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Gibson ES-355
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The Gibson ES-355 is the top of the line semi-hollow body Thinline Dual Pickup Stereo Varitone (TDSV) manufactured by the Gibson Guitar Company. The guitar is a stereo guitar with a varitone circuit and it was manufactured from 1958 to 1984. In 2018 Gibson began producing a version of the 355 again.
Key Information
History
[edit]The Gibson ES-355 was created to be the most high-end of the Gibson thinline semi-hollow guitars. The first 355 appeared in 1958 as a mono ES-355TD. The majority of the 355s were manufactured as stereo guitars labeled ES-355TD-SV. The manufacture of the stereo versions appeared in 1959.[1] Many guitarists did not appreciate the varitone and they disconnected the option so that the guitar could be played in mono.[2]
Specifications
[edit]The guitar shipped in a mono version or a stereo version and it was the finest of the Gibson 300 series (ES-335, ES-345). The guitar is made with an ebony fingerboard and mother-of-pearl block inlays. Other high end appointments included a lyre vibrola (beginning circa 1963), gold hardware, triple binding on headstock and top, with single binding on back and neck. .[3] Many of the early versions of the guitar came with a Bigsby vibrato tailpiece. In 1960 Gibson offered a sideways vibrola option. The rarest version are the versions with the Stoptail bridge.[1]
The top and back of the guitar is a laminate of maple and poplar, with a solid maple center block running from the neck to the bottom rim of the guitar. The neck is mahogany, and beginning in 1972, three piece maple. The tuners were either Grover Rotomatic, Kluson 'waffleback', or later in the 1970s, Schaller.[1] The top of the guitar featured two F-holes, and the maple center block to limit feedback that was often experienced with hollow guitars. The 355 was made with two humbucker pickups. PAF in the 50s, Patent # later in the 60s, and T-Top pickups in the 1970s.[4] Another extremely rare version of the 355 is the ES-355TDN; which has a natural or blonde finish.[2]
Reception
[edit]The guitar did not achieve the success that Gibson had hoped for. The ES-335 which was the stripped down version in the 300 series thinlines, was more popular. The 335 was lighter and simpler. The varitone circuit which was on the majority of 355s was not desired. Gibson ended production of the 355 in 1982. Gibson does produce a B.B. King Lucille model 355 and in 2008 produced an Alex Lifeson ES-355. In 2018 Gibson began producing an ES-355 with a Bigsby, an ES-355 in Walnut finish with a Maestro vibrola and an ES-355 Black Beauty (Limited to 100 units per version) [4]
Notable players
[edit]References
[edit]- ^ a b c Brakes, Rod (22 March 2022). "The Gibson ES-355 was the Cadillac of Classic Thinline Semis". Guitar Player. Retrieved 30 November 2022.
- ^ a b Bacon, Tony (2011). History of the American guitar : 1833 to the present day (First ed.). Milwaukee, WI: Backbeat. ISBN 9781476856384. Retrieved 30 November 2022.
- ^ "Gibson ES-355 TD". Vintage Guitar and Bass. Retrieved 30 November 2022.
- ^ a b c d Brakes, Rod (10 August 2018). "Classic gear: Gibson ES-355TD". Music Radar. Retrieved 30 November 2022.
- ^ Gulla, Bob (2009). Guitar gods : the 25 players who made rock history. Westport, Conn.: Greenwood Press. p. 178. ISBN 9780313358067. Retrieved 30 November 2022.
- ^ "Noel Gallagher 1960 ES-355 60s Cherry Murphy Lab Aged". Gibson. Retrieved 3 March 2023.
- ^ "Johnny Marr's Gear". Smiths on Guitar. Retrieved 3 March 2023.
- ^ "Bernard Butler Shows Off His Guitar Collection". 28 April 2014. Retrieved 3 March 2023.
