's enduring legacy with laser-etched serial numbers on premium examples, featuring period-correct Custombuckers and lightweight aluminum tailpieces for authentic vintage response, alongside 2025 updates like the 1959 Reissue Ultra Light Aged. These variants underscore the Custom Shop's commitment to blending tradition with modern craftsmanship, appealing to collectors and performers seeking exclusivity and tonal precision.

Epiphone and Affordable Variants

Epiphone ES-335 Line

The ES-335 line, under Gibson's ownership since , provides accessible reproductions of the original Gibson ES-335 semi-hollowbody design, emphasizing affordability while capturing its versatile tone for , , and rock players. Introduced in the late with early models like the ES-335 Dot, the line expanded significantly with the Inspired by Gibson series in , offering faithful recreations of iconic variants from the guitar's heritage. These instruments use a 5-ply layered /poplar body with maple veneers and a solid maple center block for cost-effective that balances resonance and feedback resistance, drawing from the Gibson blueprint without the premium materials of USA-made counterparts. Key offerings include the ES-335 Pro, equipped with Classic PRO pickups for vintage-inspired warmth and clarity, typically priced around $600 to appeal to beginners and intermediate musicians. The Inspired by Gibson Custom 1959 ES-335 further refines this with a cherry finish, rounded "C" , and Indian laurel fretboard, evoking the early production models' aesthetic and playability at a fraction of the cost of Gibson's reissues. In May 2025, introduced the Inspired by Gibson Custom 1962 ES-335 Reissue, featuring a 5-ply layered /poplar body, slim taper '60s-style , fretboard, and CustomBuckers for enhanced vintage tone, priced at approximately $800. Differences from Gibson ES-335s encompass Chinese manufacturing, a one-piece set (rather than multi-piece in some customs), and polyurethane finishes for durability over lacquer, though features like or Deluxe tuners ensure reliable tuning stability. Signature variants highlight the line's artist appeal, such as the 2021 B.B. King "Lucille" ES-335, which incorporates scaled-down features like a Varitone switch and finish while retaining the semi-hollow body's core structure for expression. Positioned as the leading option in the entry-level semi-hollow market, 's ES-335 models dominate sales through their value-driven specs, enabling widespread adoption among gigging players and students seeking the ES-335's snap and sustain.

Other Licensed Reproductions

In the late , Gibson licensed Japanese manufacturers to produce high-quality reproductions of its guitar designs exclusively for the Asian market, aiming to counter widespread counterfeits and provide more affordable access to authentic specifications. by Gibson line, introduced in 1988, represented the premium tier of these licensed instruments, with models built to closely replicate Gibson's originals using premium materials and finishes. The ES-335 was among the first models offered in the series, featuring a semi-hollow body with a solid center block, a carved top, and a one-piece neck, mirroring the classic 1958 Gibson ES-335 design. These guitars were crafted by FujiGen Gakki and other reputable Japanese factories under Yamano Gakki management, incorporating Gibson USA humbuckers, nitrocellulose lacquer finishes, and hardware sourced from or approved by Gibson to ensure tonal and aesthetic fidelity. Production of the ES-335 continued until 1995, with prices ranging from ¥100,000 to ¥200,000, positioning them as accessible yet upscale alternatives to U.S.-made Gibsons. A companion line, simply branded Orville without the "by Gibson" designation, debuted in and extended production through , offering a more budget-oriented take on the ES-335. These models retained semi-hollow and dot inlays but substituted Japan-made pickups, finishes, and cost-saving components, priced between ¥70,000 and ¥80,000 to appeal to entry-level buyers while still adhering to licensed Gibson blueprints. Both Orville variants contributed to Gibson's strategy of in international markets, with the ES-335 proving popular for its versatile , , and rock tones. Beyond full-scale instruments, Gibson has authorized smaller-scale licensed reproductions, such as the Axe Heaven 1:4 scale miniature ES-335 models, handcrafted from with metal parts to commemorate the original . Introduced in various finishes like and faded cherry, these collectible replicas include display stands and cases, emphasizing the ES-335's iconic status without functional playability.

References

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