Making the (Player) Grade
This is a completely refinished 62 dot neck. Mmmm. Candy Apple Red. It was half the price of an original and is in the top five of my “best sounding 335’s ever”. I’d call it a player.
If I seem like a bit of a guitar snob, your perception is correct. I’ve written over and over about how I don’t like 70’s 335’s. And I still don’t. If that makes me a snob then I’m a snob. But, unlike many collectors, I don’t turn my nose skyward at the mention of a “player”. I love guitars that have been played to death and still sound great. The conventional wisdom is, of course, that the good ones get played. My experience supports that but not entirely. I’ve had 50 year old mint guitars sound just as good as the beater that has seen it’s share of roadhouses, frat houses and houses of ill repute. But that beater is a little different in that if it didn’t sound so good for all those years, it probably would have gone out with the trash in 1978 or maybe 1992. Now that “vintage” is a buzzword, these old road warriors get hyped and sold for some serious money. Who would have thought that the biggest development in the guitar world in the past 2 decades would be guitars with fake wear? Now the real ones have “mojo” or “character” or “natural relic’ing”. It seems that the tail is wagging the dog a bit. But let’s look at what makes a real “player”. The biggest thing is that it should cost a whole lot less than a “collector grade”. Half. Less than half if it’s been broken and repaired. Changed parts? You bet. If you’re lucky, you’ll find one with the original electronics which, with semi hollow Gibsons is not so far fetched since nobody likes to mess with the harness of a semi. With PAFs being equal to the cost of a nice vacation (OK, holiday if you prefer), you can bet a set of these will jack up the price a bit. But, that said, you can always find the exact same pickups with the “other” sticker for a lot less. So (getting to the point, finally), what should you look for in a player? Well, one that you like the sound and feel of. Simple as that. I wouldn’t eliminate any modification (including access panels in the back) as long as it’s reflected in the price. The more indignities the guitar has suffered, the lower the price. I bought a 61 dot neck for $5000. I bought a 63 345 for $2400. And these weren’t bought in 1992, they were bought in the last 2 years. The dot neck had an ugly but competently repaired headstock and a few changed parts (and PAFs). The 63 was refinished with changed pickups. One of the top five (out of hundreds) best sounding 335’s I’ve ever owned was a completely refinished 62 dot neck. They don’t call ’em players for nothing. This morning I walked into my office and went into the “guitar closet” where I keep the good guitars and had a big choice. What was I going to play today? There’s a blonde 59 345 in there and a real nice 64 ES-335 and a 58 335 and a 59. There’s my 12 string (Taylor), a 59 330 and two players: A watermelon 60 ES-345 that’s got changed pickups, Grovers and a few holes from a Maestro. And a black big neck Bigsby 64 ES-345 with a repaired headstock, repro tuners, repro bridge, impossibly warped pick guard and a glorious pair of early patent numbers. Hmm…what to play. The 59? Nope. I reach for the black 64 and it sings to me. That ones a player.
This guitar looks like its been played every day of its 50 year life. It is beat up, rode hard, put away wet and had nearly every part changed at some point. The only thing original on here is the pick guard and that’s so warped its in the case pocket. It does have a killer set of early patent numbers and it sounds like a choir of angels (on Christmas).
Yup, a player with mods and repairs bringing the price way down low is a good option. It would likely play and sound better than some new, expensive and soulless reissue or “tribute” model!
Still have the ’62 Sparkling Burgundy Charlie! The color has actually grown on me, and it sounds amazing! My favorite playing and sounding Gibson! Over the 50s LPs – Standards, Specials and Juniors!
Love that black 345 Charlie! That’s my kinda player right there.
I’ve mentioned your refinished dot 62 a lot, David. I don’t know what got into that one. I’ve had one ’58 and a 59 that were neck and neck with it, a 64 that was close and the blonde 59 345 I have would give it a good run for its money. The red 59 ES-345 was another that had some strange voodoo going on but yours is the only refinished one to make the Pantheon (and the only 62).
Killer player. I think I’m gonna keep it for a while as my player, Chuck. Feel free to make me an offer I can’t refuse.
I’ve been eyeballing the 59 blonde 345, as I did the red 59 345, but as much as I love those 2 guitars, and as tempting, they are just a bit too dear for me at this time, and I’ve already got the 62! A refinish, but a dot neck and a killer player and sounds great! I just can’t find fault with it – other than the refinish, but, as I mentioned, it has actually grown on me, and I doubt there are many dot-neck sparkling burgundy 335s out there! No matter what guitar I play against it, I always go back to it. 🙂 Maybe one day I’ll spring for a blonde! Thanks again Charlie!
I agree with the beater theory. Obviously, there are exceptions.
My 345 has *deep* finish checking, buckle rash through the finish, and fret divots but is completely original. Some body/people expressed a lot of emotions through this baby in the past 50 years.
The best nylon string guitar I ever played had a repaired break at the headstock and at the neck-body joint and multiple cracks in the top. It was repaired for a reason. If it didn’t sound so nice, people would have given up on it.
I ran the racks one afternoon at Mandolin Bros a few years ago. Played a lot of very expensive guitars. The best two were two beat up 50s Martin’s at very modest prices.