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Gibson ES-355
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Introduction and Design
Overview
The Gibson ES-355 is a thinline semi-hollowbody electric guitar introduced in 1958 as the flagship model of Gibson's ES-335 family, offering enhanced luxury and tonal versatility for jazz, blues, and rock players.[1] It features a semi-hollow maple body with a solid center block to reduce feedback, paired with dual humbucking pickups for a balanced warm tone that bridges acoustic resonance and electric clarity.[3] Positioned as the deluxe counterpart to the standard ES-335, the ES-355 distinguishes itself through premium appointments including multi-ply body binding, mother-of-pearl block inlays on an ebony fretboard, and gold hardware for an upscale aesthetic.[5] Key innovations on the ES-355 include, on stereo-equipped models, a stereo output jack for separate amplification of each pickup, enabling expansive stereo effects in live and studio settings, and a six-position Varitone rotary switch that provides six distinct tone filters for versatile sound shaping from subtle cuts to pronounced treble boosts. An optional Bigsby vibrato tailpiece adds expressive pitch modulation, enhancing its appeal for players seeking dynamic control.[1] These features elevated the ES-355 beyond its ES-335 sibling, establishing it as a high-end instrument prized for both performance and visual elegance. Original production of the ES-355 ran from 1958 to 1982, during which it became a staple in professional lineups before being discontinued amid shifts in Gibson's catalog.[6] Reissues resumed in the 1990s through Gibson's Custom Shop, with modern versions continuing into the 2020s that faithfully recreate the original specifications using period-accurate materials and finishes.[3]Key Design Features
The Gibson ES-355 features a semi-hollow body constructed from a laminated maple top, back, and sides with a solid maple center block to minimize feedback while preserving acoustic resonance. This design incorporates symmetrical double cutaways for enhanced access to the upper frets and multi-ply binding around the body edges, contributing to its elegant, contoured profile that balances portability and stage presence.[3][1] The neck is crafted from mahogany with a slim taper profile in early models for comfortable playability, set at a 24.75-inch scale length, and joined to the body via a long tenon for structural integrity. The fretboard is ebony, spans 22 medium-jumbo frets and is adorned with distinctive mother-of-pearl block inlays, often in a split parallelogram style, along with multi-ply binding on the neck and headstock for a refined finish.[3][1] Aesthetic luxury defines the ES-355 through its gold-plated hardware, including a Tune-o-matic bridge and options for a trapeze or stop-bar tailpiece, paired with split-diamond inlays on the headstock. The model offers premium finishes such as vintage natural or the iconic "Black Beauty" ebony variant, which features pearl crown inlays for added opulence. These elements underscore the ES-355's status as a high-end instrument, emphasizing visual sophistication alongside ergonomic design for versatile performance.[3][1]History and Production
Development and Introduction
During the 1950s, the increasing use of electric amplification in jazz and blues genres highlighted the limitations of traditional full hollowbody guitars, which were prone to feedback at higher volumes, prompting Gibson to develop semi-hollow designs that combined acoustic warmth with greater sustain and feedback resistance through a solid maple center block.[7][8] As Gibson's president from 1948 to 1966, Ted McCarty played a pivotal role in this transition, overseeing the creation of the ES-335 family starting in 1957 to address these performance demands while incorporating innovative features like humbucking pickups for cleaner amplified tones.[9][10] The ES-355 debuted in late 1958 as the premium model in this lineup, initially offered as the mono-wired ES-355TD and showcased alongside the ES-335 at the Summer NAMM show in Chicago, with the stereo-equipped ES-355TDSV featuring the Varitone circuit added in mid-1959 to provide enhanced tonal versatility for professional musicians.[7][11][12] Priced at $550 for the mono version and $600 for the stereo Varitone model in 1959 catalogs, the ES-355 targeted high-end players seeking luxury appointments and advanced electronics, marking Gibson's first production guitar with factory-installed stereo wiring and the innovative six-position Varitone switch for filtered tone shaping influenced by the era's demand for adaptable amplified sounds in live settings.[12][13]Production Timeline and Changes
The Gibson ES-355 entered production in 1958 as a premium semi-hollowbody guitar, with initial shipments including both mono and stereo variants, though full stereo wiring became standard by 1959 for models equipped with the Varitone circuit.[13] During the 1959–1964 period, the model transitioned fully to stereo output as a core feature on higher-end configurations, while the Bigsby vibrato tailpiece was offered as a factory option alongside the standard side-to-side Maestro vibrato, enhancing its appeal for players seeking enhanced sustain and tonal versatility.[2] Production during these years saw steady growth, with annual shipments for the stereo Varitone version (ES-355TDSV) reaching up to 198 units in 1964, contributing to the model's status as a flagship in Gibson's ES series amid rising demand for semi-hollow designs in jazz and blues.[6] From 1965 to 1974, several refinements addressed playability and manufacturing consistency, including the introduction of humbuckers bearing "Patent Number" stickers starting in the mid-1960s, which denoted Gibson's updated coil design for improved clarity and reduced hum.[14] Neck specifications evolved with a gradual reduction in nut width from approximately 1 11/16 inches to 1 9/16 inches over this decade, facilitating faster playing styles popular in emerging rock and fusion genres.[2] Additionally, a volute—a small reinforcement ridge at the rear of the headstock/neck joint—was added around 1969 to enhance structural stability against string tension, particularly on models with longer scale lengths.[2] Production volumes peaked during this era, with the ES-355TDSV reaching 333 units shipped in 1973, reflecting the model's enduring popularity despite broader shifts in guitar preferences.[6] In the 1975–1982 period, Gibson implemented various cost-saving measures amid economic pressures, including the shift to laminated maple necks from traditional mahogany and the adoption of the TP-6 fine-tuning tailpiece in place of earlier vibrato designs starting in 1979, which simplified assembly and reduced production expenses.[2] Electronics saw streamlining, such as the introduction of mono/stereo variants without the Varitone (ES-355TDS/79) in 1980, allowing for more affordable configurations while maintaining core stereo capability.[13] Annual shipments declined toward the end, dropping to 137 units for the ES-355TDSV in 1979, influenced by the Norlin company's focus on efficiency during the late 1970s recession.[6] Original production ceased in 1982, driven by declining interest in semi-hollowbodies as solidbody guitars gained dominance in rock music and intensified competition from Fender's versatile offset models like the Stratocaster and Telecaster.[11]Specifications and Variants
Core Specifications
The Gibson ES-355 features a semi-hollow body constructed from a laminated three-ply maple/poplar/maple top, back, and sides, with a solid maple center block to reduce feedback while maintaining acoustic resonance.[3] The body measures 16 inches across the lower bout and 1.75 inches in depth, providing a balanced size for playability and projection.[15] The neck is crafted from one-piece mahogany with a set neck joint, offering stability and sustain.[3] It has a 24.75-inch scale length and a nut width of 1.687 inches, accommodating standard fingerings with a comfortable profile.[16] Basic electronics consist of two humbucking pickups in the neck and bridge positions, modeled after early PAF designs for warm, articulate tone.[3] Controls include a three-way toggle switch for pickup selection and individual volume and tone knobs for each pickup, allowing versatile sound shaping.[17] Hardware includes an ABR-1 Tune-o-matic bridge for precise intonation, a nylon nut for smooth tuning stability, and Grover kidney bean-style tuners in later production years to ensure reliable pitch retention.[3]Model Variants
The Gibson ES-355 was initially offered in a mono configuration as the ES-355TD, introduced in late 1958 as a more luxurious variant of the ES-335 with features like an ebony fingerboard and multi-ply binding.[18] In 1959, Gibson expanded the lineup with the ES-355TDSV, which added stereo output capability and the Varitone switch for tonal versatility, becoming the standard model through much of its production run.[13] Sunburst finishes were available, though rare, particularly in early examples from 1959 and the early 1960s, often as special orders that deviated from the more common cherry red.[19] During the 1970s, limited ebony-finished models known as "Black Beauty" variants emerged. Special editions based on the ES-355 included B.B. King's custom "Lucille" models from the 1970s, which modified the semi-hollowbody design—often blocking the f-holes for reduced feedback—while retaining the core ES-355 structure, gold hardware, and ebony finish.[21] In 2008, Gibson's Memphis factory produced the Alex Lifeson Signature ES-355, recreating the Rush guitarist's 1976 model with an Alpine White finish, ebony fingerboard, and tailored humbucker pickups for enhanced clarity and sustain.[22] Gibson revived the ES-355 through the Custom Shop in 2018 with VOS (Vintage Original Specification) finishes that replicated the aged nitrocellulose lacquer of originals, emphasizing historical accuracy in construction and appointments.[23] A 2020 NAMM show edition highlighted an ebony fingerboard option on the 1959 reissue, paired with a stopbar tailpiece for improved intonation over vibrola-equipped models.[24] From 2020 to 2025, Custom Shop '59 reissues continued in finishes such as vintage natural, sixties cherry, and ebony, offering configurations with stopbar tailpieces or Bigsby vibratos to accommodate diverse playing styles.[3] Recent reissues incorporate Plek'd frets for precise leveling and crowning, ensuring optimal playability.[25] In 2025, Gibson introduced the Mod Collection 1959 ES-355 Reissue with an Augusta Grass finish and Burstbucker pickups.[26]Cultural Impact and Legacy
Notable Players
The Gibson ES-355 has been a favored instrument among blues legends, notably B.B. King, who adopted ES-355 models as his signature "Lucille" guitars starting in the 1960s, employing its distinctive vibrato and semi-hollow tone to craft the emotive bends central to his hit "The Thrill Is Gone" from 1969. Similarly, Freddie King relied on ES-355 models, including a 1966 variant, throughout his Texas blues recordings and performances from the late 1960s to 1972, leveraging its Varitone circuit for the fiery, dynamic leads in his later work.[27] In rock's foundational era, Chuck Berry incorporated a 1959 ES-355 into his arsenal in the late 1950s, using its crisp articulation to power his iconic duckwalk riffs in performances and recordings of that era. Keith Richards also turned to an early 1960s ES-355 during key Rolling Stones sessions in the mid-1960s, where its semi-hollow warmth contributed to the raw, rhythmic edge heard in albums like Aftermath.[28] Among modern players, Johnny Marr wielded a 1960 cherry red ES-355 to achieve the jangly, atmospheric textures synonymous with The Smiths' sound in the 1980s, a guitar whose chime later echoed in Oasis's Britpop anthems.[29] Noel Gallagher prominently featured a red 1960 ES-355 on Oasis recordings from the mid-1990s onward, including stadium-filling tracks like "Wonderwall," where its resonant overtones amplified the band's wall-of-sound style.[30] Gary Moore harnessed a 1960s ES-355 for his blistering hard rock solos in the 1990s and 2000s, as showcased in live performances like Montreux 1997, drawing on its sustain for emotive phrasing in songs such as "Still Got the Blues."[31] John Squire employed a 1959 ES-355 during The Stone Roses' psychedelic explorations in the late 1980s and early 1990s, its lush harmonics enhancing the swirling tones of albums like their 1989 debut.[32] Alex Lifeson integrated the 2008 ES-355 signature model—modeled after his original white 1976 version—into Rush's progressive rock framework, using its versatile voicing for intricate riffs across tours and recordings from the late 2000s.[33] Other notable adopters include Pete Townshend, who utilized an ES-355 in The Who's 1968 U.S. tour sessions and 1969 rehearsals, adding its semi-acoustic punch to the band's explosive live dynamic, and Bernard Butler, whose 1961 ES-355 shaped Suede's ornate guitar arrangements on their 1993 debut album, blending orchestral swells with indie rock edge.[34][35]Reception and Influence
Upon its introduction in 1958, the Gibson ES-355 received praise for its tonal versatility, particularly in jazz and blues contexts, where the semi-hollowbody design allowed for sustained chords and warm, resonant tones suitable for complex chordal work.[1][36] However, critics and players often noted its high cost—priced at $550 for the mono version and $600 for the stereo Varitone model in 1959—as a barrier to wider adoption, especially compared to the more affordable ES-335 at $267.50.[12][13][37] This premium positioning contributed to lower sales volumes, with production significantly trailing the ES-335's total of over 50,000 units shipped from 1958 to 1979.[38] The ES-355 played a key role in bridging jazz traditions with the rising demands of rock music in the 1960s, offering feedback resistance that enabled louder stage volumes without the uncontrolled howl of fully hollow archtops, while retaining acoustic-like projection for blues and jazz phrasing.[1] Its innovative semi-hollow construction influenced subsequent designs across brands, notably inspiring Epiphone's "Inspired by Gibson Custom" 1959 ES-355 reissue, which replicates the original's Varitone circuitry and ornate appointments for modern players.[39] Similarly, it contributed to the evolution of semi-hollow models like Guild's Starfire series, emphasizing balanced tone and playability in electric archtops.[40] In critical assessments, the ES-355 has been hailed as the "Cadillac of classic thinline semis" for its luxurious features and build quality, as highlighted in a 2022 Guitar Player magazine feature.[18] Vintage examples from the late 1950s and early 1960s command strong collector interest, with well-preserved models typically auctioning or selling for $20,000 to $45,000 depending on condition and originality.[41][42] Modern reissues, such as the Gibson Custom Shop's 1959 ES-355, have revitalized its appeal in the 2020s, particularly among indie and alternative rock artists seeking its versatile semi-hollow voice for textured rhythms and leads beyond traditional blues applications. In 2022, Gibson released a signature 1960 ES-355 reissue for Noel Gallagher, featuring Murphy Lab aging to replicate his vintage model.[43][44] This resurgence underscores the model's enduring influence, as seen in its adoption by players contributing to genre-blending sounds in contemporary music.[45]References
- https://reverb.com/ca/p/gibson-memphis-es-355-black-beauty-ebony-2018